Jean Harlow Clip Getting Slapped and Saying Do It Again
Jean Harlow in a pre-code movie
Jean Harlow is the star of "Cerise-Headed Woman," a precode film almost a golddigger men can't resist. Irving Thalberg idea the audience didn't grab onto Harlow'south character immediately, so the scene at the beginning, when Harlow asks if the dress she tries on is come across-through, is his. And yes, it certainly does found her character: Finding out that the dress tin be seen through, her grapheme, Lillian, announces, "I'll wear it." Lillian is a anarchism - completely obvious, with her tight-fitting, low-cut clothing, cupie-doll vox, and swinging hips - everything near her says "trash," and she makes sure she follows the perception upwardly with action by showing her garters (ane of which has a picture of the boss inserted) and not hesitating to remove them and everything else if the situation calls for it. It'southward in this manner that she breaks up the marriage of the boss, the hapless Bill Legendre, Jr. (Chester Morris) and gets into the large money. When that doesn't give her the social continuing she wants, she seduces the fabulously successful Charlie Gaerste and so blackmails him into making the socially adequate crowd attend a political party at her home. She continues from there.
This is precode, so don't look for any type of penalisation or for the character to have the moral ground. The ground she'south on is too lucrative. Harlow is a delight -- pretty, vivacious, sexy, and always likable as the outrageous Lillian. A groovy loss to the earth that she died so young. No thing what blazon of function she played, there was something very lovable about her, every bit demonstrated by her tremendous popularity. She has been compared to Monroe for obvious reasons, and both left lasting legacies as sexy, funny, vulnerable stars.
Una Merkel gives Harlow good fill-in as her roommate, and Charles Boyer appears in a minor function. Though it'south not my favorite Harlow - I love her in films like Libeled Lady, Wife vs. Secretary, and Suzy, where she sparks more with the other actors - this is very good and a bang-up example of a precode moving picture.
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Jean Harlow Triumphs In Salacious Tale
Lillian, a girl from the wrong side of the tracks, knows exactly what she wants & how to get it. Right now, she wants her young, handsome, rich & very married boss. Using her considerable - 1 might well-nigh say ostentatious - physical charms, Lillian lets few obstacles stand in her way for long. Later on all, she's THE Ruby-HEADED WOMAN, and she e'er gets her man...
Jean Harlow was a sensation in this immoral tale, which practically shouts its pre-Production Code status. This film solidified her stardom and helped ascertain her screen persona for generations of viewers to come. She not just had the looks, just she proved herself to be a fine actress, likewise.
While the plot revolves around Harlow, the rest of the cast behave themselves very well: Chester Morris, stern-jawed but very vulnerable every bit Jean'due south conquest; Leila Hyams, quietly sympathetic as Morris' wife; canny old Lewis Stone every bit Morris' father - ane of the few men able to see through Harlow's tricks; Henry Stephenson as a millionaire who falls easy prey to Harlow'due south wiles. The story is helped considerably by the addition of two tart-tongued character actresses, Una Merkel & May Robson, whose lively lines help spark the fun. That'south Charles Boyer, not quite still a star, as Jean's chauffeur/swain at the end of the story.
Flick mavens will recognize Henry Armetta in an uncredited bit every bit a comic waiter.
Detect that for all her outrageous behavior, Harlow's graphic symbol remains unpunished & unrepentant - a state of affairs non allowed a couple of years later with the adoption of the Code.
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eating up men in her search for riches
Wonderful pre-code picture show that races along with its amoral story equally Jean Harlow chases nearly eating upward 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 past an excellent cast who all seem to be enjoying themselves. I am indebted to another IMDb reviewer who points out that at the fourth dimension of original release united states were in depression and the coal bosses and their 'gild' 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 just wonder where things may have gone had the code non clamped down.
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Jean Harlow'southward Star Shines Bright in this Sexy Romp
Terrific pre-code film starring Jean Harlow every bit the "red-headed adult female" - a daughter from the wrong side of the tracks who uses her sexual activity entreatment to seduce rich men in an endeavor to ameliorate her social continuing (plus get ahold of their dough!). With her centre on her wealthy, handsome, happily married dominate (not to mention his photo pinned to her garter) she aggressively pursues him, every bit he does his very best to try and concord her off and keep his marriage intact. Simply fifty-fifty when she gets him, she can't end trying to get someone better (well, you lot know - richer, that is).
