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Jean Harlow as a home-wrecker of the worst kind delivers her first great performance in Red-Headed Woman.All the men in her lives are pushovers easily manipulated by the films central character. Made before censorship came into effect in Hollywood, this movie is able to shock viewers even today.The greatest entertainment value of this movie is how naughty all the principal characters are.Sex is out in the open and immorality is the name of the game. Harlow seduces and wins Chester Morris.The sucker has not a chance and which man has when a beautiful woman pursues you.Henry Stephenson is quite good as the moral hypocritical businessman. Nice to see him play such a part. Even a young Charles Boyer has a small important part in his Hollywood bow.The ending is really the biggest surprise.

Jean Harlow is the star of "Red-Headed Woman," a precode film about a golddigger men can't resist. Irving Thalberg thought the audience didn't catch onto Harlow's character immediately, so the scene at the beginning, when Harlow asks if the dress she tries on is see-through, is his. And yes, it certainly does establish her character: Finding out that the dress can be seen through, her character, Lillian, announces, "I'll wear it." Lillian is a riot - completely obvious, with her tight-fitting, low-cut clothing, cupie-doll voice, and swinging hips - everything about her says "trash," and she makes sure she follows the perception up with action by showing her garters (one of which has a picture of the boss inserted) and not hesitating to remove them and everything else if the situation calls for it. It's in this way that she breaks up the marriage of the boss, the hapless Bill Legendre, Jr. (Chester Morris) and gets into the big money. When that doesn't give her the social standing she wants, she seduces the fabulously successful Charlie Gaerste and then blackmails him into making the socially acceptable crowd attend a party at her home. She continues from there.

This is precode, so don't look for any type of punishment or for the character to take the moral ground. The ground she's on is too lucrative. Harlow is a delight -- pretty, vivacious, sexy, and always likable as the outrageous Lillian. A great loss to the world that she died so young. No matter what type of role she played, there was something very lovable about her, as demonstrated by her tremendous popularity. She has been compared to Monroe for obvious reasons, and both left lasting legacies as sexy, funny, vulnerable stars.

Una Merkel gives Harlow good backup as her roommate, and Charles Boyer appears in a small role. Though it's not my favorite Harlow - I love her in films like Libeled Lady, Wife vs. Secretary, and Suzy, where she sparks more with the other actors - this is very good and a great example of a precode film.

Most films made for prohibition era audiences painted the poor as virtuous and the rich as those who were keeping them down. This one turns that mainly Warner Brothers model on its head. Here it is the poor but beautiful office worker, Lillian (Jean Harlow), who sets her cap for her rich married boss, Bill Legendre (Chester Morris). She is persistent, because Bill is hard to break down. He has known his wife, Irene (Leila Hyams), since they were kids, and is really in love with his wife.

Bill caves a few time to Lillian's sexual heat, but he would never have left his wife for her. Lillian gets that, and is counting on the wife's pride to do the rest. It works, Irene leaves Bill and leaves the field to Lillian. But Lillian's undoing is that she cannot leave well enough alone, even after she is the second Mrs. Bill Legendre.

Harlow just fills this screen with her presence. She had been in other MGM productions for the last year or so, but this was her star making role. It's more than her beauty. This girl has "It" as much as real red head Clara Bow had it in the silent era. Una Murkel plays Jean's pal who seems content to sit on the sidelines and watch, but you get the feeling if she could pull something like this off she would. Henry Stephenson has a great comical role in this film. And look for Charles Boyer in a very small but important role as Stephenson's chauffeur.

I can't help but notice how similar this plot is to the production code film "The Women" - rich man loves his wife but likes sex with poor social climbing homewrecker with a plot that turns on the pride of the wife. I wonder if there is any connection?

At any rate, highly recommended plus it has a great hummable theme song that is even performed by a crooner at its midpoint - "Red Headed Woman".

For those, like myself, who heard about Jean Harlow before viewing any of her pictures, the expectation was to see a glamor girl with somewhat limited performing skills, not unlike Marilyn Monroe at a later time. Not to take anything away from Marilyn, but Jean Harlow proved herself to be a very adept performer, an appealing combination of brazen sexuality and shameless manipulation, always with a comic touch. While sometimes getting her comeuppance (and appearing to enjoy it) at the hands of strong characters played by the likes of Clark Gable and Spencer Tracy, in "Red-Headed Woman" the men in her life are pushovers for her wily charms. Chester Morris earnestly tries once, twice, three times to resist her, and apparently comes THAT close to succeeding, but her persistence ultimately renders him helpless. The wealthy and distinguished (and elderly) Henry Stephenson doesn't have a chance: when Jean's pal Una Merkel suggests that she's aiming too high this time, that her plans have no chance of success, Jean replies, "He's a man, isn't he?"

