A study of the lives and romantic entanglements of various interconnected women.A study of the lives and romantic entanglements of various interconnected women.A study of the lives and romantic entanglements of various interconnected women.
- Awards
- 2 wins
Storyline
Did you know
- TriviaThere are more than 130 roles in this movie, all played by women. Phyllis Povah, Marjorie Main, Mary Cecil and Marjorie Wood originated their roles in the play, which opened September 7, 1937, and had 666 performances at New York City's Ethel Barrymore Theatre--a Broadway run which, unusually but quite proudly, is displayed in the movie's opening credits. No doubles were used in the fight sequence where Rosalind Russell bites Paulette Goddard. Despite the permanent scar resulting from the bite, the actresses remained friends.
- GoofsThe second model to enter for the fashion show is wearing a top with red spots (possibly strawberries) and a red skirt. After the cut she's wearing a top with red and blue stripes and a white skirt.
- Quotes
Crystal Allen: There's a name for you ladies, but it isn't used in high society... outside of a kennel. So long, ladies!
- Crazy creditsIn the opening credits, before the photo images of the actresses are shown, their characters are revealed by images of various animals.
- Alternate versionsThere is an Italian edition of this film on DVD, distributed by DNA Srl: "VOLTO DI DONNA (1941) + DONNE (1939) + STRANGE CARGO (1940)" (3 Films on a single DVD), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
- ConnectionsFeatured in From the Ends of the Earth (1939)
- SoundtracksForevermore
(1939) (uncredited)
Music by Edward Ward
Lyrics by Chet Forrest and Bob Wright
Played at the end and sung by an offscreen chorus
Featured review
The fact that Norma Shearer and Joan Crawford would consent to appear in a movie together is amazing. Shearer in 1939 was the queen of MGM, being the widow of studio production chief Irving Thalberg, and had her choice of material and co-stars. Crawford, although a power in her own right, didn't have Shearer's pull and complained bitterly about it. Crawford fought to take the somewhat supporting, albeit juicy, role because she needed an A picture after a string of flops. So she had to suck it up to work with Shearer.
The two stars had only one scene alone together, and there were no reported problems while filming, except one. Director George Cukor sent Crawford home early when she caused a distraction by loudly clicking her knitting needles off camera as Shearer tried to do her close-ups.
Crawford was proved right in taking the movie, it's one of her most memorable and, finally for once, villainous roles. As Crystal Allen, the scheming homewrecker who is out to sleep her way to a Park Avenue penthouse, she was ideally cast. It was her life.
Rosalind Russell, previously not known as a comedienne, surprised everyone with her rapid-fire sarcastic delivery. She would continue to perfect the biting style for 20 years until she reached the pinnacle with Auntie Mame. Roz gives the strongest performance of the film as the spitefully catty Sylvia Fowler, and I don't think Shearer and Crawford knew what hit them.
As for the long-suffering, hair-clutching, heavy-sighing Norma Shearer, even she was able to make the thankless role of noble Mary Haines memorable. One of her best moments is when she raises her nails and growls "I've had two years to grow claws, Mother, and they're Jungle Red!," and then goes to take her husband back from Crawford. Shearer has a few Silent Screen moments that look out of place, such as collapsing and weeping at her mother's knee. But she makes the character warm and likable and we root for her to win.
There are many gems in the all-female supporting cast. Most spectacular is Mary Boland as the heavy-drinking, high-living Countess De Lave. "L'amour L'amour" she wails as she's about to divorce her fourth studly husband -- for trying to kill her.
Paulette Goddard, the most beautiful member of the cast, is the best I've seen her, as the streetwise Miriam Aarons. Like Crawford, she plays a role she understands, the chorus girl who snags a millionaire. But unlike Crystal, Miriam has a heart -- and Goddard is great at doling out straight-shooting advice and rolling out put-downs under her breath.
Marjorie Main gives a preview of the persona she would later use as Ma Kettle. It was the first time she was able to step out and create the character, and she used it the rest of her career. I never tired of her raucous horse laugh.
I hope Hollywood has the good sense not to update this classic with another misguided remake. It is a priceless diamond in a golden setting.
The two stars had only one scene alone together, and there were no reported problems while filming, except one. Director George Cukor sent Crawford home early when she caused a distraction by loudly clicking her knitting needles off camera as Shearer tried to do her close-ups.
Crawford was proved right in taking the movie, it's one of her most memorable and, finally for once, villainous roles. As Crystal Allen, the scheming homewrecker who is out to sleep her way to a Park Avenue penthouse, she was ideally cast. It was her life.
Rosalind Russell, previously not known as a comedienne, surprised everyone with her rapid-fire sarcastic delivery. She would continue to perfect the biting style for 20 years until she reached the pinnacle with Auntie Mame. Roz gives the strongest performance of the film as the spitefully catty Sylvia Fowler, and I don't think Shearer and Crawford knew what hit them.
As for the long-suffering, hair-clutching, heavy-sighing Norma Shearer, even she was able to make the thankless role of noble Mary Haines memorable. One of her best moments is when she raises her nails and growls "I've had two years to grow claws, Mother, and they're Jungle Red!," and then goes to take her husband back from Crawford. Shearer has a few Silent Screen moments that look out of place, such as collapsing and weeping at her mother's knee. But she makes the character warm and likable and we root for her to win.
There are many gems in the all-female supporting cast. Most spectacular is Mary Boland as the heavy-drinking, high-living Countess De Lave. "L'amour L'amour" she wails as she's about to divorce her fourth studly husband -- for trying to kill her.
Paulette Goddard, the most beautiful member of the cast, is the best I've seen her, as the streetwise Miriam Aarons. Like Crawford, she plays a role she understands, the chorus girl who snags a millionaire. But unlike Crystal, Miriam has a heart -- and Goddard is great at doling out straight-shooting advice and rolling out put-downs under her breath.
Marjorie Main gives a preview of the persona she would later use as Ma Kettle. It was the first time she was able to step out and create the character, and she used it the rest of her career. I never tired of her raucous horse laugh.
I hope Hollywood has the good sense not to update this classic with another misguided remake. It is a priceless diamond in a golden setting.
- Andrew_Eskridge
- Feb 5, 1999
- Permalink
Details
- Release date
- Country of origin
- Languages
- Also known as
- V ženskem carstvu
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $1,688,000 (estimated)
- Gross worldwide
- $16,161
- Runtime2 hours 13 minutes
- Color
- Aspect ratio
- 1.37 : 1
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