The Women (1939)
Directed by George Cukor
A happily married woman lets her catty friends talk her into divorce when her husband strays.
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What critics compared The Women to
The sheer accumulated anticipatory goodwill of the audience is almost enough to carry the first hour of the film, and King has sated appetites with come-hither shots of Manhattan at its creamiest, funny cameos by some of Broadway’s most employed thespians, and a plethora of fashion parades—the hundreds of outfits sported by the four leads make this the most couture-heavy movie since the great days of Norma Shearer in Riptide and The Women.
Although it does not altogether exclude men from the screen, in the manner of George Cukor’s The Women (1939), it portrays a world from which men are either absent (Carrie’s [Sissy Spacek] father abandoned his family, Sue Snell’s [Amy Irving] father is never mentioned), or relegated to the periphery as awkward headmasters and ineffectual boyfriends, manipulated by the women.
The tagline for George Cukor’s 1939 classic The Women , which notably featured no members of the male species on screen, read “It’s All About Men!” The same sentiment cannot be said for Alex Garland’s third feature, suggesting a diametrically opposed gender zone with Men —-and it really is focused on the crushing, suffocating imposition exacted upon women as told through a metaphorical folk horror film.
From there on, Bridesmaids is pretty much a sinus-clearing remake of George Cukor's 1939 bitchfest The Women , minus the fascinators and handicapped mildly by the need to make its way, however unsteadily, toward a sunny ending.