Sesso debole?

Remakes are usually a bad idea. Musical remakes are usually a VERY bad idea. Case in point: "The Women," in its original 1939 form, is a certified classic of brittle bitchiness and acidic wit. Moreover, it also happens to be very, very funny. "The Opposite Sex," its 1956 Technicolor incarnation, is witless and brainless, and also happens to be very, very funny--unintentionally. Mistake number one was remaking such a lauded film in the first place; mistake number two was adding men to the cast (the original was entirely female--down to the authors of the books in library scenes); and mistake number three was including ludicrous song and dance numbers. Mistakes number four and five, respectively, are June Allyson and Joan Collins, subbing for Norma Shearer and Joan Crawford. Allyson's wholesome persona actually isn't too bad for the role, but she can't act her way out of a paper bag. Collins, on the other hand, is glorious to look at, but has none of the bite and venom that Crawford brought to the table (obviously, by the time "Dynasty" came along, Collins had learned her lessons well). Ann Miller pinch hits for Paulette Goddard, and is her usual sassy self; but why is she not dancing in this so-called musical? The divine Dolores Gray comes off best as the catty Sylvia; where Rosalind Russell played her as a shrieking harpy, Dolores prefers a silkier approach. If she doesn't approach the virtuosity of Russell's performance, Gray at least injects some sorely-needed sophisticated bitchery to the proceedings. Finally, there's the ever-dependable Joan Blondell (although the fact that post-menopausal Blondell is supposed to be constantly pregnant tests one's suspension of disbelief) and an incredibly butch-looking Ann Sheridan, several years past her "Tobacco Road" prime. Really, there are two prime reasons to watch this mess: the insanely phallic calypso musical extravaganza, and the gloriously gaudy fashion show that the ladies put on for nearly 2 dizzying hours. Those looking for Clare Booth Luce's marvelous wit, look elsewhere. For those looking for glamorous, campy entertainment with no thought required--pop this baby in.

I don't know why so many people on here are trashing this film. Is it a classic movie, no. But is it so awful, no. It is a perfectly good, entertaining movie. I think Allyson, the perfect 50's movie wife, is cast well as Kay, who is a perfect wife who gets left. I thought it was a little inside 50s joke, here is the perfect wife being left. Anyway, she is good and yes she was not 20, but it is a wife role and her daughter is about 10. It is not a young woman's part, that is the whole point; the husband leaves her for a younger woman. Ann Miller, Agnes Moorehead, Ann Sheridan, Dolores Gray, Joan Collins are all great. Does Miller sing or dance, no. But maybe someone was thinking she was a good actress and funny with lines and could be in a movie and not tap dance. I am sure she was happy to be cast as an actress for once. She was always a very funny performer. So check the movie out for yourself, it is really pretty good (and nice to see Allyson in some pretty clothes after all those years of white blouses in movies).

This 1950's version of the 1930's "The Women" was updated quite a bit. The ideals of the 1950's show up, along with the new male characters (who were never seen in the original)and the fashion.

Actually, while "The Women" is dated, too, the dialog is sharper and the characters much more fun. Joan Crawford beats Joan Collins easily as the vamp, and Rosalind Russell eats up scenery. Of course, Leslie Nelson back in his hunky leading man days is plenty of fun. This version is a little more moralistic, with more hand wringing and melodramatic action. And the addition of the male characters really isn't that much of a plus. Sometimes the comic action is overboard.

All in all, not a bad movie, but if you really want to see action, catch "The Women" instead.

Sort of a remake of the 1939 classic, THE WOMEN. It's more of an update with music. No matter. It stands on its own.

June Allyson stars as Kay Hilliard, a happily married woman with a trove of female friends. There's her unmarried writer friend Amanda (Ann Sheridan) and catty Sylvia (Dolores Gray), and the always-pregnant Edith (Joan Blondell). When Sylvia gets wind that Kay's husband is having a fling with a showgirl Crystal (Joan Collins), she can't wait to stir things up.

When Kay goes to Reno for a divorce she meets the oft-married Countess (Agnes Moorehead) and cabaret star Gloria (Ann Miller). When it turns out that Gloria has stolen Sylvia's husband, all hell breaks loose among the women.

Eventually Kay starts to fight back when she learns that Crystal marries her husband and starts an affair with another man.

The stars are all in fine form and Allyson gets to sing a few numbers like "Young Man with a Horn" and "Now, Baby, Now." On the down side is a horrible stage show about bananas, a terrible bit by Dick Shawn, and the nightclub opening featuring Buck Winston (Jeff Richards).

This version has men in it. There's also Leslie Nielsen, Bill Goodwin, Jim Backus, Harry James, Sam Levene, and Jonathan Hole. Co-stars include Alice Pearce as Olga, Charlotte Greenwood as Lucy, Barbara Jo Allen as Dolly the gossip columnist, and Carolyn Jones and Barrie Chase as dancers.

High points are Allyson's musical numbers, the catfight between Miller and Gray, and Allyson's slap across Collins' face that sends her earrings flying.

Gray sings the title song over the opening credits.

No need to compare this stand-alone with the original. MGM's wardrobe department must have worked overtime. The ladies-- and there are many-- get to model all the high fashion of 1956, and some outfits are real doozies. But then this is a tell-all musical remake about sophisticated Manhattan show people from influential author Luce who certainly should know. You may need a scorecard, however, to keep up with the rotating relationships among the high class types.

I expect the film sets feminist teeth on edge now with its depiction of women as either maliciously catty (Gray & Collins) or catty as a defensive measure (Allyson, Blondell, & Sheridan). And that's when they're not chasing after men on whom it appears they're emotionally dependent. I imagine that if the movie were made today, key changes would be made.

That's not to say this Technicolor candy box isn't entertaining. It is at least campy fun, although the musical numbers are mostly forgettable. Instead, it's the characters that are irresistible, particularly Gray as the queen of acid gossip; Collins as the ruthless husband stealer; and Richards as the dude ranch stud. It's also a well-honed supporting cast, down to a blondined henchwoman Carolyn Jones. Unfortunately, it's also a rather dour June Allyson, a long way from her usual verve and sparkle.

But the high-point may well be the biggest no-holds-barred brawl between two women (Miller and Gray) that I've seen. Stand aside John Wayne and the rest of the macho brawlers because this one is worthy of the best smoke-filled bar room. I don't know if stunt doubles filled in, but somebody deserved a fat paycheck. Anyway, if you don't mind seeing women behaving badly 1950's style, this well-upholstered confection deserves a look-see.