This is the prototypical Jean Harlow character, done to the hilt by a very skilled performer who, in the final analysis, probably has more in common with Mae West than with Marilyn Monroe. If she played virtually the same character in almost every picture, she wasn't the first to do so. Her reputation as an actress deserves to be greatly enhanced.

To me, it was very easy to see Jean Harlow's appeal. She had great comic timing, her wisecracks sizzling at their best, her looks were both sophisticated and daring and her later vulnerability was easy to be charmed by. Loved her with Clark Gable, who collaborated with her for six films, and it was clear that in her other work with 'Red Headed Woman's' director Jack Conway that he understood what her strengths were and used them to full advantage.

Evident here in 'Red Headed Woman', the film where her image and personality were properly established and continued to evolve in her later films. Is it one of Harlow's best? No. One of Conway's best? No. Does 'Red Headed Woman' do either justice? Yes it does, and as an overall film it is well worth watching providing that this is the sort of film that does anything for you. Really like to love many films from the 30s and many pre-code films are entertaining, which 'Red Headed Woman' is definitely in my view.

'Red Headed Woman' isn't perfect. The melodrama does get rather too over the top towards the end.

Chester Morris is also rather wooden in his role and doesn't have a lot of chemistry with Harlow.

Fortunately however, Harlow plays her amoral role (possibly the most amoral and least likeable character of her career) with spunk and fire. May Robson and Lewis provide distinguished veteran support, especially Stone, and Charles Boyer amuses in an early relatively small role. Harry Stephenson handles undignified situations with dignity and Leila Hyams is charming. Una Merkel is the biggest delight though, she sizzles. Conway directs with a good amount of energy while the film is stylishly photographed.

Moreover, the script is sharp and taut with some very amusing one-liners. Was amazed by its daring raciness, especially with Harlow. The story loses its way a bit in the latter stretches, but is mostly zesty with some nice tension in the character interaction. While the ending could have been a little more rounded off, it was appreciated that it was a pre-code film that didn't end too neatly or reeked of studio interference.

In a nutshell, worth a look for particularly Harlow. 7/10

In Renwood, the promiscuous and hot golf digger Lillian "Lil" (Jean Harlow) lives with her friend Sally (Una Merkel) in a poor neighborhood. She works for the Legendre Company with the only intention of seducing her boss William "Bill" Legendre (Chester Morris). When his beloved wife Irene "Rene" Legendre (Leila Hyams) travels to Cleveland with her Aunt Jane (May Robson), Lil takes his correspondence from his secretary and uses it as a pretext to go to his house. Then she uses sex to seduce Bill, but Rene unexpectedly returns home and finds them together. Lil succeeds in destroying Bill's marriage and he divorces Rene and marries her.

When the powerful businessman of coal Charles B. Gaerste (Henry Stephenson) comes from New York to Renwood in a business trip, Lil has a love affair with him. Then she travels alone to New York and becomes his mistress. But Bill's father William "Will" Legendre (Lewis Stone) is not naive and plots a scheme to help his son.

"Red-Headed Woman" is an American comedy ahead of time, or Pre-Hays Code, the moral censorship guidelines that ruled Hollywood from 1930 to 1968. The plot is about the love affairs of a sexy and vulgar red haired gold digger. Jean Harlow is very funny in the role of an ambitious gold digger. Charles Boyer has a minor but also funny performance in the role of her lover Albert. My vote is seven.

Title (Brazil): "A Mulher Parisiense dos Cabelos de Fogo" ("The Fire Haired Parisian Woman")

Terrific pre-code film starring Jean Harlow as the "red-headed woman" - a girl from the wrong side of the tracks who uses her sex appeal to seduce rich men in an attempt to improve her social standing (plus get ahold of their dough!). With her eye on her wealthy, handsome, happily married boss (not to mention his photo pinned to her garter) she aggressively pursues him, as he does his very best to try and hold her off and keep his marriage intact. But even when she gets him, she can't stop trying to get someone better (well, you know - richer, that is).

I love this film and I think Jean Harlow gives one of her best performances here as she whines, baby talks, swings her hips, and uses her charms to get the man she wants. Una Merkel is appealing, as usual, as her sidekick/gal pal, constantly feigning shock over the sorted schemes of her red-headed friend. I highly recommend seeing this one.

