RED-HEADED WOMAN (1932)

Largely thanks to Anita Loos, a writer with a film heritage running back to INTOLERANCE/’16 and the Pop cultural imprimatur of GENTLEMEN PREFER BLONDES, even stuffy M-G-M was able to locate Jean Harlow’s sexy sweet spot in only her second assignment at the studio. Hilarious and appalling (or is it hilariously appalling), Harlow’s a company secretary with an eye (and her hands) on the boss, square-jawed Chester Morris, who hasn’t a chance. Refusing to take NO for an answer, she doesn’t suggest an affair, but dives right in. (Neatly realized by director Jack Conway in a tight phone booth clinch.) Then parlays one success as stepping stone to bigger things. Fortitude and outrage, a bracing combination for immoral gain, and few had Harlow’s gift at getting away with so much bad behavior while retaining rooting interest. Though she gets awfully close to the line when she puts on that baby voice to heighten the corrupted beauty. Many would rather be shot at. (Harlow’s prepared for that, too!) And as punishment for her sins? You’re kidding, right? More like a fresh Sugar Daddy and that devastatingly seductive chauffeur sitting up front, Charles Boyer making a quick Hollywood stop for a trio of cameo appearances a few years before coming to stay.

DOUBLE-BILL/LINK: The same year, Loos gifted Marion Davies with the best role of her career in the well-observed backstager BLONDIE OF THE FOLLIES.  https://maksquibs.blogspot.com/2019/09/blondie-of-follies-1932.html

SCREWY THOUGHT OF THE DAY: Except in its lightest shade, red hair photographed very dark, more black than brown on B&W film stock. Natural red heads had to lighten up for the movies. Hence this Austrian poster for RED-HEADED WOMAN.