I dearest this picture show and I think Jean Harlow gives one of her best performances hither as she whines, baby talks, swings her hips, and uses her charms to get the man she wants. Una Merkel is appealing, every bit usual, as her sidekick/gal pal, constantly feigning daze over the sorted schemes of her scarlet-headed friend. I highly recommend seeing this one.
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Jean Harlow's reputation
For those, like myself, who heard about Jean Harlow before viewing whatever of her pictures, the expectation was to see a glamor daughter with somewhat limited performing skills, non different Marilyn Monroe at a later on time. Non to take anything abroad from Marilyn, merely Jean Harlow proved herself to be a very expert performer, an appealing combination of brazen sexuality and shameless manipulation, ever with a comic touch. While sometimes getting her comeuppance (and actualization 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, iii 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 take a chance: when Jean's pal Una Merkel suggests that she's aiming as well high this time, that her plans take no risk of success, Jean replies, "He'due south a man, isn't he?"
This is the prototypical Jean Harlow grapheme, done to the hilt by a very skilled performer who, in the terminal analysis, probably has more in common with Mae West than with Marilyn Monroe. If she played near the same grapheme in almost every picture, she wasn't the beginning to exercise and so. Her reputation every bit an actress deserves to be profoundly enhanced.
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Never trust a carmine-head
Harlow was nearly 21 years old when she made this film simply she certainly seems older. In existent life, she eloped at sixteen and didn't have much of an education. Her accent here is flimsy. Merely her white skin was perfect for the period's bright lights and irksome film. We run across and understand well her expressions.
This film shows garters and a surprising morality. The aureate-digger gets her gold, conniving and finagling all the way. It seems that a cute young woman, who confidently knows what she is, tin become 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 exercise we. It'southward fun to watch the story unfold.
The men are props simply acquit themselves well. Charles Boyer, accent and all, plays the plainly genuine love interest. Watch for the scene where his character is accused of having an affair with a adult female already having an matter. Just Boyer could get the right break before answering matter-of-factly. This was one of his first American films.
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From rags to riches
To me, it was very easy to see Jean Harlow's appeal. She had cracking comic timing, her wisecracks sizzling at their best, her looks were both sophisticated and daring and her later on vulnerability was easy to exist overjoyed 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 Adult female'south' manager Jack Conway that he understood what her strengths were and used them to total advantage.
Evident here in 'Ruby-red Headed Woman', the flick where her epitome and personality were properly established and connected to evolve in her later films. Is it i of Harlow'due south best? No. One of Conway's best? No. Does 'Red Headed Woman' practice either justice? Yes information technology does, and every bit an overall moving picture information technology is well worth watching providing that this is the sort of film that does anything for you. Actually similar to love many films from the 30s and many pre-code films are entertaining, which 'Red Headed Adult female' is definitely in my view.
'Reddish 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 function and doesn't have a lot of chemistry with Harlow.
Fortunately all the same, Harlow plays her amoral role (perhaps the most amoral and to the lowest degree likeable character of her career) with spunk and fire. May Robson and Lewis provide distinguished veteran support, especially Rock, and Charles Boyer amuses in an early relatively modest role. Harry Stephenson handles undignified situations with dignity and Leila Hyams is charming. Una Merkel is the biggest please though, she sizzles. Conway directs with a proficient amount of energy while the film is stylishly photographed.
Moreover, the script is sharp and taut with some very amusing 1-liners. Was amazed by its daring raciness, especially with Harlow. The story loses its way a bit in the latter stretches, simply is mostly zesty with some nice tension in the character interaction. While the ending could have been a piddling more rounded off, it was appreciated that information technology 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. seven/10
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Has to be seen to exist believed
Jean Harlow as a home-wrecker of the worst kind delivers her beginning great operation in Red-Headed Woman.All the men in her lives are pushovers easily manipulated by the films primal graphic symbol. Made before censorship came into effect in Hollywood, this movie is able to shock viewers even today.The greatest entertainment value of this flick is how naughty all the chief characters are.Sex is out in the open and immorality is the name of the game. Harlow seduces and wins Chester Morris.The sucker has non a chance and which man has when a cute woman pursues you.Henry Stephenson is quite expert equally the moral hypocritical businessman. Prissy to see him play such a function. Even a young Charles Boyer has a small important role in his Hollywood bow.The catastrophe is actually the biggest surprise.
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He'southward a homo, isn't he?
