Red-Headed Woman

Films in Focus

By Ed Garea

Red-Headed Woman (MGM, 1932) – Director: Jack Conway. Writers: Anita Loos (s/p), Katharine Brush (book). Stars: Jean Harlow, Chester Morris, Lewis Stone, Leila Hyams, Una Merkel, Henry Stephenson, May Robson, Charles Boyer, Harvey Clark, William Pawley & Albert Conti. B&W, 79 minutes.

If I had to choose one film that embodies the spirit of the Pre-Code era, this would be the one, especially as it pertains to women. In other Pre-Code movies, women are allowed to go out and sow some wild oats, but must always realize the error of their ways and return to the fold (The Divorcee, Let Us Be Gay, A Free Soul, Female). Even in Barbara Stanwyck’s notorious Baby Face(1933) she realizes the “error” of her ways at the end. 

Not so with Red-Headed Woman. Jean Harlow’s Lil “Red” Andrews not only gets away with it, she has no attacks of conscience along the way. Lil is single-minded and determined throughout the movie, which makes for a refreshing change thanks to writer Anita Loos, who saved the movie from becoming a dull mediocrity as originally adapted by F. Scott Fitzgerald.

In March 1931 publishers Farrar and Rinehart released Red-Headed Woman, a novel written by Katherine Brush, famed for her depictions of “wicked ladies,” playing on the popular conception that red hair on a woman was the sign of a wild spirit and a freewheeling, often aggressive sexuality. It was the same in the movies, as redheads were often portrayed as femme fatales with loose morals and dangerous intentions. (Clara Bow rode to popularity on such a character.) Though the book was not a great piece of literature (I read it), it was very popular with women and MGM bought the rights to it.

Now that they had the novel, the next problem was a script. Thalberg assigned the script to F. Scott Fitzgerald, but what he turned in was not what Thalberg wanted (“Scott tried to turn the silly book into a tone poem!’) At this point Thalberg brought in one of his favorite script doctors, Anita Loos, for a total rewrite. Loos, famous for the novel Gentlemen Prefer Blondes, saw the dark comedic aspects of the book and tailored her script accordingly. 

The next task was to find an actress for the lead role of Lil Andrews. It was originally bought as a vehicle for Greta Garbo, but after reading Loos’ revised script, Thalberg saw that it wouldn’t be suitable for her. It was then offered around, but because of the novel’s trashy nature, many turned it down, including Clara Bow, Colleen Moore and Joan Crawford. Other less-established actresses such as Wynne Gibson, Dixie Lee and Alice White, seeing the potential star-making quality of the role, auditioned. 

But the part was won by an up and coming actress named Jean Harlow. Harlow, despite her image as a blonde bombshell and reputation as a horrible actress, had two important things going for her. One was that the quality of her acting improved greatly since coming to MGM, including in excellent performance in MGM’s Beast of the City (released in February 1932). The other, and even more important, was the backing of producer Paul Bern, who later married his protege shortly after filming was completed, with tragic results. Harlow was willing to take on the role and Bern, with help from Loos (who structured her script around Harlow), convinced Thalberg she was right for the film. He also acted as producer to keep an eye on his protege.

For a director, Jack Conway, known as a house director (he shot what the producer wanted) was chosen. He had 20 years experience as a director and was excellent working with actors, which was important with Harlow starring.

Thalberg knew going in that the biggest problem he would face would be the censors. Motion Picture Producers and Directors of America (MPPDA) President Will Hays, saw its lead character, Lil Andrews, as no more than “a common little tart” and an “out-and-out harlot.” For Hays, the film presented “a very grave problem.” And Hays’ concern would be mild compared to the various state boards, who would surely disembowel the picture. Thalberg decided to go ahead with filming and deal with the censors later. The movie had the promise of a blockbuster.

After filming was completed, the picture was run at a sneak preview. It was decided that the original opening, with Lil in full attack mode, was too jarring. Loos penned three short scenes as an introduction that lessened the shock and emphasized the comedic aspects. First we have the opening in the beauty parlor, then Harlow picking out her outfit. For a capper came the short scene with Lil placing a picture of Bill Legrande in her garter as she says, “The boss’s picture. Well, it will get me more there then it will hanging on the wall.”

With the film’s shock value somewhat softened, Thalberg next dealt with the Hays Office. All in all, 17 cuts were agreed to, including several scenes in which Harlow was partially undressed or making obvious sexual advances.    

Jason Joy, who headed the Studio Relations Committee for Hays, test-screened Red-Headed Woman for an audience. Noting that the audience loved it, he reported to Hays that, “When we saw the picture with an audience we got a definite impression that the audience was laughing at the girl.” He also noted that when seen with an audience the film came off so farcical that, despite his initial reservations, it was not contrary to the Code. Because of the audience reaction, Joy persuaded Hays to pass Red-Headed Woman.

The film opens with Lil “Red” Andrews (Harlow) at the beauty parlor, having just had her locks dyed red (in reality she wore a red wig). “So gentlemen prefer blondes, do they?” she says to the camera. “Yes they do.”

After buying a reveling outfit, Lil has one more task. She places a photo of her boss, Bill Legrande (Morris) in her garter. Bill is happily married to a woman he describes as his “best friend,” with whom he grew up Bill and the leading citizen in the small town of Renwood, Ohio. But Lil has her set and nothing will deter her, including the admonishments of roommate, Sally (Merkel), to whom Lil explains her plan.

