Customer Reviews

Red Headed Woman [VHS]

5 star:		(8)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Filled with laughs and loaded with 1932 dynamite, it exposed the males as chumps and convincingly describes what the tired business man likes. The answer was Harlow. The shapely beauty here gave an amazingly sexy performance, even out-Bowing Clara Bow! IF PLATINUM BLONDE (1931) gave Harlow the oppurtunity to hold the purse strings to castration, RED-HEADED WOMAN allowed her to use her body to obtain and manipulate those purse strings. First marrying for wealth, she then tries to blackmail and bed her way toward social acceptance by her husband's peers. But one too many indiscretions - with the chauffeur - takes the bloom off her rich man's bud, and not even reconciliation with her hubby works now.......Although her role resembles that of the early vamp, Anita Loos' script is fast and funny; the gold-digger's ruthlessness is toned down by comic lines and lighthearted direction, and eventually she skips off scot-free to a charmed future as a noble concubine - with a racehorse, a titled lover, and the same chauffeur all her very own! During the early thirties of slackened production codes, Jean Harlow found her metier as a funny, sexy tart whose sensuality heightened crude humour and whose humour gave added depth to her formerly one-dimensional image. In 1932, critics and audiences alike raved at this film's double wallop.

Probably one of the raciest, funniest movies made in Hollywood in the 1930s, this is by far and away Jean Harlow's best performance and cemented Miss Harlow's future in films. It hit the screen at exactly the right time - - with the subject matter, it could never have been made several years later. Miss Harlow plays Lil Andrews, the redheaded title character who is nothing short of a gold digger. In the opening scene Lil asks whether or not her dress can be seen through and finding out that indeed, it can, she states "I'll wear it!" And she never backs down from there! She singlemindedly pursues her boss, Bill, with no concerns that he is married to the sweet Irene. "She doesn't need to know about us!" Lil tells Bill, as he tries to fight her off - - obviously in vain. The two end up in a brawl, with Bill slugging the drunken Lil and Lil crying "Do it again, I like it!" Could any other actress have gloried in being roughed up? Irene divorces Bill and Bill marries Lil after a night of drinking. Lil settles into being a society wife (a showy one - - catch the stunning dress she wears at the dinner party) but it's not long before she has her eye on a richer man. In any other actress' hands, the character of Lil might have been an unsympathetic, vile tart but Miss Harlow makes her so humorous, so likable that you can't help but smile over her exploits. Wonderful, wonderful film - - makes you realize what other gems were missed out on after the enforcement of the Production Code. Watch for Charles Boyer in a small role as a chauffeur.

When "Red-Headed Woman" was released it caused quite a stir! This movie is classic Jean Harlow all the way. Anita Loos provided the snappy dialogue to keep the story moving, and Jean added the comic touch. "Red-Headed Woman" is the story of Lil Andrews, a girl from the wrong side of the tracks, who works her way up from the office to the country club. Jean, without her platinum blonde hair, is absolutely perfect in the role of Lil. Una Merkel is a winner in a supporting role as Lil's best friend. This definately is Jean Harlow at her finest.

This movie shocked me (in a good way) because when one thinks of old movies, one thinks of a certain kind of innocence. This picture, however, came out before the Hays Code started imposing their morals on Hollywood (and everyone else). Even in today's vulgar society, you will find things in this movie that will startle you with its forwardness. Oh, and look out for that "fancy" outfit Jean puts on for a dinner party! It's straight out of a Lil Kim video!

This is a strange, but humorous movie about an ambitious red-head who sleeps her way into high society. I have seen almost everything that Harlow was in, but this is my favorite. You can't help but laugh and feel really sorry for poor Jeanie at the same time. An absolute must for Harlow fans.

Red Headed Woman highlights everything the motion picture Production Code was so much against: unfortunate but everyday occurrences in real life. This movie deals with the topics of marital infidelity; home wrecking and murder attempts. Filmed in glorious black and white, Red Headed Woman remains an excellent example of pre-Code motion pictures.

Red Headed Woman tells the story of Lil, played by a red headed Jean Harlow, who comes from a rather seedy background. Lil wrecks her boss' marriage so she can have him--and his money--for herself. Lil attempts to play the same game again to get even further ahead in society but the second time around her efforts are not so successful. Lil's character can also be funny at times; this quality takes the edge off some of her ruthless behavior that could potentially offend some people.

The plot is enhanced further by some comic relief; I like the conversations between Lil and her girlfriend Sally who is played by Una Merkel. Sally remains unconvinced that Lil can always succeed at her game; but Sally is proven wrong--most of the time. Una injects comedy into the character of Sally with meaningful facial expressions and body language. May Robson is equally adept at injecting humor into her character of Aunt Jane; Robson gets some juicy lines including a brief story about how she blackmailed her own husband "for over ten years." Just as Aunt Jane is the wise and feisty older character we all secretly want to be when we get to our golden years; Lil represents the extremes of personal greed that too many of us display today. Aunt Jane and Lil are tough women!

