The Women: An Old-Fashioned Hollywood Movie

There is also something to be said for durability, or the resonance, of a pop-culture artifact in the corporal conscious or unconscious, and motion pictures as a real(a) medium easily shared and distributed are uniquely adapted to claim durability.

In 1939, Ameri send away popular culture receive a bounty of motion pictures, both comedy and drama, from what is oftentimes c all(prenominal)ed the "Hollywood dream factory" that continue to resonate in the nation's collective spirit as four-star classics: Gone With the Wind, Wuthering Heights, Beau Geste, The wizardly of Oz, Stagecoach, Dark Victory, Ninotchka, Union Pacific, Drums Along the Mohawk, Intermezzo, Mr. Smith Goes to Washington, Young Mr. Lincoln, Goodbye, Mr. Chips, Gunga Din. " workforce down, it was the best year in the movies," declared Life snip in a 1989 50-year-anniversary issue devoted to Hollywood's 1939 output.

The Women, an adaptation of Clare stall Luce's play directed by George Cukor and featuring a star-studded cast, was part of the 1939 growth line. At a time when star power was fitting to Hollywood, Hollywood was equal to glamour, and glamour was a core immersion of popular culture, The Women presented the American masses with a lush glance into high-society glamour--along with an arch and apparently knowing look through its stool entrances. As both play and movie The Women was dis

Lewis, T. (2004, September). Literature v. trivia. The New Criterion, 23, 71.

Nevada is another situation/ nip that determines bodily process and highlights motive--thus the cat fight in Nevada. It is in Nevada that Mary's consciousness shifts and she begins, haltingly, to come to terms with the fact of the separation. Equally, however, noble as she is, she sees Sylvia in full clarity, oft preferring Miriam as a true friend. And she does what she can to help Peggy find a way to save her marriage. Meanwhile, Nevada exhibits a rawness and authenticity that are alien to New York society.

Lucy's account of her abusive marriage is shocking on its face--but it reveals nothing so much as the consistency of female acquiescence in the enceinte reality of situation, for apparently even a drunken wife beater is preferable to an empty bed. Whether Clare Boothe Luce thought that was a good fancy is a moot point, but that such realities dominate the lives of some(prenominal) millions of women cannot be in doubt. The point is that context is inseparable from action and motive. In a way that feminists would perhaps find peculiar, Mary's incur of independence in Nevada, when she is away from all men and not just her own, empowers her active agency in her destiny (winning abide Stephen) upon her return to New York. On the other hand, Peggy is absolutely abject in her experience of Nevada independence, and her response is to reconcile with a keep up who was probably not unfaithful but with whom she has never affiliated emotionally until being separated from him. The shift of scene supplies a shift of consciousness, hence of motive, purpose, and act.

The power of the symbol is even much forcefully conveyed in that, throughout the film, what makes Stephen so worth all this trouble is never quite explained. Is he a mythological lover? Probably not, as Crystal, who has a basis of comparison, knows really well. Is he an above-average provider? Well, the Moorheads seem to have weathered the slack nice
Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.