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Woman's World

Woman's World

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Woman’s World  Needing to fill the position of general manager of his company, and believing that an executive’s wife is crucial to her husband’s success, auto industry mogul Gifford brings three couples to New York to size up: Jerry and Carol: he hard-driven and self-reliant, she willing to use her beauty to further her husband’s career; Sid and Elizabeth, he ulcer-ridden and torn between achieving success and restoring their troubled marriage, she positive that his job will kill him, but gamely agreeing to play the good wife for the duration; and down-to-earth Bill, whose good-natured Katie fears that his promotion would spell the end of their idyllic familiy existence.

User Reviews

A simply and great ’50s comedy

Woman’s World it’s one of the most underrated (and forgotten) comedies made in Hollywood during the 1950s. And personally I found it very funny and the plot kept me interested troughout the movie.

Three men aspire for a promotion in a car company, and the president (Webb) decides that each is fit for the job, but his decision will be based on their wives. Bill (Wilde) and Katie (Allyson) care about each other too much, Sid (MacMurray) and Elizabeth (Bacall) fight constantly as he is a workaholic, and Jerry (Heflin) and Carol (Dahl) seem to want the job no matter what it takes, and Carol lets herself more free from her husband, letting him take the job.

This movie is directed by Jean Negulesco, fresh from the success of ”How to Marry a Milionaire”, and the cast is top-notch. Cornel Wilde and June Allyson are awesome, and Allyson’s character was so funny and goofy; Lauren Bacall and Fred MacMurray are as always excellent, and Van Heflin and Arlene Dahl were also funny, especially Arlene as a mischievous wife. And Clifton Webb did also a fine job here. I loved it very much and Woman’s World it’s nothing revolutionary, but only funny and likeable.

What a Time Capsule

Slick, superficial CinemaScope stuff from Hollywood’s early-’50s panic attack: How ya gonna keep ’em down at the flicks after they’ve seen TV? Fox tried to with big screens, splashy colors, and half a dozen or so stars crammed into one entertaining soap-opera premise. There’s no cinema-making genius going on here, but the movie is overwhelmingly entertaining, both for its look and its morality. A consumerist’s paradise, it’s so stuffed with cars and gowns and doodads that you’re seized with an overwhelming urge to go shopping after you’ve seen it. (The cars, in particular, are ’50s-futurists designs from Ford/Lincoln/Mercury, and they’re knockouts.) And the morality is so utterly of its time: The onscreen drinking and smoking are nonstop, the gender premises (men seek power, women seek men) are unquestioned, and the subtext is clearly that money and power are fine, but holding on to your man is what really counts. And to do that, you’d better learn to be a dear little klutzy wifey like June Allyson instead of a calculating harlot like Arlene Dahl. Of the women, Allyson’s wife-waif act becomes monotonous, and while Dahl is luscious to look at and seems to be in on the joke of how one-note her character is, she’s not really much of an actress. So Bacall, her crisp-sophisticate act honed to a fine sharpness, comes off best by default. The men are all OK, but New York is the real star.

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