The Women (1939), directed by George Cukor, is a biting, high-society comedy-drama unique for its entirely female cast—not a single man appears on screen. However, their influence looms over every scene. The story centers on Mary Haines (Norma Shearer), a virtuous and refined socialite living in a gossipy Manhattan circle. Her world is upended when she discovers, through the malicious whispers of her “friends,” that her husband is having an affair with a ruthless perfume salesgirl named Crystal Allen (Joan Crawford). As the news spreads through the beauty salons and fitting rooms of Park Avenue, Mary is forced to confront the fragility of her marriage and the vultures circling her social standing.
Driven by the sharp-tongued provocations of the ultimate
frenemy, Sylvia Fowler (Rosalind Russell), Mary eventually retreats to a dude
ranch in Reno to seek a divorce, a common destination for society women of the
era looking for a “quick fix” to their marital woes. While there, she is
surrounded by a colorful cast of fellow divorcees, each representing a
different facet of womanhood—from the cynical multiple-divorcee Countess de
Lave (Mary Boland), to the world-weary Peggy Day (Joan Fontaine). The film
brilliantly balances slapstick comedy and sophisticated satire, using the
shared experience of heartbreak and betrayal to examine the bonds and rivalries
between women.
As Mary navigates her new identity as a single woman, the
film evolves into a masterful study of poise versus pride. She must decide
whether to stoop to the manipulative tactics of her rivals or maintain her
dignity in a world that thrives on scandal.
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| The cast of The Women |
George Cukor (1899–1983) was a titan of Hollywood’s Golden Age, celebrated for his sophisticated wit, impeccable style, and a rare ability to elicit career-defining performances from his actors. Often labeled a “woman's director”—a reductive title he both embraced and transcended—he became the go-to filmmaker for the industry’s greatest leading ladies, including Katharine Hepburn, Joan Crawford, and Judy Garland. His filmography is a masterclass in literary and stage adaptations, ranging from the sparkling social comedy of The Philadelphia Story (1940) and Adam’s Rib (1949) to the grand musical tragedy of A Star Is Born (1954). Though he famously lost his position as the director of Gone with the Wind due to creative clashes, Cukor’s legacy remained untarnished, eventually culminating in a Best Director Oscar for My Fair Lady (1964). Known for his “invisible” directorial hand, he prioritized the emotional truth of a scene over visual gimmicks, cementing his status as one of cinema’s most literate and enduring storytellers.
Norma Shearer (1902–1983), hailed as the “First Lady
of MGM,” was a powerhouse of the studio system who transformed herself from a
determined Canadian immigrant into one of the most influential actresses in
Hollywood history. A five-time Academy Award nominee, she won the Oscar for The
Divorcee (1930), a landmark Pre-Code film that established her as a symbol
of the “New Woman”—sophisticated, sexually liberated, and fiercely independent.
As the wife of MGM’s legendary production chief Irving Thalberg, Shearer
commanded the studio’s most prestigious projects, ranging from opulent period
dramas like Marie Antoinette (1938) to the sharp-tongued social satire
like The Women (1939). Renowned for her meticulous work ethic and ability
to control her own screen image, she retired at the height of her fame in 1942,
leaving behind a legacy as the quintessential star of cinema’s Golden Age.
Joan Crawford (1904–1977) was a titan of Hollywood
resilience, evolving from a Depression-era “Jazz Age” flapper into a
quintessential dramatic star over a career that spanned five decades. Born
Lucille LeSueur, she ascended the ranks at MGM through sheer force of will,
famously cultivating a direct relationship with her fans that made her one of
the most bankable stars of the 1930s. Her performance in The Women
(1939) as the predatory Crystal Allen showcased her capacity for cold,
calculating villainy, a sharp contrast to the hardworking “shopgirl” roles that
had made her a hero to audiences. After being labeled “box office poison” in
the late 30s, she staged one of the greatest comebacks in cinema history,
winning an Academy Award for Mildred Pierce (1945) at Warner Bros. Known
for her striking features, including her expressive eyes and architectural bone
structure, Crawford’s legacy is defined by her absolute commitment to the art
of stardom and her ability to constantly reinvent her image to suit the
changing tides of the film industry.
Rosalind Russell (1907–1976) was a singular force in
Hollywood, a performer who redefined the “leading lady” by proving that a woman
could be both impossibly chic and hilariously eccentric. Originally groomed by
MGM as a sophisticated dramatic lead, she found her true calling in comedy when
she shed her vanity to play the meddling, gossip-hungry Sylvia Fowler in The
Women (1939), famously using exaggerated physical comedy to steal
scenes from a powerhouse ensemble. This success led to her definitive
performance as Hildy Johnson in His Girl Friday (1940), where her
“machine-gun” delivery of overlapping dialogue set the gold standard for the
screwball comedy genre and established her as the screen’s premier “career
woman.” Over a prolific career that earned her four Academy Award nominations
and a legendary late-career triumph as the title character in Auntie Mame
(1958), Russell remained a trailblazer who championed intelligence and wit
as the ultimate form of glamour.
The Women trivia
- A Manless World: True to its title, the film features an entirely female cast. Not a single man appears on screen or is even heard—even the background extras, the portraits on the walls, and the household pets were female. The only “male” in the entire film is a brief image of Douglas Fairbanks Jr. on the back of a magazine.
- The Battle for Billing: Rosalind Russell was so determined to get top billing alongside superstars Norma Shearer and Joan Crawford that she famously called in “sick” for several days. She refused to return to work until the studio relented and placed her name above the title, albeit in slightly smaller type than the other two leads.
- A “Jungle Red” Injury: During the famous “catfight” scene at the Reno ranch, the physical comedy turned real. No stunt doubles were used, and in the heat of the moment, Rosalind Russell actually bit Paulette Goddard, leaving a permanent scar on Goddard's arm. Despite the injury, the two remained lifelong friends.
- Technicolor Surprise: Although the film was shot in black and white, it features a jarring and lavish six-minute fashion show filmed in three-strip Technicolor. This sequence showcased the gowns of legendary costume designer Adrian and was included specifically to appeal to the female audience’s interest in high fashion.
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| The showdown between Crawford and Shearer |
Discussion questions
- The Absence of Men: Although no men appear on screen, the entire plot revolves around their actions, whims, and financial support. Does the “manless” cast highlight the independence of these women, or does it ironically emphasize how much their identities and security are tethered to men?
- Female Solidarity vs. Sabotage: The film features a wide spectrum of female relationships, from the unwavering loyalty of the “plain” friends to the predatory behavior of Crystal Allen and the gossiping of Sylvia Fowler. Is the film ultimately a celebration of sisterhood, or is it a cynical critique of how women compete with one another?
- The Evolution of Mary Haines: Mary begins the film as a passive, “noble” wife who is told to ignore her husband’s infidelity to keep her dignity. By the final act, she adopts a more aggressive, “jungle red” strategy. Does the film suggest that Mary has “grown up” by learning to fight dirty, or has she lost her moral superiority by joining the “vultures?”
- Class and the “Service” Economy: Throughout the film, the secrets of the upper class are facilitated and exposed by service workers—manicurists, maids, and salesgirls. How does the film use these working-class characters to comment on the hypocrisy and fragility of the high-society women they serve?
