Anybody's Woman

"Anybody's woman" as a term means a woman that could be had for whatever it is she was looking for: a kiss, money, jewels, a good time. Should a man give her what she desired and she was his, this would make her anybody's woman. That wasn't Pansy Gray (Ruth Chatterton).

I realize that I love movies with strong female characters. I'm not talking physically strong and can beat up everyone because I generally dislike those movies. I'm talking mentally and emotionally strong, and having strong character. Ruth Chatterton has played a strong woman several times: "Charming Sinners," "Sarah and Son," and "Frisco Jenny" all come to mind, but I think her character Pansy Gray in "Anybody's Woman" was the strongest.

One night a very drunk Neil Dunlap (Clive Brook) pestered Pansy into marrying him. I know what you're thinking, "What kind of "strong woman" would be pestered into marrying a guy she doesn't even know?" I was thinking the same thing at first, but Pansy had her reasons.

When Neil woke up the next morning he had no idea that he'd gotten married the night before. He asked the most obvious question of Pansy which was did she want money.

Pansy didn't want money and she didn't want a divorce. She wanted the opportunity to make a good name for herself. She was a working girl who'd been arrested for indecent exposure on stage, and marrying a well-to-do man like Neil would afford her the opportunity to fix her image. She consented to any arrangement Neil wanted so long as he allowed her to remain married and repair her reputation.

Pansy proved to be a stand up woman and wife. When Neil's rich, entitled, grubby clients got handsy with her she didn't hold back. Her behavior was out of bounds for a society crowd, but it was exactly what most men would want: a woman who can thwart unwelcomed advances.

She would have to get most assertive with Gustave Saxon (Paul Lukas), Neil's best and wealthiest client. He made wild and unsubstantiated assumptions about her sexuality and pressed up on her a little too much. I don't know a husband that would not have respected her actions, but her husband,Nei,l was from a different social sphere. He gave benefits of any doubts to his client and not his unsophisticated wife.

Pansy was the best mistake Neil ever made. He was a sloppy drunk because his wife left him for a richer man, and Pansy dried him out. She forced him to sober up and get his business affairs in order. And what was just as good was that she never assumed that proper, pompous, pretentious manner of speaking or behaving. She was a girl from the street, but that didn't mean she was easy or that she'd go for any dude with dough. In fact, she had more self-respect, decency, and faithfulness than MOST of the cultured women depicted on screen in the 30's. She was more than Neil could've asked for. She could've parlayed her new status into a relationship with more affluent men such as Neil's client Gustave Saxon (Paul Lukas), but that wasn't the type of woman she was.

You had to love Pansy. She was down to earth and a good person without being angelic. She was a woman the ordinary Joe can relate to without being foul or loose and if Neil couldn't realize what he had he was the loser, not her. Pansy was great and she wasn't just anybody's woman.

Ruth Chatterton had some really odd roles over at Paramount. This is a pretty conventional precode tale full of conventional precode tropes, but Ruth Chatterton is the whole show.

Attorney Neil Dunlap (Clive Brook) is dumped by his wife for a wealthy man. He's in a hotel drinking to forget when he sees Pansy Gray (Ruth Chatterton) playing a ukulele and singing in the building across from him. Neil's companion asks Pansy and her companion to come over and join them. They do. A drunken Neil proposes to and marries Pansy that night. A slightly more sober Neil discovers what he did the next morning AND that it made all of the papers. He is going to have the marriage annulled, but an acquaintance, Gustave (Paul Lukas) tells Neil that he respects him for this unconventional act and convinces him to give the marriage a try. Neil thinks he is giving Pansy a chance to "make good".

Well, at home back in Wilmington,DE (Wilmington??? I have to give the film points for an unconventional setting) Pansy has to deal with winning everybody over, including the servants, who are ready to walk out rather than work for her. Her new husband is polite to her, even sobers up with her help, but he is just being "nice". He does not love her. And then something happens that makes him pour out all of his doubts about her character to her. How does this work out? Watch and find out.

Chatterton's Pansy is honest and she knows how to roll with the punches life throws her, but she doesn't quite know how to deal with all of these snobs in her husband's world, especially when she is not clear on who are and are not her friends, because if she is not accustomed to kindness from people, up to now at least she could count on authenticity.

