Shortly after their tenth wedding anniversary, New York theater producer Steven Hilliard and his wife, former popular radio singer Kay Hilliard née Ashley, are getting a Kay-initiated Reno ... See full summary »
Journalist Steve O'Malley wants to write a biography of a national hero who died when his car ran off a bridge. Steve receives conflicting reports and tales that make him question what the truth about the hero is.
Wealthy Mary Haines is unaware her husband is having an affair with shopgirl Crystal Allen. Sylvia Fowler and Edith Potter discover this from a manicurist and arrange for Mary to hear the gossip. On the train taking her to a Reno divorce Mary meets the Countess and Miriam (in an affair with Fowler's husband). While they are at Lucy's dude ranch, Fowler arrives for her own divorce and the Countess meets fifth husband-to-be Buck. Back in New York, Mary's ex is now unhappily married to Crystal who is already in an affair with Buck. When Sylvia lets this story slip at a country club dinner, Crystal brags of her plans for a still wealthier marriage, only to find the Countess is the source of all Buck's money. Crystal must return to the perfume counter and Mary runs back to her husband. Written by
Ed Stephan <email@example.com>
During production, MGM's publicity department couldn't peddle its usual stories about romance on the set to the press with an all-female cast, so they played up the angle of duelling divas and feuds on the set instead. Even though George Cukor publicly defended his cast against rumours of turmoil, audiences still relished the concocted drama and were eager to see if any claws would be visible in the finished film. "When one deals with stars," Cukor said according to Emanuel Levy's 1994 book George Cukor: Master of Elegance, "he is dealing with intelligent people. If they weren't intelligent, they wouldn't have arrived at the star pinnacle. Stars understand the business. They have learned that a show of temper gets them nothing, save perhaps a salary suspension or at least a headache." See more »
Two years passes between Mary's divorce and her subsequent reconciliation with her husband, but little Mary, her daughter, doesn't seem to grow at all during that time. See more »
This, by far, is the greatest classic bitch film of all time. It can never be equaled. They tried, but failed, when trying to remake it a musical with a less than glamorous casting of the roles made famous by the all-star female cast of the original written by Clare Boothe Luce. George Cukor, the director, had his hands full with the likes of these dames of fame. Each, in their own right, could steal a scene if left up to them, and they tried. But Cukor, held tight to the reins and kept them all in line. The beginning credits were cleverly done with each star being represented by an animal. Norma Shearer, the doe; the delicious Joan Crawford, a tiger; Roz Russell a cat; Paulette Goddard, a fox; Marjorie Main, a mule; Joan Fontaine, a lamb.
My favorite scenes were the fight scene with Goddard and Russell, bath scene with Crawford, and last scene when all THE WOMEN go at it at the ball. With wonderful, crisp dialogue, beautiful costumes designed by Adrian and a stellar cast, you can see the sparks fly in this all-time classic comedy of 1939.
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