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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.

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.

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.

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.

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.

I think that this was one of the most incredible and yet most under-rated films for it's time. For even though they ended with the woman succumbing to the whim of man and the traditional "woman's role", it still spoke miles for the woman. She was strong, brave, and did everything that a man could do and wasn't ashamed and had they only kept her going she could have been great. In fact, she could have won. But did she really lose? I don't think so, because maybe it showed something more about the female mystique, something that people missed because they thought that it only showed how a woman in power breaks down under pressure. What if they were really trying to show something deeper...I don't know now I am getting lost...too many things going through my mind to explain. Nonetheless, I do know that I was in awe after watching this film and it has had a lasting impression on me ever since.

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

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.

The previous reviewer, view and review, pretty much summed up my feelings on this dreary, sexist exercise but I want to be on record as loathing this thing, and to do that I need 600 characters, so here are some random thoughts:

1) I'm always struck when a pre code film like this one pushes the sex envelope but fits quite neatly into the sexist one.

2) You can talk about your gangsters, juvenile delinquents, Nazis and heartless plutocrats but when it comes to durable, long lasting and reliable villains in 1930s and 40s Hollywood nothing quite beats the Powerful Unmarried Working Woman. She is, invariably, killed off, slapped around, or, as here, humiliated (i.e the film's single most nauseating scene where Ms. Drake breaks down and admits that she cannot run her business the way a man can). It wasn't until Katherine Hepburn kicked in the chauvinist doors a bit in "Woman Of The Year" that things began very tentatively to change.

3) In the film's final scene George Brent tells Ruth Chatterton he wants nine kids and she smiles, acquiescently. In real life they had none. And were divorced after two years. Something comforting in that.

4) Some nice shots of the Frank Lloyd Wright house in the Hollywood Hills. That and Ms. Chatterton's smile are the only things that save this abomination from a 3 rating. Give it a C minus.

Ruth Chatterton (as Alison Drake) is the successful president of "Drake Motors"; she runs a tight ship, and has a yen for good-looking men. In fact, she enjoys treating men the way they have always treated women; and, attractive new hires are invited to Ms. Chatterton's mansion for an evening of vodka and sex. When invitees get out of line, or expect more than a "one night stand", Chatterton has them transferred. The boss woman goes unsatisfied when evening "pick up" George Brent (as Jim Thorne) turns her down. When she discovers Mr. Brent is a new hire at her company, Chatterton again tries, and fails, to seduce him. Has Chatterton finally met her match?

"Female" looks most like a William A. Wellman film, but boasts three directors; and, here's how (more or less): The film's director was William Dieterle; then, he became ill. So, the film was directed (mostly) by Mr. Wellman. However, Jack Warner was unhappy with George Blackwood's performance (as Cooper). The studio ordered the scenes with Mr. Blackwood re-shot. Then, Michael Curtiz directed (only) the scenes with Blackwood's replacement, Johnny Mack Brown (as Cooper). Still, the completed film was to credit Wellman (rightly). But, Wellman and Warner Brothers terminated their relationship (unhappily). So, the studio credited Mr. Curtiz.

With whomever directing, Chatterton is terrific; sadly, her efforts are ruined by an ending which is almost repulsive - what this film does to Chatterton's character is criminal. Still, "Female" is well worth watching, mainly for Chatterton's great style, and performance. Brent (her off-screen husband, at the time) is at his very best, too. And, the supporting cast is great fun. For example, Ferdinand Gottschalk (as Pettigrew) amuses in the workplace; and, don't miss Rafaela Ottiano (as Della) getting a swat in the derrière! Note Ms. Ottiano was Greta Garbo's maid in "Grand Hotel" (1932); incidentally, Garbo used the alias "Harriet Brown" (Lois Wilson's character), and the soon divorced leading man George Brent, from this film. Small world.

****** Female (11/3/33) Michael Curtiz ~ Ruth Chatterton, George Brent, Johnny Mack Brown, Lois Wilson

It is a shame that Ruth Chatterton is not more widely known today, despite gaining appreciation overtime, or didn't have a bigger career. She had the presence and appeal to have one and make more films. Have liked a lot of what Michael Curtiz has done, cannot rave about 'Casablanca', 'The Adventures of Robin Hood' and 'Mildred Pierce' especially enough. Do like many films from the 30s and a lot of pre-code content has been known to amaze me.

Was not sure about the premise at first and the title wasn't the most interesting one in the world, with the worry that it would be distasteful, but Chatterton and Curtiz convinced me enough to see 'Female'. It turned out to be much better than expected, gets away with a lot and isn't distasteful. Though in my view the first half is better than the second, the second is still very watchable despite the ending being disappointing but the first half is more inspired and entertaining.