The print I saw had the title "Anybody's Woman" blacked out and a new title "The Better Wife" printed over it. Maybe an artifact of the production code era? By the way, that title is NOT referring to Pansy. This film gets good performances out of all of the main players - Brook, Chatterton, and Lukas. It has very intelligent dialog, and except for the fact that the film could not seem to change scenes without intertitles, it really is quite modern in its viewpoint. And who would ever think that an electric room fan could become a plot device in a romantic moment?

"Anybody's Woman" is the sort of woman that should have been better. It took an interesting idea and didn't do enough with it.

The story begins with Neil (Clive Brook) moping after his wife has divorced him for a guy who is even richer than he is. Feeling very sorry for himself, he goes on a bender and marries a woman with a very colorful past! Pansy (Ruth Chatterton) is a stripper who Neil defended in court several years before and he insists that she is an honest woman...unlike his ex-wife! But when he sobers up, Neil is shocked to see what he's done. He wants to do the honorable thing and either pay her off or keep her...but there is no love or tenderness. As for Pansy, she's a tough woman but also one with a lot of good in her down deep. What's to come of them?

The notion of a man marrying beneath him and later discovering that she is actually a great gal could have worked. But too many dull moments and an odd drunk scene that confused everything just prevented the film from gaining much momentum. Not terrible...but also not all that good either.

I recently denigrated Ruth Chatterton's performance in another film and became beset with the malaise that attends the negative mindset. Asked myself, "how could I be so hardened?" I set about researching her films I was familiar with. Happily, I started with "Anybody's Woman." As the film began, [and I HAD to watch the whole thing , again] it was clear that this was the performance by which I had judged all of Chatterton's. Indeed, it is the standard to which I hold Paul Lukas and Clive Brook.

While the plot of a society gentleman-marries-chorus-girl-on-bender has been done ad nauseum, this film achieves complete veracity. Ruth Chatterton's Pansy Grey is a natural, decent sort, who recognizes her own faults and refuses to let them drag her down. She is loyal to the point of self-sacrifice and tough when she needs to be. Chatterton displays acting talents from A to Z, from soft spoken to shouting, and so effective that volumes are spoken when she just leans her head against Clive Brook's chest. Brook benefits from superb lines, and he'll deliver some with uncommon fire. Paul Lukas, here, is cast in an outgoing and straightforward part which showcases him better than anywhere else.

All three vertices of this romantic triangle play a taut script right to the hilt. The intense sincerity these three bring to their roles makes every scene memorable. Structurally, the film is deliberately broken into stand alone blocks of time, each labeled silent movie style: "A Month Later", "The Next Day" and so on. Elsewhere, this device is used as a crutch, here, you are allowed to savor what you've just experienced. It is as though the film makers are saying, "if you thought that was good, watch this!"

I'm sure much credit must go to the director, Dorothy Arzner. Close ups are judiciously used and there is a natural quality pervading each set piece. She's blocked her actors and composed camera frame according to the relationship of the onscreen principles. Early in the film, Brook's and Chatterton's heads are in opposite corners of the frame. Later, during a confrontation, the three leads are almost huddled, lost in the room. While this could play onstage, only cinema can manipulate the viewer in this fashion.

Please, please Paramount, take a look at this picture and release it to home video. There is gold in your vaults.

Doubtless one of the reasons it was felt that there was a pressing need for a production code in 1930 was that Hollywood was still habitually depicting respectable Americans nonchalantly consuming alcohol a full ten years after it had been criminalised; the perils of drink in this particular case being hammered home by the fate of Lawyer Neil Dunlap who wakes up one morning with a massive hangover and a hefty new wife.

As Dunlap's new spouse Ruth Chatterton seems to have been accidentally sent a script meant for Mae West, since first seen she's strumming a ukelele and next thing she's doing an Apache dance. As the film progresses Miss Chatterton's dress sense improves considerably (would that the same could said for her common sense since every time she raises a glass to her lips she returns straight to zero).

For those seeking subversive content the fact that the seductive Other Woman is actually Dunlap's first wife should keep them busy.