Lillian, a girl from the wrong side of the tracks, knows exactly what she wants & how to get it. Right now, she wants her young, handsome, rich & very married boss. Using her considerable - one might almost say ostentatious - physical charms, Lillian lets few obstacles stand in her way for long. After all, she's THE RED-HEADED WOMAN, and she always gets her man...

Jean Harlow was a sensation in this immoral tale, which practically shouts its pre-Production Code status. This film solidified her stardom and helped define her screen persona for generations of viewers to come. She not only had the looks, but she proved herself to be a fine actress, as well.

While the plot revolves around Harlow, the rest of the cast acquit themselves very well: Chester Morris, stern-jawed but very vulnerable as Jean's conquest; Leila Hyams, quietly sympathetic as Morris' wife; canny old Lewis Stone as Morris' father - one of the few men able to see through Harlow's tricks; Henry Stephenson as a millionaire who falls easy prey to Harlow's wiles. The story is helped considerably by the addition of two tart-tongued character actresses, Una Merkel & May Robson, whose lively lines help spark the fun. That's Charles Boyer, not quite yet a star, as Jean's chauffeur/boyfriend at the end of the story.

Movie mavens will recognize Henry Armetta in an uncredited bit as a comic waiter.

Notice that for all her outrageous behavior, Harlow's character remains unpunished & unrepentant - a situation not allowed a couple of years later with the adoption of the Code.

Strong and intense but lacking any delicate flavour.

This film has aged reasonably well and is still quite entertaining. However unlike Warner's very similar Baby Face, made a few months later, this one lacks that film's depth and layering. That's not to say that this is not a good film, it's ok and it manages to effortlessly capture the authenticity of the early thirties and it's witty script, like Miss Harlow 's boobs, keeps it bouncing along.

Although she was a lovely person (nothing like her character), I've never understood why Jean Harlow became such a sex symbol let alone a star. Comparing this with Baby Face and particularly with Barbara Stanwick, you can see how much better and believable Stanwick is in conveying such determination and alchemistic allure. With regard to her acting talent she is very much a one trick pony. Fortunately this role is the one role she can play well but she's still no great actress.

After seeing it, straight laced Louis Mayer was outraged with the lack of morality - the British censor was even more disgusted and banned it in the UK. Irving Thalberg however, who's project this was, knew what the audience wanted and how to make money. This and Baby Face seem quite tame these days but it's fascinating to see how attitudes have changed.

I almost gave up on this "soaper," but stuck with it and found it to be quite interesting. Jean Harlow stars as a woman trying to get ahead in the world by marrying her boss. Then, after becoming a millionaire, she starts fooling around with a young guy. Yeah, the storyline's been used many times since but Harlow was always pretty interesting to watch.

The ending of this film does NOT give a good message (I don't want to spoil it, but this gist of it is that immorality pays) and is another example of why a morals' code was instituted for American films shortly after this. It's just a really bad message, especially for younger girls.

On a personal note, I never understood why men fawned all over Harlow. In the movie, she gets complimented by all the men on how beautiful she is....yet I don't see a lot of beauty. Is it just me? Frankly, Una Merkel, who also is in this film in her typical minor comedienne role, has a much prettier face.

Anyway, the film exhibits how men can make real saps of themselves over a younger woman, if sex is involved. Boy, ain't that the truth!! They (we) can be manipulated so easily. In this regard, this movie reminded me a lot of a better film of the same period: Baby Face, starring Barbara Stanwyck.

Harlow was about 21 years old when she made this film but she certainly seems older. In real life, she eloped at 16 and didn't have much of an education. Her accent here is flimsy. But her white skin was perfect for the period's bright lights and slow film. We see and understand well her expressions.

This film shows garters and a surprising morality. The gold-digger gets her gold, conniving and finagling all the way. It seems that a beautiful young woman, who confidently knows what she is, can get anything she wants from a man. Classic Jean Harlow (and I guess Anita Loos). Harlow's act is not ditzy coquette - she knows exactly what she's doing and so do we. It's fun to watch the story unfold.

The men are props but acquit themselves well. Charles Boyer, accent and all, plays the apparently genuine love interest. Watch for the scene where his character is accused of having an affair with a woman already having an affair. Only Boyer could get the right pause before answering matter-of-factly. This was one of his first American films.

