A Mulher Parisiense dos Cabelos de Fogo

Harlow was about 21 years old when she made this film but she certainly seems older. In real life, she eloped at 16 and didn't have much of an education. Her accent here is flimsy. But her white skin was perfect for the period's bright lights and slow film. We see and understand well her expressions.

This film shows garters and a surprising morality. The gold-digger gets her gold, conniving and finagling all the way. It seems that a beautiful young woman, who confidently knows what she is, can get anything she wants from a man. Classic Jean Harlow (and I guess Anita Loos). Harlow's act is not ditzy coquette - she knows exactly what she's doing and so do we. It's fun to watch the story unfold.

The men are props but acquit themselves well. Charles Boyer, accent and all, plays the apparently genuine love interest. Watch for the scene where his character is accused of having an affair with a woman already having an affair. Only Boyer could get the right pause before answering matter-of-factly. This was one of his first American films.

Terrific pre-code film starring Jean Harlow as the "red-headed woman" - a girl from the wrong side of the tracks who uses her sex appeal to seduce rich men in an attempt to improve her social standing (plus get ahold of their dough!). With her eye on her wealthy, handsome, happily married boss (not to mention his photo pinned to her garter) she aggressively pursues him, as he does his very best to try and hold her off and keep his marriage intact. But even when she gets him, she can't stop trying to get someone better (well, you know - richer, that is).

I love this film and I think Jean Harlow gives one of her best performances here as she whines, baby talks, swings her hips, and uses her charms to get the man she wants. Una Merkel is appealing, as usual, as her sidekick/gal pal, constantly feigning shock over the sorted schemes of her red-headed friend. I highly recommend seeing this one.

To me, it was very easy to see Jean Harlow's appeal. She had great comic timing, her wisecracks sizzling at their best, her looks were both sophisticated and daring and her later vulnerability was easy to be charmed by. Loved her with Clark Gable, who collaborated with her for six films, and it was clear that in her other work with 'Red Headed Woman's' director Jack Conway that he understood what her strengths were and used them to full advantage.

Evident here in 'Red Headed Woman', the film where her image and personality were properly established and continued to evolve in her later films. Is it one of Harlow's best? No. One of Conway's best? No. Does 'Red Headed Woman' do either justice? Yes it does, and as an overall film it is well worth watching providing that this is the sort of film that does anything for you. Really like to love many films from the 30s and many pre-code films are entertaining, which 'Red Headed Woman' is definitely in my view.

'Red Headed Woman' isn't perfect. The melodrama does get rather too over the top towards the end.

Chester Morris is also rather wooden in his role and doesn't have a lot of chemistry with Harlow.

Fortunately however, Harlow plays her amoral role (possibly the most amoral and least likeable character of her career) with spunk and fire. May Robson and Lewis provide distinguished veteran support, especially Stone, and Charles Boyer amuses in an early relatively small role. Harry Stephenson handles undignified situations with dignity and Leila Hyams is charming. Una Merkel is the biggest delight though, she sizzles. Conway directs with a good amount of energy while the film is stylishly photographed.

Moreover, the script is sharp and taut with some very amusing one-liners. Was amazed by its daring raciness, especially with Harlow. The story loses its way a bit in the latter stretches, but is mostly zesty with some nice tension in the character interaction. While the ending could have been a little more rounded off, it was appreciated that it was a pre-code film that didn't end too neatly or reeked of studio interference.

In a nutshell, worth a look for particularly Harlow. 7/10

Wonderful pre-code movie that races along with its amoral story as Jean Harlow chases about eating up men in her search for riches. Barely pausing this wild romp is as uncompromising as it is fast and funny. Harlow is at her best, in out of and almost out of her shimmering costumes and she is ably backed by an excellent cast who all seem to be enjoying themselves. I am indebted to another IMDb reviewer who points out that at the time of original release the States were in depression and the coal bosses and their 'society' entourage, getting rich and doing very little, would have been a welcome target for Harlow's exploits. An interesting and revealing extra dimension that makes me like it even more because I always had a slight feeling of sympathy for the duped guys and now I can happily share the joke, very much at their expense. Brave film making and one cannot but wonder where things may have gone had the code not clamped down.

For those, like myself, who heard about Jean Harlow before viewing any of her pictures, the expectation was to see a glamor girl with somewhat limited performing skills, not unlike Marilyn Monroe at a later time. Not to take anything away from Marilyn, but Jean Harlow proved herself to be a very adept performer, an appealing combination of brazen sexuality and shameless manipulation, always with a comic touch. While sometimes getting her comeuppance (and appearing to enjoy it) at the hands of strong characters played by the likes of Clark Gable and Spencer Tracy, in "Red-Headed Woman" the men in her life are pushovers for her wily charms. Chester Morris earnestly tries once, twice, three times to resist her, and apparently comes THAT close to succeeding, but her persistence ultimately renders him helpless. The wealthy and distinguished (and elderly) Henry Stephenson doesn't have a chance: when Jean's pal Una Merkel suggests that she's aiming too high this time, that her plans have no chance of success, Jean replies, "He's a man, isn't he?"

This is the prototypical Jean Harlow character, done to the hilt by a very skilled performer who, in the final analysis, probably has more in common with Mae West than with Marilyn Monroe. If she played virtually the same character in almost every picture, she wasn't the first to do so. Her reputation as an actress deserves to be greatly enhanced.