Needing to fill the position of general manager of his company, and believing that an executive's wife is crucial to her husband's success, auto industry mogul Gifford brings three couples ... See full summary »
In early 1900s' Pennsylvania, Mr. Pennypacker has two company offices and two families with a combined total of 17 children. With an office in Harrisburg and an office in Philadelphia, he ... See full summary »
Dominique, a law student at the Sorbonne, is engaged to a fellow classmate. Unfortunately, she's more attracted to his philandering Uncle Luc, who's married to the charming Francoise. Dominique and Luc begin a tawdry affair.
A successful theatrical director is driven to failure by the machinations of his vengeful wife. Eventually, he lands in a mental hospital where both his wife and his new love, a young ... See full summary »
Needing to fill the position of general manager of his company, and believing that an executive's wife is crucial to her husband's success, auto industry mogul Gifford brings three couples to New York to size up: Jerry and Carol: he hard-driven and self-reliant, she willing to use her beauty to further her husband's career; Sid and Elizabeth, he ulcer-ridden and torn between achieving success and restoring their troubled marriage, she positive that his job will kill him, but gamely agreeing to play the good wife for the duration; and down-to-earth Bill, whose good-natured Katie fears that his promotion would spell the end of their idyllic familiy existence. Written by
Paul Penna <firstname.lastname@example.org>
In Woman's World the connections to automotive companies of the era are both obvious and subtle. The obvious is Ford Motor Company which supplied Fords, Mercurys, Lincolns, "Dream Cars", and styling models for the film. There are even scenes of the Ford test track in Dearborn, Michigan. The subtle is the company name Gifford Motors close to General Motors; GM. Also many shots of the New York skyline feature the Chrysler Building. See more »
When we first see the new Gifford black convertible, actually the Ford X-100, in the lobby of the Gifford building the top and side windows are closed. In the next shot they are open and the occupant closes them, supposedly at the first drop of rain. See more »
Slick, superficial CinemaScope stuff from Hollywood's early-'50s panic attack: How ya gonna keep 'em down at the flicks after they've seen TV? Fox tried to with big screens, splashy colors, and half a dozen or so stars crammed into one entertaining soap-opera premise. There's no cinema-making genius going on here, but the movie is overwhelmingly entertaining, both for its look and its morality. A consumerist's paradise, it's so stuffed with cars and gowns and doodads that you're seized with an overwhelming urge to go shopping after you've seen it. (The cars, in particular, are '50s-futurists designs from Ford/Lincoln/Mercury, and they're knockouts.) And the morality is so utterly of its time: The onscreen drinking and smoking are nonstop, the gender premises (men seek power, women seek men) are unquestioned, and the subtext is clearly that money and power are fine, but holding on to your man is what really counts. And to do that, you'd better learn to be a dear little klutzy wifey like June Allyson instead of a calculating harlot like Arlene Dahl. Of the women, Allyson's wife-waif act becomes monotonous, and while Dahl is luscious to look at and seems to be in on the joke of how one-note her character is, she's not really much of an actress. So Bacall, her crisp-sophisticate act honed to a fine sharpness, comes off best by default. The men are all OK, but New York is the real star.
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