Female

This comedy should be a pre-code document, just as the code was about to be imposed. The sexual conduct of Ruth Chatterton's character is mind blowing in this 1933 flick. Reminded me of Demi Moore in "Disclosure" with a major difference, Ruth Chatterton devours her minions not because she is some kind of monster but as simple mater of fact. h inherited a man's role and she loves it. The last few minutes of "Female" are a forced betrayal of the intention and the morality tale becomes an ominous warning sign for all entrepreneurial females. So blunt! Inspite of the ending this is a gem that should be seen. I guarantee you it will leave you open mouthed. Ruth Chatterton is not just amazingly modern in her upper class Mae Westish part but her performance is truly superb

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.

I am indebted to others on this site to learn that Mr Curtiz was by no means the only director involved in this film, that the sprightly Ruth Chatterton was 41 and married to her co-star at the time of shooting. I also might not have been aware of the Frank Lloyd Wright architecture on display but what I wouldn't have needed any prompting on was just how much fun this movie is. Chatterton as head of a major company employing many men rather enjoys suggesting overtime in her room at night and then, astonishingly, tossing a cushion onto the floor to get the message across. Great cars, great buildings, some amazing dialogue and some eye popping moments as our leading lady goes from hard and calculating, to assured and seductive before rejecting all this manly stuff and reverting to being female and married and all that stuff. Most enjoyable, audiences at the time must have sat mouth agape.

This is a very strange film. On one hand, it's very much a so-called "Pre-Code" film because it was made before the new and tougher Production Code. As such, the film is rather frank about sex and seems amoral through the first half. Ruth Chatterton's very liberated character is all business by day, but by night she wants her male employees to service her like stud bulls!! Then, if they fall in love with her, they are cast aside and transferred to another branch of the company. However, it's also like a Post-Code movie in the second half because it tries to completely undo the first half of the film--and even goes so far as to say that it's NOT a woman's place to be running any business! Chatterton, uncharacteristically, seems to agree with this by the time the movie ends!! It's like a case of amnesia or multiple personality!! This inconsistency really helped to undo the movie for me. Had they kept Chatterton cold and sexually charged throughout the film, it really would have made more sense and been more salacious--something that you really expect in the most extreme Pre-Code films. As is, parts are enjoyable and parts are really dull and conventional. An interesting but far from perfect film. How anyone can give this rather ordinary film a score of 10 is just bizarre.