Female

A pre-code drama that turns the male stereotype around by having Ruth Chatterton play an executive that's all business by day, but a man-eater by night. As Alison Drake, the head of an automobile manufacturing company that was started by her now deceased father, the actress plays a confident decisive woman that surrounds herself with good looking male secretaries and assistants that she can invite to her home after business hours for sexual liaisons. If any of the men get too chummy, she has them fired or transferred by her only older assistant, a trustworthy father-figure type (Ferdinand Gottschalk) named Pettigrew.

But Alison tires of the routine, realizing that everyone wants something from her, and she doubts the authenticity of the compliments (and a marriage proposal from Douglas Dumbrille, not looking very suave in a bathing suit) she constantly receives. Desiring to be 'just a woman', Alison escapes to a common part of town where she sees and pursues a man (George Brent) that she meets at a shooting gallery. They dance, have hamburgers and a good time together but, at the end of the evening, he declines Alison's offer to take her home, claiming he has a strict rule about pick-ups.

Of course, the man turns out to be Jim Thorne, an engineer that her company just hired to design a car with an automatic transmission. However, Alison learns that her regular routine doesn't work with Jim; the vodka her butler serves doesn't make him amorous and he spurns her advances.

Predictably, this causes her to revert to being a more typical female, one who's willing to chuck everything just to win him.

Originally directed by William Dieterle and then William Wellman, the only screen credit was given to Michael Curtiz, who was brought in to reshoot the scenes with Johnny Mack Brown (per some comments Robert Osborne made when the film aired on TCM), who plays one of Chatterton's pawns. Donald Henderson Clark wrote the story that was adapted by Gene Markey and Kathryn Scola.

A powerful FEMALE tycoon is accustomed to getting everything she wants - including men - until she meets a fellow utterly unimpressed by her wealth.

Ruth Chatterton completely dominates this brilliant, fascinating little film, until off-screen spouse George Brent shows up midway through the proceedings. Deftly handling the details of her life - from controlling her commercial competitors to adroitly arranging her next romantic conquest, Chatterton never lets up for a moment. Suave & composed, Brent arrives on the scene, calmly pegging targets in a sideshow, and presents the immovable object to her irresistible force.

Definitely pre-Code, the script throws a few zingers into the face of complacent modern viewers, with Chatterton & Brent doing all they can to entertain their audience. If her toughness turns into compliant conformity at the fadeout, it's a small price to pay for an hour's amusement.

Impish Ferdinand Gottschalk steals several scenes as Chatterton's fey factotum, while Ruth Donnelly makes the most of her tiny role as a spinster secretary. Johnny Mack Brown & Philip Reed are two of Chatterton's discarded young men.

Movie mavens will recognize Robert Greig & Rafaela Ottiano as Chatterton's butler & maid, as well as elderly Charley Grapewin as a sidewalk inebriate, all uncredited.

Warner Brothers gave the film a first-rate production; the terrific sets use detail to add to the story, rather than detract from it. Also, notice the ironic use of the Harry Warren tune during the seduction scenes; by the end of 1933 it would be famous as 'Shanghai Lil,' (with lyrics by Al Dubin) climaxing Warner's FOOTLIGHT PARADE.

Alison Drake (Ruth Chatterton) is the owner and CEO of the Drake auto company. She is strictly business at work, but has an eye for the handsome men among her employees. They usually want to talk about some idea that they have pertaining to the company, she acts interested in their idea and invites them for dinner at her house, and she then loves them and leaves them as in a one night stand. The next day they think the two of them are an item. They find out otherwise when they are transferred to the Montreal office. Alison proves, through her actions in the first half of the film, that she can be as ruthless in business and as carnivorous in sexual conquests as any man.

But then she meets HIM - Jim Thorne (George Brent). They meet at a shooting gallery one night when she is looking for somebody to like her for herself - He does. But he also thinks she is a pick up AND he has traditional values. He won't allow himself to be used and he won't use others. She finds herself caring that he doesn't care, and she has an opportunity to see a lot of him as he turns out to be the hot shot auto designer to whom her company has given a two year contract.

This film benefits from the fact that Brent and Chatterton were married when they made this, and their chemistry shines through. It also benefits from some great character actors including Ruth Donnelly, usually full of sass, acting demure here, strangely enough. She is pursued by Pettigrew (Ferdinand Gottschalk), Alison Drake's personal assistant who at age 75 is elf-like enough that no credible sexual link between them could possibly exist. He is a wise and yet mischievous presence. Also note that this film, a B effort for Warner's, acts as a running ad for other Warner's films with Cagney's "Picture Snatcher" being called out by name and the film's soundtrack consisting of Warren and Dubin songs written for the Busby Berkeley musicals of this same year.

This film was initially a troubled production and ultimately had three directors - William Dieterle, who became ill after nine days, then William Wellman, and ultimately Michael Curtiz, who was tasked with reshooting what Jack Warner considered a weak film. Happy with the final product, and with the speed with which Curtiz reshot the film, Jack Warner gave Curtiz sole director's credit.

The basic change in Alison's character did not spare "Female" when it came to the Production Code Era which began in 1934. Head censor Joe Breen refused to allow it to be shown calling it "A cheap low-tone picture with lots of double meaning, wise-cracks, and no little filth which they think is funny." Usually such words from Joe Breen are a ringing endorsement, and that is the case in this instance.

Ruth Chatterton stars with husband George Brent, Philip Reed, and Johnny Mack Bfrown in this 1933 gem, Female.

This movie is a riot. Ruth Chatterton, looking very pretty, plays the a tough businesswoman who runs a tight ship. She tells a friend of hers she has no time for men, no interest in marriage, she's all business.

Whenever there's an attractive man in the office who approaches her about some business thing, she says she can't discuss it right at that moment. Come to her house for dinner that night so they can discuss it.

When they get there, she's feminine and flirty, and eventually the night leads to its inevitable precode conclusion, so we assume. The next day she rebuffs them and it's back to work. One guy gets sent to Hawaii instead of her apartment.

When she meets George Brent, the tables turned, and suddenly she can't live without a man.

Women in the '30s, in films, were sexually liberated and very feminine. In the '40s, they were tailored businesswomen who were miserable without a man. Boy, Ruth got the best of both worlds.

The deco sets were huge and stunning.

Very enjoyable. I love Ruth Chatterton anyway.

Female (1933)

Smart, fast, witty, daring, fresh, impressive. A great little movie (just an hour long) with such a swirling series of events, and such great acting, you hardly know it's over. The filming is really tight and modern, the writing is sharp, and the leading role, the sexually liberated executive woman played by Ruth Chatterton, is spot on perfect. When George Brent appears (after half an hour), he matches her in a subtle, convincing performance that shows why, after having made twenty films already, he still had his career ahead of him. Chatterton, by contrast, made few films later, which is our loss.

The astonishing thing about the plot, of course, is how racy it is. Even today, with no holds barred (just some letters in a rating system), to have a leading woman sleep around with every handsome young man she wants, without any down side (no backstabbing, no violence, no disease, no remorse, nothing at all) is bold. These days, of course, she'd be a poster child against sexual harassment on the workplace.

But really the movie is about strength, and romance, and is remarkably modern and alive. The director is Michael Curtiz, who made such a huge number of films some of the gems like this one get lost. Some of his other gems, of course, are not lost at all (like, uh, Casablanca or Mildred Pierce). Give this its due. Worth every frame.