There's one very significantly unique thing about "Female," but it's not what many viewers seem to think. This 1933 comedy drama is about what some call "roll reversal." While not very common before the mid-20th century, there have been examples of role reversals among men and women throughout American history. There were even other movies made about successful business women back then. By the late 20th century, of course, women had proved their mettle beyond a doubt in the business world. And, as movies have shown, some women could be as hard-nosed or hard as nails, as is Ruth Chatterton's Alison Drake in this film.
No -- what is especially unique about this film is that it portrays the hard-as-nails lady boss also as a predator. There haven't even been many films made that show such characters among male business mongrels. And, even before the 21st century, society hardly viewed adults who coerced others for sexual purposes as predators. In the past, that was referred to in other terms. Growing up in the mid-20th century, one often heard or read stories about Hollywood bosses who elicited "sexual favors" from actresses to enhance their film careers. More predator revelations have come in the 21st century - not only in the film industry, but in the news and related media fields as well.
This film has a fine cast, with Chatterton especially giving a very good performance. The most interesting character, who's role inclusion is never really made plain, is Pettigrew, played by Ferdinand Gottschalk. Perhaps he is meant to represent a discombobulated conscience or an alter ego for Alison Drake. The performances, though, of the young men in Drake's company who become her victims seem bland and not very real. Considering the time of the film, one would imagine them either bolting - leaving the scene, or jumping right in. The hesitancy of the young men seems to make awkward moments in the filming of the story.
The plot for this film might have continued with Drake going into old age and never marrying. Instead, it has her falling in love and eventually changing. George Brent plays Jim Thorne, the man Drake falls for. Thorne seems to represent the everyman in real life then who had ideas, products, inventions that they earnestly wanted to pursue. Many movies have been made based on such stories. Some men, as Thorne, place great stock in being able to get ahead. Where that clashes with Drake in this film, is where it starts to turn into a romance.
It's always tempting, it seems to me, to project one's modern sensibilities or modern mores onto stories of the past. When one does that, it often blurs the picture of the reality of the past that is being portrayed. The roles of gender over time have changed. And with them, the views and feelings of society. That will always be so. When this movie was made, the predominant objective of the vast majority of people - female and male - was to get married and raise a family.
So, it's understandable how this film would make a turn in that direction. Most, but not all comedy films of the period ended with romance fulfilled. And, that also says something about the prevalent understanding of the time, that real happiness didn't come from business or worldly success, but from love, companionship and family.
Still, at least one other reviewer has noted, this film could have been a different and more interesting story had Alison Drake not fallen in love, or not been able to win her man, and not changed her persona. That would have shown a very different ending. Alison Drake might have been a female version of Lionel Barrymore's Mr. Potter from "It's a Wonderful Life."
Hollywood and the movie industries of European countries made many films about gold diggers, gigolos, hookers, and high-class bordellos, especially before the Mid-20th century. But there seems to be something particularly unsavory about gigolos in the movies I've seen. And, when Alison Drake tries to make her young male employees into gigolos for a day or a week, they seem more pitiable and pathetic than those who ply the trade professionally.
This is an interesting film with a story that was much more unusual for its day than it probably is in modern times.
Here are some favorite lines of dialog.
Alison Drake, "Don't be absurd. You're being old-fashioned." Jim Thorne, "Is it old-fashioned to want to be decent?"
Jim Thorne, "I suppose you think you're too superior for marriage... and love... and children. The things that women were born for."
Jim Thorne, "Say, who do you think you are? Are you so drunk with your own importance you think you can make your own rules? Well, you're a fake. You've been playing this part so long, you've begun to believe it. The great super woman. Cracking her whip and making these poor fools jump around. You and your new freedom. Why, if you weren't so pathetic you'd be funny."
Jim Thorne, "But the laugh's on me. Offering a marriage license to a pick-up."
No -- what is especially unique about this film is that it portrays the hard-as-nails lady boss also as a predator. There haven't even been many films made that show such characters among male business mongrels. And, even before the 21st century, society hardly viewed adults who coerced others for sexual purposes as predators. In the past, that was referred to in other terms. Growing up in the mid-20th century, one often heard or read stories about Hollywood bosses who elicited "sexual favors" from actresses to enhance their film careers. More predator revelations have come in the 21st century - not only in the film industry, but in the news and related media fields as well.
This film has a fine cast, with Chatterton especially giving a very good performance. The most interesting character, who's role inclusion is never really made plain, is Pettigrew, played by Ferdinand Gottschalk. Perhaps he is meant to represent a discombobulated conscience or an alter ego for Alison Drake. The performances, though, of the young men in Drake's company who become her victims seem bland and not very real. Considering the time of the film, one would imagine them either bolting - leaving the scene, or jumping right in. The hesitancy of the young men seems to make awkward moments in the filming of the story.
The plot for this film might have continued with Drake going into old age and never marrying. Instead, it has her falling in love and eventually changing. George Brent plays Jim Thorne, the man Drake falls for. Thorne seems to represent the everyman in real life then who had ideas, products, inventions that they earnestly wanted to pursue. Many movies have been made based on such stories. Some men, as Thorne, place great stock in being able to get ahead. Where that clashes with Drake in this film, is where it starts to turn into a romance.
It's always tempting, it seems to me, to project one's modern sensibilities or modern mores onto stories of the past. When one does that, it often blurs the picture of the reality of the past that is being portrayed. The roles of gender over time have changed. And with them, the views and feelings of society. That will always be so. When this movie was made, the predominant objective of the vast majority of people - female and male - was to get married and raise a family.
So, it's understandable how this film would make a turn in that direction. Most, but not all comedy films of the period ended with romance fulfilled. And, that also says something about the prevalent understanding of the time, that real happiness didn't come from business or worldly success, but from love, companionship and family.
Still, at least one other reviewer has noted, this film could have been a different and more interesting story had Alison Drake not fallen in love, or not been able to win her man, and not changed her persona. That would have shown a very different ending. Alison Drake might have been a female version of Lionel Barrymore's Mr. Potter from "It's a Wonderful Life."
Hollywood and the movie industries of European countries made many films about gold diggers, gigolos, hookers, and high-class bordellos, especially before the Mid-20th century. But there seems to be something particularly unsavory about gigolos in the movies I've seen. And, when Alison Drake tries to make her young male employees into gigolos for a day or a week, they seem more pitiable and pathetic than those who ply the trade professionally.
This is an interesting film with a story that was much more unusual for its day than it probably is in modern times.
Here are some favorite lines of dialog.
Alison Drake, "Don't be absurd. You're being old-fashioned." Jim Thorne, "Is it old-fashioned to want to be decent?"
Jim Thorne, "I suppose you think you're too superior for marriage... and love... and children. The things that women were born for."
Jim Thorne, "Say, who do you think you are? Are you so drunk with your own importance you think you can make your own rules? Well, you're a fake. You've been playing this part so long, you've begun to believe it. The great super woman. Cracking her whip and making these poor fools jump around. You and your new freedom. Why, if you weren't so pathetic you'd be funny."
Jim Thorne, "But the laugh's on me. Offering a marriage license to a pick-up."