'Female' is beautifully made, absolutely loved the production values. Very elegantly and stylishly shot with gorgeous art direction and costuming. Curtiz, assisted too by an uncredited William A. Wellman, directs skillfully as usual. The script is snappy and witty, the racier lines even sparkling. Was really amazed by how much the film gets away with. The first half of the story is on the silly side but it is also always engaging, surprisingly tough as nails and enormously entertaining to watch.

Chatterton gives a performance full of spunk and charm, her character could have potentially annoyed but she makes the character interesting and fun to watch. George Brent doesn't have as interesting a character but he provides some nicely subtle male lead support, with some nice chemistry with Chatterton (didn't think he was dreary at all). Johnny Mack Brown is amusing, and the seduction scene is a highlight.

The pace does slacken a bit in the second half and the material doesn't feel as inspired.

Biggest problem for me was the ending, very forced, with a character change that makes no sense at all, and too much of a rushed cop-out. Really do not like endings like that and have noticed that a lot in pre-code films and melodramas recently.

Overall, entertaining with a great first half but uneven second half. 7/10

We know that times were different back in the thirties but even so, this is as shocking as it is fascinating. 'Women - know your place' is the message. But besides the gobsmacking sexism, it's actually a good picture...and implicitly almost a feminist anthem.

There's more going on in you think. Before she realised that being a boss is unnatural and an affront to civilisation, Ruth Chatterton seems to be doing a really good job running the car plant. She's certainly enjoying herself mainly by inviting male employees back to her house in the evenings for sex then firing them when she's back in the office. Why she suddenly switches from being a boss in the daytime to a complete slapped at night is explained by the 'logic' that by being the boss she has to adopt a male personality. This represses her natural femininity so she has to release those pent up female traits at night.

Fortunately she sees the error of her ways, uttering such wonderful lines as: 'business is no place for a woman, 'a woman's role is to have babies' an 'a woman must be married' So she has a good cry and gives up the business to a man she's spent just one night with....and of course marries him like a good little girl. Chatterton's tarty behaviour is a little embarrassing to watch but when she sees the light, everything is normal again - we and especially the 1930s audience can relax.

HOWEVER despite the predictable corollary, Chatterton's Alison is still in charge! She might have succumbed to the conventions of the day, she might have decided to be the good little housewife and stop trying to do a man's job but it was her decision. It was the best she could hope for in the early thirties. For the audience back then she was still a strong, empowered independently minded woman. Seeing her running a company was as believable as King Kong climbing the Empire State - the story had to succumb to reality. She did the only believable thing she could. But it was she who made the choice.

If you can accept the chauvinism of the era - which if you're watching pre-code movies, you probably can, this is a very entertaining and well crafted film.

I first read about this film in "Complicated Women" and was eager to see this pre-Code gender-reversal film. What a delight! Chatterton was fantastic, the art deco sets amazing and the costume design mouth-watering. Not to mention an intelligent, funny, and realistic screenplay in which the woman isn't the only one to compromise in the end. After seeing this I am on to more Ruth Chatterton films. I highly recommend this! 10 stars!

There's one very significantly unique thing about "Female," but it's not what many viewers seem to think. This 1933 comedy drama is about what some call "roll reversal." While not very common before the mid-20th century, there have been examples of role reversals among men and women throughout American history. There were even other movies made about successful business women back then. By the late 20th century, of course, women had proved their mettle beyond a doubt in the business world. And, as movies have shown, some women could be as hard-nosed or hard as nails, as is Ruth Chatterton's Alison Drake in this film.

No -- what is especially unique about this film is that it portrays the hard-as-nails lady boss also as a predator. There haven't even been many films made that show such characters among male business mongrels. And, even before the 21st century, society hardly viewed adults who coerced others for sexual purposes as predators. In the past, that was referred to in other terms. Growing up in the mid-20th century, one often heard or read stories about Hollywood bosses who elicited "sexual favors" from actresses to enhance their film careers. More predator revelations have come in the 21st century - not only in the film industry, but in the news and related media fields as well.

This film has a fine cast, with Chatterton especially giving a very good performance. The most interesting character, who's role inclusion is never really made plain, is Pettigrew, played by Ferdinand Gottschalk. Perhaps he is meant to represent a discombobulated conscience or an alter ego for Alison Drake. The performances, though, of the young men in Drake's company who become her victims seem bland and not very real. Considering the time of the film, one would imagine them either bolting - leaving the scene, or jumping right in. The hesitancy of the young men seems to make awkward moments in the filming of the story.

The plot for this film might have continued with Drake going into old age and never marrying. Instead, it has her falling in love and eventually changing. George Brent plays Jim Thorne, the man Drake falls for. Thorne seems to represent the everyman in real life then who had ideas, products, inventions that they earnestly wanted to pursue. Many movies have been made based on such stories. Some men, as Thorne, place great stock in being able to get ahead. Where that clashes with Drake in this film, is where it starts to turn into a romance.

