The Opposite Sex

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 remake of The Women (1939) misses the boat for two main reasons - 1. it's too nice. Joan Crawford's Crystal Allen was far more acidic than Joan Collins' sweet little version 2. it casts loads of talented musical performers - and doesn't use them! Ann Miller, Joan Blondell, Ann Sheridan, Doleres Gray - all wasted. June Allyson is miscast as Kay Hilliard, a little long in the tooth for all this.

(Incidentally interesting to see Blondell and Allyson in the same film, considering their shared marital history off-screen as successive wives to Dick Powell).

Pros - the musical numbers aren't bad, if a bit on the camp side; it features a fashion parade throughout to die for; it's colourful.

Otherwise it rips off the original, adds songs and men, and messes the whole thing up. It's watchable, but Norma, Joan, Paulette, and Rosalind will remain the standard for this particular story.

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.

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.

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.