Mulher Sem Alma

Before television, this kind of short melodrama was standard cinema fare. It's still fun to watch. The interior studio sets don't quite match the exterior studio sets and the people depicted always seem well-to-do. This false elegance is to movies of the 1930s what CGI is to movies of our era. Well, people go to the cinema in part to be dazzled.

This is a women's picture. The director was a woman, the screenplay was written by a woman and the main characters are women. And what a character Russell plays! The movie is a morality play structured around the faults of one character, Mr. Craig's wife. She obsessively wants to control everything to satisfy her need for security, or so goes the the pop psychology implied by the story.

Well-written television serials now deal with these kinds of characters. But I somehow prefer the slower pace of the 1930s version. I also like the little surprises. Watch for Billie Burke, the Good Witch of the North. You'll recognize the voice immediately.

I am an old movie buff and had never seen this movie. The movie itself was great but it was like I had just lived this movie. I worked for a man that had a wife like this and quit my job (I used to work out of their house) because I couldn't take her anymore. Almost every part in the movie had a real-life counter part in my life. I was the aunt. I'm tempted to buy a copy of the movie and send it to my old boss so he could get a glimpse of what we all had to put up with. These women do exist, thank God I'm not one of them!!!

By the way, men are not that dumb. The truth is they'd rather ignore that kind of wife so they don't have to deal with the headache. I would like to have seen the part written more true-to-life rather than as a husband that was completely oblivious to a wife that was a manipulater until the very end.

I enjoyed the movie and have told several of my friends to watch it if they get the chance. Not just because of the way I identified with it personally, but overall the movie was very good. Rosalind Russell was a real pro in her role.

A very interesting film! I saw it at a university's film archive; to my knowledge, it is not often screened on cable or broadcast TV.

For Rosalind Russell fans, the film is quite a change of pace from those who may know her best from the screwball comedy "His Girl Friday." She's very good in "Craig's Wife," (as is the supporting cast) and her performance gives you an appreciation for her range as an actress.

I say the film addresses a timeless American theme, which is the tension between American culture's focus on materialism (an issue even way back in the 1930's, clearly) versus a person's more human needs, such as emotional intimacy. The character of Harriet Craig clearly resists any show of vulnerability and, as the film progresses, increasingly reveals a depth of coldness that's also chilling for the audience to witness, and is mirrored in the uneasiness the supporting characters display as they interact with her.

What gives the film its lasting impression is that there are almost certainly many of us today who have met someone like the character. Furthermore, in the present day, we often see similar themes (love vs. money) played out in American films.

The theme was a common one, I think, in the 1930's, partly because the Depression and its aftermath made it hard for anyone (particularly women, for whom few career opportunities were available, let alone accepted) to ignore the economic expediency and comfort that finding a wealthy husband could afford. In that era, the hardships that may have accompanied being a romantic and marrying for love (without regard for money) were not trivial.

For a comic take on this same thematic vein, catch "Midnight" with Claudette Colbert, which is a delightful movie that I think screens fairly often on the AMC (American Movie Classics) cable channel. Less from a money-based viewpoint, but very much from an emotional standpoint, the character Mary Tyler Moore plays in 1980's "Ordinary People," a drama, has some of the same elements as Rosalind Russell's Harriet Craig here.

Another variant, which centers on the ambiguous intentions of a man toward a wealthy young woman, can be found in "The Heiress" with Olivia de Havilland, remade (with the title of the Henry James novel both films were based on) as "Washington Square" in the 1990s, with Jennifer Jason Leigh.

So, I view "Craig's Wife" as a surprisingly unflinching view of how one woman walled herself up within a prison -- both material and emotional -- of her own making. Highly recommended.

Rosiland Russell wasn't a star for so long for nothing. The lady had talent, and her lengthy career in a variety of roles from screwball comedy to heart wrenching drama proves it.

Hard working, completely dedicated and always dependable, Russell hit the bull's eye in the role of Harriet Craig in 1936's "Craig's Wife." What a roll it was! The kind most actresses would die to play, even though the character's less than completely savory.

It's Roz's performance that holds our rapt attention throughout this George Kelly play adaptation, and it's Roz's subtlety that provides the fascination of a fastidious personality. The rest of the cast, headed by John Boles, is excellent, as is Dorothy Arzner's directing. The set design is perfect for the production, and the entire enactment becomes hypnotic.

Kelly's play has an interesting history: it was filmed eight years earlier by William deMille (with Irene Rich as Harriet) though there's scant info on this. The fourteen years later Vincent Sherman directed a remake with Joan Crawford in the part. Crawford was indomitable in the role, aided by Wendell Corey as her husband; still it's Russell's performance that--to my mind--reigns supreme.

The 1936 murder subplot was eliminated in the '50 version. Even so, "Craig's Wife" retains its integrity, and represents a milestone from one of the most notable female actors and the most prolific female director of the "Hollywood Golden Era."

Harriet Craig (Rosalind Russell) is a thoroughly hateful character. This is one of those films that gains power from the strength of the villainous antagonist rather than from a relatively weak protagonist.

Harriet is married to the gentle henpecked Walter Craig. Walter never catches on, even though the Craigs have no friends and Walter has become something of a laughing stock in town. Harriet never cared much for Walter, but she sure liked his money which enabled her to have a beautiful home, servants, and a respectable place in the community. Harriet is, therefore, one of those respectable, upwardly mobile prostitutes who uses marriage to barter her good looks for money and position. It's not a pretty picture.

However, Harriet's strategy for maintaining her marriage is deeply flawed. She acts like a manipulative, controlling cold-hearted bitch at all times and ultimately her life implodes.

This film is quite well done and the viewer just can't escape a warm feeling of satisfaction as the malevolent Harriet gets what's coming to her--and more. Although the Harriet character lacks nuance (she's just SO witchy), the story still worked, at least for me. This emotional resonance indicates that the writers, actors, and director Dorothy Arzner did a good job in projecting a wholly believable villain.