Warning: Spoilers
Lil(Jean Harlow), with gold digging on her mind, seduces her boss, Bill(Chester Morris), tearing his loving marriage to Irene(Leila Hyams)apart. She'due south a snake in the grass, she is. It's clear that when they get married, it is build on lust with a cracked foundation already, but suffers ultimately when she finds herself competing with Irene..and losing. You know the bad girl has to receive her comeuppance, but Lil merely seems to always find a way to land on her feet..or, umm, in that certain bed on her back. She attempts an adulterous relationship with Coal King Charlie Gaerste, but doesn't know that Bill, Sr. has discovered what she's been doing to his son behind Bill Jr.'south back. Charles Boyer has an early role as Albert, Charlie's chauffeur..and Lil's 3rd lover! Surprisingly edgy and naughty pre-code moving picture is very adult. The opening minute ought to tell yous all you need to know about how naughty this little sex one-act is. Harlow is an absolute hoot. This might exist hated past some because it pokes fun at adultery instead of beingness an indictment of it'southward ills.
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Ruby-Headed Woman
Alarm: Spoilers
Ruddy-Headed Woman is a 1932 film of the Pre-Code era based on a novel past Katherine Castor. Though originally developed equally a projection for Greta Garbo, the flick stars Jean Harlow as Lil "Red" Andrews, an unapologetic homewrecker who lacks "moral" sensibility. The sexually promiscuous Lil is adamant to rise upwardly the business concern ladder even if it means sleeping her way to the tiptop. Chester Morris stars as Lil'due south boss 'Bill'/'Willie' Legendre Jr. and is successfully seduced, manipulated with sexual practice and persuaded by the disobedient Lil to divorce his lovely wife, Irene, who's played by the sparkling envy blonde ingenue Leila Hyams. Hyams, an attractive and always likable extra, implies a noticeable beauty but in a warm and endearing way as the innocent wife. Lil before long grows bored of Pecker and plunges into an affair with a well-heeled businessman played past Henry Stephenson.
With marital infidelity; lots of implicit sex, violence, sadism and a plentiful of blank female flesh, Red-Headed Woman conforms absolutely to the description of the type of picture that just couldn't be made a few years afterward. Though far and broad from a great actress, Jean Harlow's overtly sexual portrayal and stubbornly persistent in wrongdoing is amongst one of her finest performances. Besides here is Una Merkel in her trademark wisecracking best friend of the heroine and in one of his primeval Hollywood roles, Charles Boyer as the French chauffeur. Crimson-Headed Adult female is a fast-paced, vulgar, humorous and excitingly appealing film that exemplifies the amusement Hollywood could offer earlier the angry and offended moralists and the Product Code dropped a cyberspace of censorship over the studios.
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Reds
tedg 29 January 2007
Watching this today will requite you lot a quite dissimilar impression than it gave its original audience.
Today we will run across a film with stiff sexual notions that we will note because such things all went abroad with the censors a yr later.
Nosotros'll see — and you can check it past the comments here — a story most a golddigger who uses sex to exploit i poor guy afterwards another. The sexy bitch here is Jean Harlowe in 1 of the roles that made her the template for Monroe, who is the one we remember. Today, nosotros might fifty-fifty notation that she isn't punished for her sins.
But the audience it was made for was deep in a depression. They would accept noted that the rich men in this story got their money through coal. They created nothing; they invented nothing. All they had was a government-backed act that said they could pull stuff out of the basis with virtual slaves and sell it. They are the victims every bit seen today where monopolists are celebrated. But in its time, these guys were fair targets. The "society" folks would take all been repulsive, and much of that carries over today.
Fifty-fifty though the kickoff guy seems likable plenty, its the violent sex activity that wins him over every time. Its only when he discovers she has moved on that he is able to break the spell. The fact that the story is different in a different context is incidental to my chief betoken, which is about redheads.
Now Jean and Marilyn were blonds, both artificially. Simply THIS movie starts with the character's new campaign to grab a rich husband. And to start, she dyes her blond hair blood-red. This interests me because I have a pocket-sized report of redheaded women in motion picture, how they are used and how we reason about them.
Its a relatively unproblematic thing to trace. My interest began when stumbling upon someone in a Disney character research lab who was tied to some spooky authorities enquiry I was sponsoring. Expect at the recent Disney animated women heroines. All but the Arabian princess are crimson. Now why is that? I am preparing a web site on this topic alone.
