8.1/10
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9 user

Complicated Women (2003)

A look at actresses who starred in films with thought-provoking subjects made between 1929-1934 - before the Hollywood Production Code was enforced.

Director:

Hugh Munro Neely

Writers:

Mick LaSalle (based on the book by), Hugh Munro Neely | 1 more credit »
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Cast

Credited cast:
Jane Fonda ... Herself - Narrator (voice)
Frances Dee ... Herself
Kitty Carlisle ... Herself - Interviewee (as Kitty Carlisle Hart)
Molly Haskell ... Herself - Interviewee
Mick LaSalle ... Himself - Interviewee
Mae Madison ... Herself - Interviewee
Karen Morley ... Herself - Interviewee
Mark Vieira ... Himself - Interviewee
Rest of cast listed alphabetically:
Fred Astaire ... Himself (archive footage)
Robert Barrat ... Himself (archive footage)
John Barrymore ... Himself (archive footage)
Lionel Barrymore ... Himself (archive footage)
Wallace Beery ... Himself (archive footage)
Charles Bickford ... Himself (archive footage)
Virginia Bruce ... Herself (archive footage)
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Storyline

Jane Fonda narrates the story of the years between the ascent of talkies until late in 1934, when the Hays Office cracked down on what it perceived as immorality in Hollywood movies. The emphasis is on how women were portrayed, and focuses on how they were much more liberated and equal (or superior) to men, until 1935 when they once again took subservient roles to their male co-stars. Written by Ron Kerrigan <mvg@whidbey.com>

Plot Summary | Add Synopsis

Genres:

Documentary

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Details

Country:

USA

Language:

English

Release Date:

6 May 2003 (USA) See more »

Also Known As:

Mujeres liberadas See more »

Filming Locations:

New York City, New York, USA

Company Credits

Production Co:

Timeline Films See more »
Show more on IMDbPro »

Technical Specs

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Did You Know?

Connections

Features Mary Stevens, M.D. (1933) See more »

Soundtracks

Echoes of the Music-Hall
Written by Jaroslav Jezek
Used by permission of Supraphon a.s.
See more »

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User Reviews

 
Good Clips
21 May 2003 | by bobliptonSee all my reviews

Actually, very good clips, and the narrative makes a very good claim to proving its thesis: that the sexy Pre-Code dramas and comedies actually represented a realistic depiction of the 20th century morality until Joseph Breen clamped down, making the Production Code not just voluntary, but mandatory.

There is a good claim in that, but it makes its point by looking at the best of the Pre-Code works and the worst of the movies made under the Code. Nor does it go into the reason that Hollywood made those sexy movies in the first place, and stopped making them later: to sell tickets at the box office. Truth has never been the primary concern of the movie industry; and while these clips demonstrate that Hollywood was interested in selling tickets to men who wanted to look at naked women... well, the underwater swimming sequence from TARZAN AND HIS MATE shows Maureen O'Sullivan's stand-in swimming around in the nude, but Weismuller is wearing a loincloth.


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