Female

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.

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.

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.

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.