Anyway, if you are interested in this, Clara Bow was our first fully sexual pic woman and every moviegoer would have known she was red. Fifty-fifty though the films were black and white, the movie magazines tinted hair color. Red is easier to make look good with those dyes. And later you will meet the aforementioned effect with hair color and Technicolor. Judy was dyed red for Oz and St. Louis, for instance.
For some reason. Redheads were tied to overt sexuality and explosive tempers. Whether y'all think film makes or reflects club, you lot might find a visit to this movie interesting. And yes, the redhead wins against the monied doofuses.
Incidentally, if you follow how memes jump from motion picture to motion picture, scout this, then "The Unsinkable Molly Brown," for a redhead newly in monied social club in a small town, who wants a party and is snubbed.
Ted's Evaluation -- 3 of 3: Worth watching.
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The Dearest Diplomacy of a Sexy Ruby Haired Gilt Digger
In Renwood, the promiscuous and hot golf digger Lillian "Lil" (Jean Harlow) lives with her friend Sally (Una Merkel) in a poor neighborhood. She works for the Legendre Visitor with the only intention of seducing her dominate William "Neb" Legendre (Chester Morris). When his beloved married woman Irene "Rene" Legendre (Leila Hyams) travels to Cleveland with her Aunt Jane (May Robson), Lil takes his correspondence from his secretary and uses it as a pretext to go to his house. And then she uses sex to seduce Bill, but Rene unexpectedly returns home and finds them together. Lil succeeds in destroying Pecker'due south marriage and he divorces Rene and marries her.
When the powerful businessman of coal Charles B. Gaerste (Henry Stephenson) comes from New York to Renwood in a business organisation trip, Lil has a love affair with him. And then she travels solitary to New York and becomes his mistress. Simply Bill's father William "Will" Legendre (Lewis Stone) is not naive and plots a scheme to help his son.
"Red-Headed Woman" is an American one-act ahead of time, or Pre-Hays Lawmaking, the moral censorship guidelines that ruled Hollywood from 1930 to 1968. The plot is about the love affairs of a sexy and vulgar red haired gold digger. Jean Harlow is very funny in the role of an ambitious gilt digger. Charles Boyer has a pocket-size but too funny performance in the role of her lover Albert. My vote is 7.
Title (Brazil): "A Mulher Parisiense dos Cabelos de Fogo" ("The Burn Haired Parisian Woman")
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Seeing this film is an understanding of why the lawmaking came in.
Alert: Spoilers
Playing a truly scary sociopath, Jean Harlow gives ane of her greatest calculating performances as a tough golden digger who sets her heed on boss Chester Morris and is determined to win at every cost. Information technology's a good matter that Morris and his married woman Leila Hyams don't accept a immature daughter, otherwise they might discover a bunny boiling in their kitchen. Having lately prepare her sights on her boss, Harlow, not even his official secretarial assistant, shows up at his business firm when he'south sick to assistance him, and from there, he's putty in her hands. her actions become more and more obsessive, and she rants and raves and makes threats, eventually causing Morris and his married woman to divorce. Harlow really took a chance in playing a character so unsympathetic and sinister that she really gained the audience'southward attending from the outset. "So gentlemen prefer blondes" she says, mentioning a book written by screenwriter Anita Loos, and indeed, every bit a redheaded woman, she'south a walking time bomb.
Every element of this film promotes sin, fifty-fifty as information technology goes out of its way to testify how rotten Harlow is. it shows the fun side and a dangerous side, and she truly is astonishing even though she is a character that the audition would never similar to meet in person. Una Merkel gets some very good lines has Harlow'due south pal, and May Robson is very funny as her life loving aunt. in fact, the bandage of this movie is universally superb, and look for a cameo by star to exist Charles Boyer a few years earlier he became a household name. This moving-picture show, along with Warner Brother'southward Barbara Stanwyck precode drama "Baby Face", represents a different side of the American woman, struggling even so determined to make it out of poverty any way they tin can. it may not take a modern sensibility, just it is certainly a fun look back at how Hollywood used to call back.
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Amorality has never been so much fun!
Alert: Spoilers
Spoiler warning!!
