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To me, it was very easy to see Jean Harlow's appeal. She had great comic timing, her wisecracks sizzling at their best, her looks were both sophisticated and daring and her later vulnerability was easy to be charmed by. Loved her with Clark Gable, who collaborated with her for six films, and it was clear that in her other work with 'Red Headed Woman's' director Jack Conway that he understood what her strengths were and used them to full advantage.

Evident here in 'Red Headed Woman', the film where her image and personality were properly established and continued to evolve in her later films. Is it one of Harlow's best? No. One of Conway's best? No. Does 'Red Headed Woman' do either justice? Yes it does, and as an overall film it is well worth watching providing that this is the sort of film that does anything for you. Really like to love many films from the 30s and many pre-code films are entertaining, which 'Red Headed Woman' is definitely in my view.

'Red Headed Woman' isn't perfect. The melodrama does get rather too over the top towards the end.

Chester Morris is also rather wooden in his role and doesn't have a lot of chemistry with Harlow.

Fortunately however, Harlow plays her amoral role (possibly the most amoral and least likeable character of her career) with spunk and fire. May Robson and Lewis provide distinguished veteran support, especially Stone, and Charles Boyer amuses in an early relatively small role. Harry Stephenson handles undignified situations with dignity and Leila Hyams is charming. Una Merkel is the biggest delight though, she sizzles. Conway directs with a good amount of energy while the film is stylishly photographed.

Moreover, the script is sharp and taut with some very amusing one-liners. Was amazed by its daring raciness, especially with Harlow. The story loses its way a bit in the latter stretches, but is mostly zesty with some nice tension in the character interaction. While the ending could have been a little more rounded off, it was appreciated that it was a pre-code film that didn't end too neatly or reeked of studio interference.

In a nutshell, worth a look for particularly Harlow. 7/10

Wonderful pre-code movie that races along with its amoral story as Jean Harlow chases about eating up men in her search for riches. Barely pausing this wild romp is as uncompromising as it is fast and funny. Harlow is at her best, in out of and almost out of her shimmering costumes and she is ably backed by an excellent cast who all seem to be enjoying themselves. I am indebted to another IMDb reviewer who points out that at the time of original release the States were in depression and the coal bosses and their 'society' entourage, getting rich and doing very little, would have been a welcome target for Harlow's exploits. An interesting and revealing extra dimension that makes me like it even more because I always had a slight feeling of sympathy for the duped guys and now I can happily share the joke, very much at their expense. Brave film making and one cannot but wonder where things may have gone had the code not clamped down.

Jean Harlow as a home-wrecker of the worst kind delivers her first great performance in Red-Headed Woman.All the men in her lives are pushovers easily manipulated by the films central character. Made before censorship came into effect in Hollywood, this movie is able to shock viewers even today.The greatest entertainment value of this movie is how naughty all the principal characters are.Sex is out in the open and immorality is the name of the game. Harlow seduces and wins Chester Morris.The sucker has not a chance and which man has when a beautiful woman pursues you.Henry Stephenson is quite good as the moral hypocritical businessman. Nice to see him play such a part. Even a young Charles Boyer has a small important part in his Hollywood bow.The ending is really the biggest surprise.

Most films made for prohibition era audiences painted the poor as virtuous and the rich as those who were keeping them down. This one turns that mainly Warner Brothers model on its head. Here it is the poor but beautiful office worker, Lillian (Jean Harlow), who sets her cap for her rich married boss, Bill Legendre (Chester Morris). She is persistent, because Bill is hard to break down. He has known his wife, Irene (Leila Hyams), since they were kids, and is really in love with his wife.

Bill caves a few time to Lillian's sexual heat, but he would never have left his wife for her. Lillian gets that, and is counting on the wife's pride to do the rest. It works, Irene leaves Bill and leaves the field to Lillian. But Lillian's undoing is that she cannot leave well enough alone, even after she is the second Mrs. Bill Legendre.

Harlow just fills this screen with her presence. She had been in other MGM productions for the last year or so, but this was her star making role. It's more than her beauty. This girl has "It" as much as real red head Clara Bow had it in the silent era. Una Murkel plays Jean's pal who seems content to sit on the sidelines and watch, but you get the feeling if she could pull something like this off she would. Henry Stephenson has a great comical role in this film. And look for Charles Boyer in a very small but important role as Stephenson's chauffeur.

I can't help but notice how similar this plot is to the production code film "The Women" - rich man loves his wife but likes sex with poor social climbing homewrecker with a plot that turns on the pride of the wife. I wonder if there is any connection?

At any rate, highly recommended plus it has a great hummable theme song that is even performed by a crooner at its midpoint - "Red Headed Woman".

For those, like myself, who heard about Jean Harlow before viewing any of her pictures, the expectation was to see a glamor girl with somewhat limited performing skills, not unlike Marilyn Monroe at a later time. Not to take anything away from Marilyn, but Jean Harlow proved herself to be a very adept performer, an appealing combination of brazen sexuality and shameless manipulation, always with a comic touch. While sometimes getting her comeuppance (and appearing to enjoy it) at the hands of strong characters played by the likes of Clark Gable and Spencer Tracy, in "Red-Headed Woman" the men in her life are pushovers for her wily charms. Chester Morris earnestly tries once, twice, three times to resist her, and apparently comes THAT close to succeeding, but her persistence ultimately renders him helpless. The wealthy and distinguished (and elderly) Henry Stephenson doesn't have a chance: when Jean's pal Una Merkel suggests that she's aiming too high this time, that her plans have no chance of success, Jean replies, "He's a man, isn't he?"

This is the prototypical Jean Harlow character, done to the hilt by a very skilled performer who, in the final analysis, probably has more in common with Mae West than with Marilyn Monroe. If she played virtually the same character in almost every picture, she wasn't the first to do so. Her reputation as an actress deserves to be greatly enhanced.