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Based on a very clever comedy by Claire Booth, wife of Time Publisher Henry Luce and later Ambassador to Italy. One of the surprises was an all-woman cast, novel in the 1930's. And although there were no men in the cast, most of the dialog was about them. The story is rather thin and depended on the fact that divorce, in the 1930's, was not only difficult but almost impossible in New York. Mrs. Stephen Haynes learns that her husband is seeing a salesgirl at Saks, and reluctantly divorces him, abetted by her friends, all of whom have romantic problems of their own. In the 1930's New York women who could afford it ...
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went to Nevada, where residency could be established quickly and divorce was relatively easy. The 1939 film, starring Norma Shearer, Paulette Goddard, Rosalind Russell, and Joan Crawford, was a hit. This one, with an even better looking cast, is definitely not, largely because someone tried to move a 1930's situation comedy into the present.
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Mary Haines (Ryan) is een vrouw die geliefd en gerespecteerd is bij haar vrienden. De grote vriendenkring komt in gevaar als Mary's echtgenoot vreemd blijkt te gaan en sommige vrienden wellicht niet noemenswaardig als vriend zijn.
Packed with an all-star cast, Diane English's (MURPHY BROWN) contemporary version of THE WOMEN showcases the talents of Annette Bening, Meg Ryan, Jada Pinkett Smith, Candice Bergen, and Debra Messing. Like the 1939 original, the film deals with the relationships among a close-knit group of female friends, who, when their marriages fail and their lives are on the verge of falling apart, turn to each other for support. On the surface, Mary (Ryan) appears the happiest of the bunch, but her life changes instantly when her best friend Sylvia (Bening) discovers that Mary's husband's having an affair. The actresses freq...
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uently appear on screen as an ensemble, exhibiting a relaxed, compelling chemistry. The film feels cluttered at times, but perhaps that is fitting considering how much each female character has on her plate with regards to family, work, marriage, and friendship. Eva Mendes appears as the jaw-dropping beauty who is partially to blame for the fallout of Mary's marriage. As Mary's mother and the voice of wisdom, Bergen delivers the film's best lines with sarcasm, wit, and charm.
As in the SEX AND THE CITY movie, the message here seems to be that before finding love with a man, a woman must truly love and know herself. While Mary's high-society social standing enables her to start a fashion line on a whim and makes her self-transformation somewhat easy, female viewers from all walks of life are likely to recognize something relatable in the many women characters driving the film. One nice touch is that while much of the drama surrounds various marital problems, even the cheating husband in question never appears on screen. When you get down to it, the film's most important relationships are between the women themselves.
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Veteran producer/director Diane English (The Lathe of Heaven, Murphy Brown) helms this contemporized remake of George Cukor's beloved proto-feminist comedy drama The Women (1939), an adaptation of Clare Boothe Luce's play. The English version follows the gossip, bitchy wisecracking, and overall disillusionment that erupt among a group of socialite friends when their dearest and most envied learns of her husband's marital infidelity at the hands of a backstabbing shopgirl. The all-female cast is fronted by Meg Ryan, Annette Bening, Eva Mendes, Debra Messing, Jada Pinkett Smith, and Candice Bergen, with supporting ...
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roles inhabited by Bette Midler, Cloris Leachman, and Carrie Fisher.
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