The opening sequence is always important in any film, and George Cukor does a great job here by basically breezing you by this world of women. From the bickering dogs to the biting exchanges inside Sidney's, it's clear that this film will be an almost uncensored look at what Park Avenue ladies are really like. And here in the beginning we can see the employees catering to the rich ladies complacently, but as soon as they get away their real opinions come out, very much how these friends are with one another.
I suppose with how the material is written, the film could've gone with a different tone, but instead I have to say that the acting establishes the ridiculousness right away. And it's exaggerated, but you kind of get the impression that that's who ridiculous the High Society ladies really are. These bored women, who have nothing better to do except get pampered, relish upon hearing nasty gossip about their so-called friends. And while with Mary's friends things are always comedic, Cukor sets the right tone when Mary is alone or with her daughter and mother. Mary's story is definitely more serious, which I have to say is an interesting choice considering that I believe Clare Boothe's intention in writing the play was for it to be a satire. The way Mary's storyline evolves, especially the end, there's nothing satirical about it. It may have been a bit confused, but regardless, the film somehow works, in particular due to the strong acting.
There are some of the finest actresses in this film: Norma Shearer, Joan Crawford, Rosalind Russell, Mary Boland, Paulette Goddard, Joan Fontaine, Phyllis Povah, Florence Nash, Lucile Watson, and some of the other minor roles are played by equally talented actresses. And the best part is that each actress makes the character her own. They could be one-noted characters, but these ladies make each one different and stand out. Shearer is simply lovely in this role. I couldn't get over how good she was as Mary. I was equally impressed with Crawford as Crystal. Both these actresses managed to give pretty authentic performances that I think still work well today, Crawford more so as the conniving man-trap. But when you look at the rest of the supporting cast, Russell, Boland, and Goddard, for example, they each have wonderful comedic timing. They know how to play supporting roles that enhance the performance of the lead. Russell, though, pretty much steals the show. I can't get over how much fun it is to watch her in her first scene as she finds out "Stephen Haines is stepping out on Mary."
But of course the writing is what allows these actresses to give such stellar performances. The dialogue is complete subtext, something you don't see nowadays because people need things spelled out and with a diagram or flow chart or PowerPoint presentation. But there is so much innuendo in this film that's nasty and can only be enhanced by the performances. I love the phone call between Sylvia and Edith in the beginning of the film in which they say how horrible it is that they have to face Mary after knowing Stephen is cheating on her, but the tone of their voices and the delight on their faces say otherwise. I also think, especially after reading the script, that the characters were very well developed and this made it easy for the actresses to take their roles and bring life to them.
I kind of wish--I think I've said this before--that Clare Boothe, Anita Loos, and Jane Murfin had taken this story further and made it a true satire. It would've been a lot of fun to watch, to see it truly be ironic, or even screwy. But I think that at the end of the day, The Women is a wonderful film that you really can't find much wrong in, unless you wanna get nitpicky. It might not be a screwball comedy, but it'll make you laugh, it'll touch you in some ways, might remind you of people you know or relationships you have, but overall, you'll simply have a good time. It's not to be missed.
No comments:
Post a Comment