Lil Andrews (Jean Harlow) is a working class gal with the ambition of Napoleon and the torso of...well...Jean Harlow. Lil wants to climb the ladder of success, and the starting time wrong on that ladder is mine-possessor Bill Legendre (Chester Morris). Pecker isn't much of a catch--he thinks with the footling head and is decumbent to wallowing in non very deeply felt remorse--but he does accept a couple of personality traits in his favor. He's very, very rich, and he'due south the local version of an blueblood. Before you know it, Neb is divorced and Lil'due south wearing Adrian and scooting around town in a snappy roadster with matching dog.
Lil figures out pretty darned quickly that the old domicile town isn't big plenty for her, then she hitches a ride on the nearest millionaire and hot-foots it to New York, a town that provides a trivial scope for her genius. Along the way she picks up a hunky French chauffeur (accessories are and then important) and finally loses patience with her wimp of a married man. He returns to his sexless wife, who seems to have nothing better to do than take him dorsum. (She couldn't have taken up quilting?) The unrepentant Lil moves on to bigger and better things. Crime may not pay...simply sex does, and Lil is a gal who knows how to make a turn a profit.
Cherry-red Headed Woman was Harlow's outset foray into comedy, and she'south a vulgar, brassy delight. The critics--previously unmoved past the Bombshell's charms--sabbatum upwards and took notice. Then did The People Who Want to Mind Your Business organization For You. This movie, along with several other naughty pre-code offerings, sent them into tailspins of moral outrage.
What chip the Guardians of Public Morality in the butt (and bit hard) was not so much Lil's success equally the spectacular failure, moral and personal, of her victims. They're a reprehensible agglomeration of wienies who richly deserve the treatment Lil gives them. Yous take to wonder how many of the Guardians saw themselves in Bill Legendre and were terribly afraid that others might make the aforementioned connexion. It's OK to be a wienie as long as no one else notices yous're clothing-gratuitous.
Harlow went on to brand the pre-code classics Red Dust and Bombshell before the Moralistas finally managed to clip her earthy wings. She made many films in her regrettably short career, but she'south never improve than she is in her pre-code days, and the pre-codes don't come any better than Red Headed Woman.
If you've never seen a Harlow motion picture, you're in for a treat. If y'all think Hollywood didn't know about sex until the 70s, yous're in for a surprise. Whether you're a Harlow neophyte or a veteran, Cherry-red Headed Woman is an amoral delight. Come across information technology.
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RED-HEADED Woman (Jack Conway, 1932) ***
Warning: Spoilers
This 1's similar to BABY Face (1933) in that star Jean Harlow – forsaking her traditional platinum blonde await for the titular hair color – uses sexual practice as her ladder into loftier gild. However, it lacks the onetime'south power: for ane thing, because we know naught of her character'due south groundwork (then that she comes off equally more of an egotistical "home wrecker", as her own companion Una Merkel calls her) and also because it basically treats the subject every bit a comedy (complete with a wink-at-the-audience fade-out). In fact, the original script submitted by F. Scott Fitzgerald(!) was subsequently reworked by Anita Loos – best-known for the play "Gentlemen Adopt Blondes" (at which she even throws a dig in the film's very opening line!).
It's interesting that the 3 titles in Warners' Pre-Code collection all emanate from different studios: their particular style is immediately recognizable – this being an MGM production, it's got none of the hard-hitting quality of Warners' BABY Face up or even the stylized (notwithstanding frail) Universal arroyo such as is evident in WATERLOO Bridge (1931). Rather it's merely glossy, gratuitously naughty (witness Harlow'due south fleeting nudity) and displays trivial cinematic inventiveness throughout!
While the spunky Harlow is undeniably alluring, her graphic symbol is so brazen and vulgar that it's hard to believe a level-headed businessman as Chester Morris could really opt to go out his gorgeous wife (perhaps Leila Hyams' all-time role) for her – even if Harlow's clearly non one to take no for an answer! The film does descend into high-strung melodrama towards the cease when Harlow, exposed for what she is, shoots Morris (only only manages to wound him).
The supporting bandage features established veterans May Robson (as Morris' aunt), Lewis Stone (equally his father) – both of whom are immediately suspicious of Harlow'south intentions – and Henry Stephenson (information technology was amusing to meet him involved in undignified situations, for once, as a business associate of Rock and Morris captivated by Harlow's wiles!). Also on mitt is Charles Boyer in an early Hollywood office every bit Stephenson's chauffeur: he promptly becomes Harlow's lover, and the hilarious photograph of the two kissing literally behind the back of his master/her husband is later given much coverage! There'due south even a delightful uncredited bit involving Henry Armetta (a much-used grapheme role player of the mean solar day noted for playing flustered Italians) – here, he'south a complicitous waiter whom Morris bribes in lodge to hush up a chance meeting with Harlow in a phone berth!