If this movie were filmed after The Production Code was already in full effect, Lil would have to pay dearly for her home wrecking and other instances of her "misconduct." However, when Red Headed Woman was filmed the times still allowed for a very different ending. The ending gives you quite a kick especially with the very last shot in the picture. Excellent!

The quality of the sound is excellent; and the shades of black and white stun you as you watch this film. The characters give convincing roles and the dialogue reflects much forethought.

I highly recommend this film for pre-Production Code movie fans. Jean Harlow fans will treasure this movie.

I could not disagree more with the reviewers who claim Harlow is not the real "dish" in this risque (at the time) pre-code comedy. This was the first film Harlow made after Howard Hughes sold her contract to MGM for $30,000 (Hughes would later claim $60,000), and this is the vehicle (along with "Red Dust")which catapulted her to superstardom. She would ultimately become one of the best loved screen stars of all time. There are reasons why some personalities remain character actors and others become superstars and "shine." Harlow simply embodied all of the sexual thrust of her era - a shapely, firey, wise-cracking, witty siren who gives as well as she gets - It simply oozes through her eyes and body language. For any viewer willing to be objective, it is really easy to see why Harlow continues to be admired across generations from the likes of Marilyn Monroe and Jayne Mansfield (1950's), Madonna (1980's), Sharon Stone (1990's) and pop star Gwen Stefani (21st century). She was the first bonafide sex symbol of the sound era. It should also be noted that Harlow was a shy, quiet girl in real life, and bore little in common with the sexpots she often portrayed onscreen early in her career.

This story was written by Anita Loos who also penned "Gentlemen Prefer Blondes," and Loos had reservations about MGM casting the "platinum blonde" as a red-head. Loos had said: "She looked about sixteen, and her baby face seemed utterly incongruous against the flaming wig." Loos knew that an unwitting beauty would make ideal comic material, and that Harlow could convey this onscreen. She succeeded, and Red Headed Woman was a huge success. It should be noted that this film couldn't have been made after 1934 due to the arrival of the Hays movie code. The DVD of this title is due later in 2006 along with a Harlow boxset from Warner, so those of you having trouble finding a copy on vhs, may want to be patient. However, TCM does show this every now and then. This film is still very enjoyable over seventy years later, and many I have shown this too are shocked that such brazen, predatory, sexuality was displayed in a film of this period. "Red Headed Woman" receives my highest recommendation, and is definitely a must see for those interested in pre-code Hollywood or the vehicle that made Harlow a star....which still shines some 70 years after her death.

I too mourn for the creative genius lost as a result of the Hayes censorship codes. Red Headed Women is a perfect example of what we could see (if we so desired). Sexuality, lust, infidelity, sadism & violence in a damn good story. After the codes you had to go to the Bible to get action like that. Jean Harlow was hot in this movie & along with Red Dust, showed her raw talent, though admittedly she was pretty good later, also. Red Headed Women has stood up pretty well. I think we all lost when the government decided to treat its citizens like naughty children.

"Red Headed Woman" is a 1932 pre code film starring Jean Harlow, who is so naughty this may be one of the reasons they started the code in the first place. The film co-stars Chester Morris, Lewis Stone, Una Merkel, Henry Stephenson, May Robson, and Charles Boyer. It was based on a book by Katherine Brush, a screenplay by F. Scott Fitzgerald, and a final re-write by Anita Loos. Jack Conway directed.

The film was originally intended as a serious film, but MGM "boy genius" Irving Thalberg didn't like Harlow's performance, and he was afraid of what the censors would do, so he changed it to a comedy by re-writing the opening scene and making some minor adjustments.

* Harlow - "Is this dress too tight?"
* Salesgirl - "Yes it is"
* Harlow - Good. I'll take it."

The studio's boss, Louis B. Mayer had been opposed to the film all along, since he felt it didn't offer a positive view about American morals, so he was pleased that the film turned into a comedy.

21-year old Jean Harlow (1911-1937) plays a seductress. She was the biggest sex symbol of her times. Only Marilyn Monroe in the 50s ever achieved a rival position. Harlow specialized in playing the gangster's moll in such films as "Hell's Angels" (1930), "The Secret Six" (1931), and "Public Enemy" (1931). When she made this film she was at her height - this was 1 of 5 films she made that year, including "Scarface" and "Beast of the City."

Chester Morris (1901-70) plays Harlow's boss. Morris is best remembered for his "Boston Blackie" films although he was nominated for an Oscar for his work in "Alibi" (1929). In the 50s he transitioned to TV and continued working until his death. His last film appearance was in "The Great White Hope" (1970), but here in 1932 he is at the peak of his career.

