This one’s similar to BABY FACE (1933) in that star Jean Harlow – forsaking her traditional platinum blonde look for the titular hair color – uses sex as her ladder into high society. However, it lacks the former’s power: for one thing, because we know nothing of her character’s background (so that she comes off as more of an egotistical “home wrecker”, as her own companion Una Merkel calls her) and also because it basically treats the subject as 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 Prefer 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 or even the stylized (yet delicate) Universal approach such as is evident in WATERLOO BRIDGE (1931). Rather it’s merely glossy, gratuitously naughty (witness Harlow’s fleeting nudity) and displays little cinematic inventiveness throughout!
While the spunky Harlow is undeniably alluring, her character is so brazen and vulgar that it’s hard to believe a level-headed businessman as Chester Morris could really opt to leave his gorgeous wife (perhaps Leila Hyams’ best role) for her – even if Harlow’s clearly not one to take no for an answer! The film does descend into high-strung melodrama towards the end when Harlow, exposed for what she is, shoots Morris (but only manages to wound him).
The supporting cast features established veterans May Robson (as Morris’ aunt), Lewis Stone (as his father) – both of whom are immediately suspicious of Harlow’s intentions – and Henry Stephenson (it was amusing to see him involved in undignified situations, for once, as a business associate of Stone and Morris captivated by Harlow’s wiles!). Also on hand is Charles Boyer in an early Hollywood role as Stephenson’s chauffeur: he promptly becomes Harlow’s lover, and the hilarious photo of the two kissing literally behind the back of his master/her husband is subsequently given much coverage! There’s even a delightful uncredited bit involving Henry Armetta (a much-used character actor of the day noted for playing flustered Italians) – here, he’s a complicitous waiter whom Morris bribes in order to hush up a chance meeting with Harlow in a phone booth!
By the way, this had been shown on local TV several years ago but I didn’t catch it – since, back then, I was unaware of the film’s ‘risqué’ reputation; I’m glad that I was able to remedy this eventually because, while RED–HEADED WOMAN is undoubtedly the least substantial of the 3 titles in this collection, it’s easily the most enjoyable...
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 or even the stylized (yet delicate) Universal approach such as is evident in WATERLOO BRIDGE (1931). Rather it’s merely glossy, gratuitously naughty (witness Harlow’s fleeting nudity) and displays little cinematic inventiveness throughout!
While the spunky Harlow is undeniably alluring, her character is so brazen and vulgar that it’s hard to believe a level-headed businessman as Chester Morris could really opt to leave his gorgeous wife (perhaps Leila Hyams’ best role) for her – even if Harlow’s clearly not one to take no for an answer! The film does descend into high-strung melodrama towards the end when Harlow, exposed for what she is, shoots Morris (but only manages to wound him).
The supporting cast features established veterans May Robson (as Morris’ aunt), Lewis Stone (as his father) – both of whom are immediately suspicious of Harlow’s intentions – and Henry Stephenson (it was amusing to see him involved in undignified situations, for once, as a business associate of Stone and Morris captivated by Harlow’s wiles!). Also on hand is Charles Boyer in an early Hollywood role as Stephenson’s chauffeur: he promptly becomes Harlow’s lover, and the hilarious photo of the two kissing literally behind the back of his master/her husband is subsequently given much coverage! There’s even a delightful uncredited bit involving Henry Armetta (a much-used character actor of the day noted for playing flustered Italians) – here, he’s a complicitous waiter whom Morris bribes in order to hush up a chance meeting with Harlow in a phone booth!
By the way, this had been shown on local TV several years ago but I didn’t catch it – since, back then, I was unaware of the film’s ‘risqué’ reputation; I’m glad that I was able to remedy this eventually because, while RED–HEADED WOMAN is undoubtedly the least substantial of the 3 titles in this collection, it’s easily the most enjoyable...