Past the fashion, this had been shown on local Television set several years ago but I didn't catch it – since, back then, I was unaware of the pic's 'risqué' reputation; I'yard glad that I was able to remedy this eventually because, while Carmine–HEADED Adult female is undoubtedly the least substantial of the 3 titles in this collection, it'due south easily the most enjoyable...
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Interesting, But A Bad Message
I almost gave up on this "soaper," but stuck with it and found it to be quite interesting. Jean Harlow stars equally a adult female trying to get ahead in the world by marrying her boss. Then, after condign a millionaire, she starts fooling effectually with a young guy. Yeah, the storyline's been used many times since just Harlow was always pretty interesting to picket.
The ending of this film does NOT give a good message (I don't desire to spoil it, but this gist of it is that immorality pays) and is some other example of why a morals' code was instituted for American films shortly after this. It'southward only a actually bad message, especially for younger girls.
On a personal note, I never understood why men fawned all over Harlow. In the picture show, she gets complimented by all the men on how beautiful she is....yet I don't see a lot of beauty. Is it just me? Bluntly, Una Merkel, who likewise is in this movie in her typical minor comedienne office, has a much prettier face.
Anyhow, the film exhibits how men can make real saps of themselves over a younger adult female, if sex is involved. Male child, own't that the truth!! They (we) can be manipulated so hands. In this regard, this movie reminded me a lot of a amend moving picture of the same period: Babe Face, starring Barbara Stanwyck.
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golden diggers of the era before the Hays Lawmaking
Jean Harlow oozes sensuality equally a woman from the incorrect side of the tracks who tries to become her dominate to claw upwards with her...and proceeds to take still More than affairs. "Blood-red-Headed Adult female" got made before the infamous Hays Code'southward institution, significant that it contains what had to be some of the nigh erotic things commercially filmed by that point (which means that information technology's merely PG in our era). Sure plenty, once the Hays Code came nearly, the movie got pulled from apportionment and wasn't shown again for years. A existent compassion, since it'south got some really funny stuff. In the 21st century, when nosotros can find all sorts of porn and crude sense of humour on the Internet, information technology'due south hard to believe that there was always a set of rules dictating what movies were immune to prove, just at that place was simply that. As e'er, the moralizers prevent people from having any fun.
Anyway, it'due south a pretty funny movie.
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Frightfully Blatant - the best!
I was captivated watching this, not merely is Harlow's interim superb, but its blatant overt sexuality jumps right off the screen. She'due south a shameless whore and home wrecker, always just on the border of losing control of her emotions and concrete desires, with a fate-be-damned attitude toward it all. The storyline was indeed shocking for its time, in fact, films like this one, right forth with Barabara Stanwyck'south Night NURSE and Infant FACE prove the reasons the Hayes Code came to exist in the outset place. This was way over the meridian, in-your-face immorality, something that Mae West but alluded to in her piece of work in a comic fashion. It'southward on my list of "all-time of" features in the pre-Hayes code era. Watch this one if you desire to be shocked and astounded! Simply a great picture show!
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Harlow = Sexual practice
Red-Headed Woman (1932)
*** (out of iv)
Jean Harlow plays a sexy slut who sets her optics on her moral believing boss (Chester Morris) in this racy pre-lawmaking. I've heard a lot nearly this film and all the hype surrounding it is certainly worthy and the film ends up living upwards to all my expectations. The sexual nature of the moving picture is bully and certainly amid the most racy of its flow. The dialogue or the director'southward willingness to shine the camera on Harlow's legs and breast throughout certainly makes this film memorable. Harlow is terrific in her part and really sells this slutty character. The way she seduces everyone is classic equally are her outburst scenes. The cat like voice she uses when information technology comes to seduction was besides very memorable. Morris is slap-up every bit well as the dimwitted husband who bites the apple only to find a worm. The supporting cast is terrific likewise and features May Robson, Lewis Rock, Una Merkle and Charles Boyer. The one thing I didn't like was the catastrophe, which I felt was a major cop out. I'm not sure if this catastrophe was forced on the studio but I think the fate of both Harlow and Morris was very cheap and too Hollywood dissimilar the rest of the film.
