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“The Women”: A rather tame no man's land
Since the days of Aristophanes, it's been comedy gold to watch women plotting and scheming out of sight of their menfolk. And yet The Women," a remake of George Cukor's sparkling 1939 all-girl comedy set in New York City, falls flat Given its cast — which includes Meg Ryan, Annette Bening, Bette Midler, Debra Messing and Jada Pinkette Smith -- this is nothing short of amazing. Where did the laughs go?
They’ve been dying slowly ever since the original of this franchise, Clare Boothe Luce's The Women," opened on Broadway in 1936. Luce’s play, about a mild-mannered society woman who must leam to fight
for her husband's fidelity, was a stew of cruel one-liners, delivered by women against women.
The original was so brutal that Cukor softened its edges, turning it into a sentimental comedy. Rosalind Russell and Joan Crawford helped jazz up the raw, theatrical catfight into a stylised gladiatorial spectacle, and one wasn't really required to believe that it was anything other than a guilty pleasure, a chance to see great actresses going over the top.
Women have come a long way since then, and it's rather perverse of director Diane English to restage this brawl among the shards of so many shattered glass ceilings. Women can find
satisfaction and social position independent of marriage. In short, the world of Luce and Cukor has mostly disappeared. So how do you restage a 1930s comedy of manners in contemporary terms? Strip out the context, eliminate the social history and borrow all your humour from" Sex and the City."
Ryan plays Mary Haines, not as a proper Park Avenue housewife with marital troubles, but as the girl next door, living in blissful ignorance of her husband s infidelity. The original Mary Haines was a gentle creature who learned to grow claws; Ryan is a simpering bore who learns to love herself.
Bening stars as Mary's best
friend, Sylvia Fowler, the Russell role in Cukor's film. The original Sylvia was a dynamo of interventional malice. In today's remake, she is a sharp-tongued but good-hearted career woman forced to make hard choices in a man's world. As heir to the brassy, luxury-loving caricatures created by Kim Cattrail in "Sex and the City" and Megan Mullally in "Will & Grace," Bening has been given the broadest sitcom laugh lines. But Bening won't go for laughs. She wants to be loved.
Which is deadly in a comedy that still owes its sparks to Luce's basic set-up: women competing against one another in a brutal verbal war. English lives in a different age and obviously feels a little better about what it means to be a woman than Luce ever could. But in the end, English just wants to make a nice chick flick with some sassy lines.
Shopping, it seems, is the last remaining corner of the shrink ing feminine jungle. Everywhere else, women have aspired to and achieved dignity, but when it comes to a prowl through Saks, all bets are off, and girls grow claws again.
If you remove the intellectual spine from a comedy, it's no wonder it gets formless, and no surprise that most of the actresses here revert to type, having nothing better to do or say. Debra Messing plays the perpetually pregnant Edie as just another Debra Messing role: the frumpy-pretty girl who can't get her act together. Bette Midler has a few short scenes taken straight from the Bette Midler playbook: the acid-tongued vamp. And so it goes. Surprisingly, it is Candice Bergen, as Mary's mother, who brings depth and humanity to "The Women."
Or maybe Bergen is just an adult in a film filled with oversize children. Who knows. But it’s a pleasant surprise, and there aren't many others in "The Women."
Source Internet