It's always tempting, it seems to me, to project one's modern sensibilities or modern mores onto stories of the past. When one does that, it often blurs the picture of the reality of the past that is being portrayed. The roles of gender over time have changed. And with them, the views and feelings of society. That will always be so. When this movie was made, the predominant objective of the vast majority of people - female and male - was to get married and raise a family.

So, it's understandable how this film would make a turn in that direction. Most, but not all comedy films of the period ended with romance fulfilled. And, that also says something about the prevalent understanding of the time, that real happiness didn't come from business or worldly success, but from love, companionship and family.

Still, at least one other reviewer has noted, this film could have been a different and more interesting story had Alison Drake not fallen in love, or not been able to win her man, and not changed her persona. That would have shown a very different ending. Alison Drake might have been a female version of Lionel Barrymore's Mr. Potter from "It's a Wonderful Life."

Hollywood and the movie industries of European countries made many films about gold diggers, gigolos, hookers, and high-class bordellos, especially before the Mid-20th century. But there seems to be something particularly unsavory about gigolos in the movies I've seen. And, when Alison Drake tries to make her young male employees into gigolos for a day or a week, they seem more pitiable and pathetic than those who ply the trade professionally.

This is an interesting film with a story that was much more unusual for its day than it probably is in modern times.

Here are some favorite lines of dialog.

Alison Drake, "Don't be absurd. You're being old-fashioned." Jim Thorne, "Is it old-fashioned to want to be decent?"

Jim Thorne, "I suppose you think you're too superior for marriage... and love... and children. The things that women were born for."

Jim Thorne, "Say, who do you think you are? Are you so drunk with your own importance you think you can make your own rules? Well, you're a fake. You've been playing this part so long, you've begun to believe it. The great super woman. Cracking her whip and making these poor fools jump around. You and your new freedom. Why, if you weren't so pathetic you'd be funny."

Jim Thorne, "But the laugh's on me. Offering a marriage license to a pick-up."

There, somebody had to say it. This movie is about what women want.

Most of my fellow reviewers on here, especially a few who make copious amounts of IMDb posts, are sounding more "wooden" than usual with regards to this movie.

This film has been described as a lot of things, but I have yet to see someone say it is all about What Women Want (no relation to the Mel Gibson movie). Digging far deeper than its comedy vehicle suggests, it no doubt explores the inner fantasies of many women in 1933, which still hold true for many today. Some just won't admit it as doing so would contradict their social/political views.

Those who have certain cultural expectations either relating to yesteryear's order of films, or to present day, will most likely be sorely disappointed in this movie. It will hit them on the head like a ton of bricks. This movie is truly one of a kind. Not to be missed!!

I gave it a 7/10, which seems like a high score, but actually falls in the middle of my bell curve for about 2000 different older movies which I have collected thus far. I rarely ever score 10/10, and many classic-era B movies get a 5/10 to 7/10 from me.

This is a wonderful movie! The Art Deco sets are great - especially Miss Drake's house. (High up in the entry hall there is a balcony with a live organist!). Here are some facts: The assembly line for the "Drake" automobile is actually footage of the assembly line for the 1932 Plymouth. That beautiful town car she travels in is a Cord L-29 (as it pulls away listen to that beautiful whine of the front-wheel-drive transmission). George Brent drive a 1929 Packard. (Guess my obsession!)

In "Female," Michael Curtiz's schizophrenic 1933 nothing, the lovely Ruth Chatterton plays the president of an auto manufacturing company who has put business and power above womanly advantages (which in this film means she'd rather be independent than be barefoot and pregnant). She has her way with just about every even moderately good looking man in the joint, inviting them over to her house for "dinner" and to discuss business, only to halt the shop talk mid-way through and throw a pillow suggestively on the floor while the camera discreetly fades to black. All of this changes when she meets George Brent, an engineer hired by the company who is completely immune to Chatterton's dubious charms. Once she realizes that Brent isn't buying what she's selling, she revamps her product, opting instead to act like a typical woman, which means asking Brent's help in starting fires and speaking in a high-pitched sing-song. By the end, she's decided to chuck the business and hand it over to Brent so that she can be his dutiful wife.

This film is absolutely absurd, even by 1933 standards, and you'll have to sit through about 40 feminist film seminars to wash the taste of it out of your mouth, but it's rather fun to see just how backwards it can possibly be. Chatterton is a likable actress and she's got a lot of spunk. The car manufacturing setting means that the screenwriter can create all sorts of double entrendes using car part lingo, and the whole thing's only about an hour long anyway, so it breezes right by.

Grade: B