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White Woman (1933)

 |  Drama  |  10 November 1933 (USA)
6.5
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Ratings: 6.5/10 from 93 users  
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A nightclub singer marries the rich owner of a rubber plantation. When she returns with him to his estate in Malaysia, she finds out that he is cruel, vicious and insanely jealous. She and ... See full summary »

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Cast

Complete credited cast:
...
Judith Denning
...
Horace H. Prin
...
Ballister
Kent Taylor ...
David von Elst
Percy Kilbride ...
Jakey
James Bell ...
Hambly
...
Fenton (as Charles B. Middleton)
Claude King ...
C.M. Chisholm
...
Mrs. Chisholm
James Dime ...
Vaegi
...
Connors
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Storyline

A nightclub singer marries the rich owner of a rubber plantation. When she returns with him to his estate in Malaysia, she finds out that he is cruel, vicious and insanely jealous. She and the plantation's overseer develop a mutual attraction, but are terrified at what will happen if her husband finds out. Written by frankfob2@yahoo.com

Plot Summary | Add Synopsis

Plot Keywords:

rubber | racism | jealousy | africa | jungle | See All (5) »

Genres:

Drama

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Details

Country:

Language:

Release Date:

10 November 1933 (USA)  »

Also Known As:

Bela zena  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Paramount originally bought the play "Hangman's Whip" on which "White Woman" is based for their then new German import Dorothea Wieck of "Mädchen in Uniform" fame. See more »

Connections

Featured in Street Without End (1934) See more »

Soundtracks

Yes, My Dear
Music by Harry Revel
Lyrics by Mack Gordon
Performed by Carole Lombard (dubbed by Mona Lowe)
See more »

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User Reviews

Heads really roll in this steamy potboiler
15 November 2004 | by (Montreal) – See all my reviews

Although it's seldom discussed, one of the staple genres that classic Hollywood tackled best was the jungle-set melodrama. It gave studio technicians an opportunity to experiment with oppressive artificial sets, eerie sounds effects and expressionist lighting. Those Venetian-blind shadow patterns so characteristic of film noir were preceded by just as many painterly images lit through louvered windows and bamboo curtains. And the exotic backgrounds allowed jaded screenwriters to attain a delirious level of moral turpitude, betrayal, sadistic violence and erotic obsessiveness, not to mention downright racism. White Woman may not quite rank with the finest wallows in the white man's grave (Red Dust, Tropic Zone, the absolutely jaw-dropping Kongo), but it certainly concocts a heady stew of cruelty, masochism and lasciviousness. This is thanks to a dense script by some old reliables, and by another ingenious portrayal by Laughton (much more subdued than in the similarly-set masterpieces, the Beachcomber and Island of Lost Souls, but wilier and more self-deluding.) Lombard was still stuck in her earnest, victimized stage before she hit her stride as a comedienne, but her brittle blonde presence and flustered pretensions are a fine fit here. Charles Bickford kicks the plot into overdrive as a Gable-like he-man who won't brook Laughton's guff. They're a perfect match for each other playing a doomed hand of poker while their gruesome fate awaits them at the hands of the natives they've crossed. Thankfully, the filmmakers avoid the moralising and let the viewer stoically sink into the morass along with them.


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