Knowing Bill’s wife Irene (Hyams) is out of town, Lil bluffs her way into the Legrande household on the pretext of helping the boss work late. When she starts coming on strong, Bill asks her to leave, but weakens when he sees his picture on her garter. Just as they start to become more familiar, Irene comes home and Lil quickly leaves. An embarrassed Bill tells his wife that nothing has happened,and promises never to see Lil again. 

But Lil isn’t so easily deterred, and continues to pursue Bill. Now at his wits’ end, he goes to Lil’s apartment to confront her. In one of the movie’s strongest scenes he loses control and slaps Lil, whose only response is, “Do it again, I like it! Do it again!” Bill’s resistance is at an end.

Now Mrs. Bill Legrande, Lil finds it’s not all roses and garlands. Her entree to Renwood society has been blocked by the leading citizens, who side with Irene. Though she continues to scheme, nothing is working. She sees an opportunity, however, when Charles Gaerste (Stephenson) one of the Legendres' biggest business connections, comes to town. After he turns down her dinner invitation, she visits him in his hotel room, seduces him, and uses his indiscretion to blackmail him into hosting a party at her home, knowing that Renwood society will be sure to turn out.

It seems everything is going splendidly at the party until Sally points out that the guests, who had left early “to rest up for a big charity function the next morning,” are going across the street to Irene’s house. Lil hits the roof, and in one of the film’s funniest scenes, storms across the street to berate her former guests. “I’m through with the whole cheap hypocritical gang of you,” she declares, as Bill carries her away like a misbehaving brat to the delight of there partygoers, who are firmly on the side of the aggrieved Irene.   

Finally, it’s Bill’s father, Legrande Sr. (Stone) who rids Bill and the town of Lil. Discovering that Lil is having an affair with Gaerste, he decides to dump Lil into Gaerste’s arms by financing her trip to New York. In New York, Lil uses the same tricks to rope in the older Gaerste that she used on Bill, and Gaerste, being a bachelor, falls easily. Lil has Gaerste and is now involved in an affair with his chauffeur Albert (Boyer) on the side. 

As time passes, Bill gets in a little revenge of his own when he shows Gaerste incriminating photos of Lil and Albert cheating behind Gaerste’s back; photos that Bill said he hired a private detective to take for his upcoming divorce from Lil. Gaerste, humiliated, discharges Albert and tells him to take Lil with him. Albert returns to France, but Lil, desperate, wires Bill that she is coming home. Once back in Renwood she finds to her displeasure that Bill has moved to his father's house and has started seeing Irene again. 

Legendre Sr. offers Lil a check for $500 to leave town, but she runs after Bill, who is driving away with Irene, and shoots him, causing his car to crash. Bill recovers from his wounds and refuses to prosecute Lil, who flees town. 

It’s now two years later. Bill and Irene have remarried and are vacationing in Paris, where they go to the races. When Bill peers through his binoculars at the winning horse, who does he see in the winner’s circle accepting the trophy but Lil? We learn that Lil has landed in Paris and has become the mistress of a wealthy older man. As the couple leave in a limousine Lil tells the chauffeur to drive home. As the scene expands we recognize the chauffeur as Albert. 

Afterwords

From start to finish Harlow dominates the film and she is simply wonderful in the role. In her hands, Lil Andrews goes from being a mere tawdry tart to an anti-heroine of sorts. Harlow has made her human, and as the picture unfolds, one can’t help but root for her. Her childlike “Beeeeww” when she wants Bill’s attention is precious and adds loads to her manipulative image. Much of the credit for Harlow’s performance belongs to Loos, who molded the character to the Harlow’s personality, allowing her to act as an exaggerated version of herself. And even though the picture was n to yet re3leased, MGM, noting the strength of her performance, signed her on April 20, 1932 to the standard seven-year deal with a salary beginning at $1,250 per week.

Chester Morris, as the object of her “affections,” provides adequate support, as does Henry Stephenson as her next victim. Una Markel is good in her usual role as the sidekick. (She and Harlow made four pictures together and Una was always the sidekick.) And Lewis Stone makes the most of his small role as Legrande’s father and the moral arbiter of the film. (Is it any wonder he fit so well into the Hardy Family series as just such a moral arbiter?) 

It may surprise some who are watching it for the first time to see a young Charles Boyer in the cast. At the time he was on a six-month option to the studio, but MGM didn't know how to use him. Their complaint was that his accent was too thick to be understood. With only a couple of weeks left on his option, they put him in the picture and dropped him after filming was completed. However, in previews, the studio saw so many raves in the comments from female viewers that Boyer was called back from Paris and offered a contract at ten times the rate he had been paid on option.     

Despite the approval from the Hays Office, several state and local censorship boards throughout the United States and Canada demanded additional cuts before the film was accepted for distribution. Massachusetts and Pennsylvania cut most of the scenes of Lil's romance with Albert while Ohio cut the entire unapologetic ending. England banned the film altogether until 1965, but it was reported that the royal family had their own personal copy for entertaining dinner guests.  

However, while the censors were cool about the movie, critics and the public certainly were not. Critics praised both the film and Harlow’s performance, though some added the rider that they couldn’t quite believe what they were seeing. Typical of their praise was this review from the September 1932 edition of Screenland: “The film follows Katherine Brush's novel with satirical improvements by Anita Loos, who, fed up with blondes, gives red-headed women their due … See this for sheer amusement. Jean plays a mean part so cleverly that you can't help liking this wild red-headed woman.” As for the public, the film was a smash, returning a profit of nearly $400,000. MGM was so impressed that they quickly moved Harlow in the co-starring role opposite Clark Gable in Red Dust (1932) and she continued to be a box-office attraction until her untimely death at the age of only 26 in 1937.