O Belo Sexo

I, as many others here, was excited to learn of, and anxious to see this "musical remake" of The Women. But as my summary states, I found it to be such an inexplicable disappointment! Others here have said it better, so I'll just echo the complete bafflement of having stars of the caliber of Joan Greenwood and Ann Miller DO NOTHING AT ALL in the film! Amazing and so disappointing.

I'm afraid the root cause of this bomb is the choice of June Alyson for the lead. Frankly, Norma Shearer grates on me; I do not worship at her altar; however, she certainly brought enough depth of character to the original wonderful 1930s film to justify all the shenanigans of that film, which all revolved around her. What she did, what she didn't do, how she reacted, etc. In this sorry remake, that character as played by June Alyson is so boringly uninteresting. We can't see at all that the character's friends would react with such concern. Who cares is more the response given. And lets get this over with.

The pacing was excruciatingly slow and flat. The "humor" was pathetic. The pathos was humorous. And as has been pointed out, why? Why even call this thing a musical? In the '30s and '40s, there was often one or two musical "entertainments" worked into the film as incidentals or backgrounds, but that didn't justify calling them musicals! Yes, I'm afraid that this piece definitely needed a different more dynamic lead, and it also needed a much better director and/or editor to pick up the pace.

So disappointing. I can't even recommend it for the "period" costumes....though I must comment they were so "stunning" as to all seem like stage costumes! Boo-hoo. I thought I had discovered a new treasure to enjoy.

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 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.

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.

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.