Lewis Stone (1879-1953) plays Morris' father. He was a major star in the 20s and 30s and was nominated for an Oscar for "The Patriot" (1930). Between 1914 and 1953 he made more than 150 films; his memorable roles were as the warden in "The Big House" (1930), Doctor Otternschlag in "Grand Hotel" (1932), Commissioner Smith in "The Mask of Fu Manchu" (1932), and "Doc" in "Three Godfathers" (1936). He's probably best known for his continuing role as Judge Hardy in the Andy Hardy films (1937-46). BTW - Morris and Stone had just worked together in "The Big House".

Henry Stephenson (1871-1956) plays a coal tycoon seduced by Harlow. Stephenson started in the silent era and often played opposite Errol Flynn as a Governor, Lord, or Duke in films such as "Captain Blood" (1935), "Prince and the Pauper" (1937), and "Essex and Elizabeth" (1939). He appeared in several Tarzan movies as an archeologist or explorer. I remember him best as Sir Charles Macefield in "The Charge of the Light Brigade" (1936).

May Robson (1858-1942) was everyone's favorite granny, a part she played in films like "Irene" (1940), "They Made Me a Criminal" (1939), and "A Star is Born" (1937). She was nominated for an Oscar for "Lady for a Day" (1934).

Charles Boyer (1899-1978) has a small part as a chauffeur. For more than half a century Boyer was the model of the sophisticated French lover. He was nominated for an Oscar 4 times - "Conquest" (1937), "Algiers" (1938), "Gaslight" (1944) and "Fanny" (1961). This was his third American film, but he had been in foreign films from 1920.

Anita Loos (1888-1981) re-wrote Fitzgerald's screenplay. She's most well known for "Gentlemen Prefer Blondes" (1953) but this was merely one of more than 100 films she helped script. Some of her credits include "Musketeers of Pig Alley" (1912), "Intolerance" (1916), "Riffraff" (1936), "San Francisco" (1936), and "A Tree Grows in Brooklyn" (1945). She is famous for saying "I'm furious about the women's liberationists. They keep getting up on soapboxes and proclaiming that women are brighter than men. That's true, but it should be kept very quiet or it ruins the whole racket." Harlow and Loos worked together in "The Struggle" (1931), "Hold your Man" (1933), "The Girl from Missouri" (1934), Riffraff" (1936), and "Saratoga" (1937).

Jack Conway (1887-1952) directs. Conway was a prolific director (over 100 films) who started out as an actor but decided directing was for him when he was asked to wrestle a lion. He directed MGM's first talkie in 1928 ("Alias Jimmy Valentine") and worked on "Birth of a Nation" (1915) as a second director. Conway was particularly good working with long films (e.g., "Viva Villa", "A Tale of Two Cities", "Northwest Passage") and with films featuring women (e.g., "But the Flesh is Weak", "Lady of the Tropics"), He worked with writer Loos and Harlow again on "the Girl from Missouri" (1934) and with Harlow in "Libeled Lady" (1936).

FWIW - Jack Conway was a close friend of Irving Thalberg and part of their men's club that included Howard Hawks, Victor Fleming, John Gilbert, Clark Gable, and Chico Marx.

1932 was a good year for films - "Grand Hotel" was the Oscar and box office king, but Jean Harlow had 2 films in the top 10 ("Red Headed Woman" and "Red Dust") as did Miriam Hopkins ("Trouble in Paradise" and "Dr Jekyll and Mr. Hyde") and Wallace Beery ("Champ" and "Grand Hotel"). Other notable films from that year were Paul Muni in "I am a Fugitive from a Chain Gang" and "Scarface", Tod Browning's "Freaks", "A Farewell to Arms", The Marx Brothers in "Horse Feathers" and "Tarzan The Ape Man".

"Red Headed Woman" was a box office hit and made Harlow a star, but it was condemned by the Catholic Church and banned in Great Britain. Mayer reluctantly withdrew but made sure it made back its costs first. But the success prompted Thalberg to get moving on "Red Dust" with Harlow and Gable, another sexy film that would outrage the censors but bring in the bucks.

The NY Times said the film "does have its moments, however, some of them nevertheless being unexpected" and the "last moments are quite amusing, due to a final lack of serious contemplation. But earlier, when the characters are wrestling with their consciences--and each other--it goes away off on what is still called the deep end."

This film is of interest to film historians in terms of the development of the female comedian. Up until Harlow, those few female comedians (e.g., Edna Purviance, Mabel Normand) were basic clones of the good girl. Harlow, in this film, began to experiment with comedy and she continued to perfect her delivery, so that comedy and sex were combined, giving birth to actresses like Carole Lombard, Jane Russell, and Marilyn Monroe. More recently, Christina Applegate fills this slot.

The film is also interesting in terms of a view of 1930s morals, at least as presented by Hollywood.

I am in total agreement with reviewer ixta coyotl, about Leila Hyams. I asked myself how Chester Morris's character could prefer Harlow over her. I often find the less remembered actresses of the studio days to have more sex appeal for me than do the super stars of that era. Hyams is one of them. Another who comes to mind is Madge Evans. If you like the look and feel of the early 1930s movies, this is highly recommended.