Sesso debole?

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.

I have read carefully all of the reviews posted here and I agree very much with most of what has been said. It is problematic that some of these ladies were a little bit old for their parts. It is also clear that much talent has been wasted particularly in the cases of Ann Miller who does not get to dance and Dolores Gray who does not get to sing outside of the voiceover during the titles. Most people would not even notice that the great character actoress Celia Lovsky is given literally nothing to do except appear in one of the backstage scenes and speak one or two brief lines in the bedroom scene. Some of the tiniest details have been missmanaged such as the fact that when the character of Mary holds up her hand and declaims "Jungle Red !" her fingernails are not red at all. Of course the biggest problems are the script and the script and the script. The men and the musical numbers that have been inserted into the original storyline seem to be merely distract rather than enhance. If I try really hard and pretend that the original 1939 version does not exist then this movie can seems not so bad except that I have not really been able to convince even myself to stretch imagination that far. I also agree the one person who makes the most of of her part is Dolores Gray . Even the great Agnes Moorehead seems to be overacting dreadfully trying to make something out of nothing as the part of the Countess is woefully cut down. One thing that MGM really did manage to deliver is the look of this film. The set designers in general and the costume designer in particular really held up their end of the bargain.

But the point I really want to make is why I think this movie was even made at all. In my mind the only thing that makes any sense is that whatever deal they made with the author, Clare Booth Luce, allowed MGM to do so and they could get a few more bucks out of it which is really why most remakes are foisted upon us.

And another thing... If you compare The Opposite Sex to the latest remake- I think in 2008- it suddenly becomes brilliant! That abomination completely misses the point of the story that Miss Luce was trying to tell us. But that is another story entirely.

This film has been maligned for years, mainly for including men and music in this remake of the classic 1939 version. It's true that the men don't add much to this take on the story. The musical numbers range from good (Now, Baby Now) to not so good (Dick Shawn and Jim Backus in the title number and that campy banana number.) The cast is pretty good. Joan Collins (in her first bitchy role) is practicing for her role as Alexis on "Dynasty". Charlotte Greenwood (in her last role) manages to be even more butch than Marjorie Main was in the original. Agnes Moorehead (who I love) is fun as the countess, and Sandy Descher is far more likable as "Debbie" than Virgina Weidler was as "Little Mary". Dolores Gray nails it as Sylvia Fowler. She enhances any film she is in. The 1950s decor is appropriately garish (dig those crazy purple bass fiddles!) and the print shown on VUDU is a clean, widescreen treat. This may not be quite up to the original, but on it's own terms this is a by and large entertaining film.

I have to say I am baffled by the trashing of this film. Are we watching the same movie? I have watched both The Women and The Opposite Sex, all within the span of a week on Turner Classic and though the Women was cleverer, The Opposite Sex was not really in the "Chopped Liver" category either.

Yes, it's true. Given a choice, I would rather watch The Women too.

But the Opposite Sex has adequate acting, women in gorgeous gowns and sticks quite faithfully to the original story-line whereby the 1st Wife gets her revenge against the 2nd wife. Who doesn't love the lucked-out-housewife-wins-the-day-story-line? I know I do.

And I do enjoy looking at Jeff Richards as the hunky singing cowboy, Buck.

If you have the time, why not check it out yourself.

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.