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Diamond Lil with cerise tresses
Warning: Spoilers
This pre-Code movie presents Jean Harlow with dyed tresses in another human being-snatching office to become alongside her others. Lil Andrews is amoral and attack taking rich men for what she tin get, starting with her dominate (played by chisel jawed Chester Morris), and moving on upward.
Given this was 1932, and only two years later things were about to alter, the Product Code would exist implemented, and films would become a lot more sanitised, 'Ruddy Headed Woman' is rather daring and leaves picayune to the imagination. There's a lot of spicy innuendo and some direct references to sex which would exist unthinkable a few years subsequently.
Una Merkel shines equally Lil's pal Sally, who follows her everywhere and views everything. And Charles Boyer is memorable in a little supporting role.
This film can be found as part of the DVD gear up 'Forbidden Hollywood, part one'.
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A Pre-Code movie with a perfect ending
Warning: Spoilers
This motion picture is highly reminiscent of BABY-FACE (1933), every bit both films are almost a sociopathic matriarch who uses sex to capture a rich "saccharide daddy". However, of the two films I definitely adopt Scarlet-HEADED WOMAN because Jean Harlow stayed true to her awful graphic symbol from get-go to finish AND in an unusual twist, information technology seems that being that horrible and conniving does pay off in the end!!! While sleazy "Pre-Code" films abounded in the early on 30s, this picture show is one of the few of them that doesn't have an awful ending that somehow implies that the path of righteousness is the best i subsequently all!
Now information technology was because of the morality of these sexy films that the Production Code was finally enforced. Infidelity, violence, incest and even nudity were pretty mutual in these early Hollywood films, though this was all just eliminated in 1935 with the new and improved Production Code that sought to clean up Hollywood'south equitably sleazy image. Bluntly, I have seen a bunch of these films and often they did go way also far--especially for general audiences (films did non receive ratings and kids often got to see these flicks). But on the other hand, many of them are so compelling you can't stop watching them precisely considering they are and so tawdry!!! These Pre-Lawmaking films were certainly Not boring and they kept your attention!!
Now back to Scarlet-HEADED Adult female.
Jean Harlow plays a conniving whore who decides she must have squeamish-guy Chester Morris as her husband considering he is so rich and powerful. Even so, he's already married, and then Jean spends much of the flick trying to destroy this marriage--which she ultimately does. Then, after marrying Morris, she is so insatiable in her appetite for both sex and power, that she makes a play for a much older and not particularly handsome Henry Stephenson. Normally Stephenson played a overnice and often fatherly sort of character in films, but here, like all the other men, he is not allowed to Harlow's brazen sexuality. He begins sleeping with her--non knowing she's also getting it on with her chauffeur, every bit Jean is sexually clamorous.
Unlike Barbara Stanwyck's evil character in BABY-FACE who is also a conniving whore, Jean is a true "nympho" and often uses lousy judgment in pursuit of passion and this leads to her undoing. At present here is where this film rises above the Stanwyck picture show, as like many real-life whores, Jean is never really punished for all her wickedness. When confronted for her many adulteries, she responds by shooting Morris and yet she gets away with it!! You see, in the very end, several years later on, she is seen in France with a rich onetime sugar daddy again--complete with race horse and chauffeured limo. This alley-cat obviously always lands on her feet!!
Equally maybe the ultimate and most entertaining example of Pre-Lawmaking backlog I can thing of, I strongly recommend this film,...just not for your kids. And, if you like this, try watching John Gilbert's DOWNSTAIRS--a movie that is very like merely stars a man as the conniving jerk instead.
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Harlow fantastic in this dark pre-Lawmaking classic
Warning: Spoilers
Red-Headed Adult female really epitomizes pre-Code Hollywood. Jean Harlow plays a gold-digger who seduces her boss (Chester Morris) and who will stop at nothing to break upward his marriage and climb her way to the summit. He tries to resist, but she makes it clear that she'southward available anytime and anywhere ("I'll be just what you lot want me to be"), and that no one will need to know. After getting her face slapped when he tries to break it off, she snaps "Do it again, I like it, practice it again!"; information technology's a scene that is both disturbing and erotic, equally she after very provocatively hides a cardinal down her blouse as he glowers from the door, trapped, and then advances on her equally the shot fades to black.