Jean Harlow was, as so many are, one-of-a-kind. A good kind. A fun kind. The kind of actress who was fairly one-note but oh, what a note! This movie, all in all, was not one of her better ones. Her characters, while generally entertaining - see her being marvelous in the marvelous "Dinner at Eight," especially the scene at the end of the movie with another one-of-a-kind, Marie Dressler - was also always sympathetic. But not in this 5 or maybe 6-starrer. She undermined her good girl quality in spite of herself and portrayed a manipulative sex for money character who was, ultimately, unappealing and in fact off-putting because the good hearted gal that she seemed to be so naturally was tossed into the back seat with the rest of her rich daddies. This, and she, were less funny because she didn't win you over as she did in China Seas, Red Dust, et al. In fact, I got fed up with her and wished her no good end. Instead, she got Charles Boyer, too good a catch for the selfish, cunning, tramp she played. More power to the tramps, but I like 'em when their hearts have at least a hint of gold. Cheater Morris wooden before he hit his Boston Blackie stride, Lewis Stone priming for his Judge Hardy character. Una Merkel comes off the best and most likable and no surprise there.

Lillian Andrews (Jean Harlow) works for the Legendre Company and causes Bill to divorce Irene and marry her. She has an affair with businessman Gaerste and uses him to force society to pay attention to her. She has another affair with the chauffeur Albert.

While the lead character here is not quite as promiscuous or cunning as Barbara Stanwyck was in "Baby Face", the controversial nature remains much the same: a woman who sleeps around in order to move herself up the food chain.

I think what was most amusing about this film is that it was called "Red-Headed Woman" but is in black and white. I have no idea if Harlow really had red hair in this picture or not.

This is why some of us love the pre-code era so much: only then (and not until much later) could you hear a line like "I'm so happy: I'm in love and I'm going to get married" - referring to two different men in a woman's life (who is already married to a third one)! This picture is fast, funny, raw, provocative and adult; in other words, pre-code to the bone. I personally consider Leila Hyams (playing the good wife) more beautiful than Jean Harlow (playing the floozy to end all floozies), but that's a matter of taste. Una Merkel is a joy, as always, as Harlow's pal. *** out of 4.

Wonderful pre-code movie that races along with its amoral story as Jean Harlow chases about eating up men in her search for riches. Barely pausing this wild romp is as uncompromising as it is fast and funny. Harlow is at her best, in out of and almost out of her shimmering costumes and she is ably backed by an excellent cast who all seem to be enjoying themselves. I am indebted to another IMDb reviewer who points out that at the time of original release the States were in depression and the coal bosses and their 'society' entourage, getting rich and doing very little, would have been a welcome target for Harlow's exploits. An interesting and revealing extra dimension that makes me like it even more because I always had a slight feeling of sympathy for the duped guys and now I can happily share the joke, very much at their expense. Brave film making and one cannot but wonder where things may have gone had the code not clamped down.

Jean Harlow plays a gold digger determined not to get stuck on the wrong side of the tracks and goes through men like tissues in an attempt to land a sugar daddy in "Red-Headed Woman."

I've long since accepted that to watch a Jean Harlow movie you just simply have to agree to disagree with seemingly every moviegoer from the 1930s about Harlow's appeal. She was hot stuff back then, a fact that is nearly inexplicable to me now. In a role like this, when she's basically a slut, I can accept that men would want to have sex with her, despite the fact that she's actually quite ugly and uber-annoying to boot (ugh, that baby talk!) But that every man who comes across her would also want to dump his wife to marry her? That is pretty much impossible for me to get my head around.

Though I will say that Harlow looks much more attractive with red hair than she does with that awful platinum blonde thing she sports in most of her movies. And while I don't find her remotely attractive, there is something about her that commands the screen.

"Red-Headed Woman" is not the raciest pre-Code movie I've seen, but it does manage to give a newbie some indication of how pre-Code movies were different from the ones that would be released in the couple of decades following. A movie made even five years later would never dream of letting Harlow's character get what she wants in the end without atoning for her sins first.

Grade: B+

I was captivated watching this, not only is Harlow's acting superb, but its blatant overt sexuality jumps right off the screen. She's a shameless whore and home wrecker, always just on the edge of losing control of her emotions and physical desires, with a fate-be-damned attitude toward it all. The storyline was indeed shocking for its time, in fact, films like this one, right along with Barabara Stanwyck's NIGHT NURSE and BABY FACE show the reasons the Hayes Code came to exist in the first place. This was way over the top, in-your-face immorality, something that Mae West only alluded to in her work in a comic fashion. It's on my list of "best of" features in the pre-Hayes code era. Watch this one if you want to be shocked and astounded! Simply a great film!