You may wonder why I like this pic despite the physical abuse Harlow suffers, when I hated other movies from this time period which show a woman getting slapped. In this case information technology's shown as the darker side of both characters. Harlow will submit herself to anything in her agony. Morris is hopelessly trapped between his conscience and his libido, and every bit his emotions boil over, gets violent. Their relationship is a sickness, and this is non sugarcoated or made to appear rosy or normal by the motion picture.
Harlow was 21 at the time and is fantastic – sexy, certain, but also great as drunk and great equally angry. Equally the film goes on her grapheme gets increasingly repugnant, as she moves from man to man, and in a surprise, begins an thing with the chauffeur besides. She is frustrated and humiliated when found out, merely in what was a shocking catastrophe but possible pre-Lawmaking, she's shown to be continuing on with some other rich sometime guy in Paris, unpunished (gasp).
The movie has elements of unguarded honesty – the seduction, the dilemma and overwhelming temptation Morris'due south character faces, and the liberty to express this ending – just likewise moments that are just over-the-peak male sex fantasy, bordering on misogyny. Harlow was an emerging sex symbol and bated from showing off her body, has lines from the beginning that make it clear she's a 'bad girl' – for example, after asking 'Can you see through this' nearly a apparel and existence told yes, saying she'll habiliment information technology. Information technology'southward a pretty uncomplicated story and far from profound, simply it moves right along in its 79 minutes, was fun to watch, and reminds us of some truths between men and women that are eternal.
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The Height -- Or Depth -- Of Pre-Code
Warners and MGM seemed to exist in a competition as to who could brand the raunchiest movie and get away with it. Warner'southward BABY Face wins because, despite the language and innuendo here, Stanwyck shows more, does more, and enjoys more in her pre-lawmaking masterpiece than Harlow; MGM might talk a adept game, and have Anita Loos to write the words "Hit me again, I like it", merely Stanwyck lets u.s. know how tough she is by being smarter about it, by knowing that everyone cheats to win, and never expects anyone to play past the rules.
Not that Harlow is any slouch, particularly every bit this picture is a comedy, and her craftiness is tempered with stupidity; having won a victory, she thinks she has won the war of the sexes. She'southward practiced as a comedienne for the same actors who play villains regularly are. No 1 thinks of himself as a sex god or goddess, and people who play villains know it is all an act, and the two-backed beast, as Iago noted, is the silliest looking affair around.
Therein lies the hypocrisy of the moralists who decried movies like this. Their reasoning seems to have been that without movies like this to instruct them, no adult female would think about sleeping her manner to the top; and that having washed so, her destruction would not eventuate. Collette would disagree.
It certainly doesn't that Henry Stephenson is then good in this movie, and Una Merkel as Harlow's every bit impaired friend is the perfect pre-lawmaking companion. This one is no masterpiece, but it's practiced, unclean fun.
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Wickedly fun, sexy Harlow
Warning: Spoilers
This was a wonderful surprise.
***Spoiler Alert***
Clearly one of the reasons the Hollywood production lawmaking was put into identify. Total of sexuality, and double entrendres as well as a lilliputian bit of Southward&Thou. Something for everyone.
Harlow, in ane of her kickoff real comedic roles, is wonderful equally Lillian a girl from "the wrong side of the tracks" who has eyes for her boss. The residual of the film is how she uses men to go what she wants, namely a good name and money. Her graphic symbol is shallow equally hell, merely, God is she beautiful. She looks better every bit a redhead than as a platinum blonde.
The supporting cast is first rate.. Lewis Stone, Una Merkel, Leila Hyams and Henry Stephenson all offer tiptop notch support. Chester Morris is surprisingly "natural" in his performance. And watch for Charles Boyer in a modest part (1 of the funniest scenes involves photographs, one of which shows Boyer, in his chauffer'southward uniform, lying on the beach).
The ending is awkwardly done, simply information technology kind of makes sense.
8 out of x
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Jean Harlow... Yep
Lillian Andrews (Jean Harlow) works for the Legendre Company and causes Bill to divorce Irene and ally her. She has an thing with man of affairs Gaerste and uses him to strength society to pay attention to her. She has another thing with the chauffeur Albert.
While the lead character hither is non quite every bit promiscuous or cunning as Barbara Stanwyck was in "Babe Face", the controversial nature remains much the same: a adult female who sleeps around in social club to move herself upward the food chain.
I think what was virtually agreeable about this film is that information technology was called "Red-Headed Woman" but is in black and white. I have no idea if Harlow actually had blood-red hair in this picture or non.
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