“Jungle Red!” Author Shares Why Joan Crawford and the Cast of 1939’s “The Women” Thought ‘Being a Bitch Was a Good Thing’ (Exclusive)

**Examining the Evolution of Empowerment in Women’s Cinema: Insights from ‘The Women’**

In an illuminating exploration of female representation in cinema, author Illeana Douglas sheds light on the 1939 film *The Women*, an adaptation of the play by Clare Boothe Luce. Her book, *Jungle Red! The Making of MGM’s The Women*, delves into the film’s historical context and the evolving perceptions of female assertiveness within the industry.

Douglas notes a striking difference in how women’s assertiveness is perceived today compared to the late 1930s. She points out, “One of the most interesting things, to me, is that today, women are so afraid of being called a bitch.” In contrast, she argues that for figures like Joan Crawford and her contemporaries, embodying a ‘bitch’ persona symbolised empowerment and independence. “Being a bitch meant you were sassy and stood up for yourself. That was their version of empowerment,” she explains.

Set against the backdrop of a pivotal moment in Hollywood, *The Women* featured a groundbreaking cast of over 100 actresses, including Crawford and Norma Shearer, directed by George Cukor. The environment on set was charged with the need for success, especially after Cukor’s dismissal from *Gone with the Wind*. Douglas shares that Cukor’s vision aimed for a female-centred counterpart to *Dinner at Eight*, a film that had previously set the tone for ensemble female dramas.

Cukor seemed to be counting on the actresses’ willingness to play with their public images and to portray unflattering aspects of their characters. However, he faced disappointment when Shearer chose to maintain her regal image instead of embracing a more self-deprecating role. “She was going to play the part in her same sort of regal, victimy way,” Douglas recalls. This created an interesting division among the cast, as most were eager to explore a more comedic and unscripted take on the film’s themes.

Anita Loos, the film’s screenwriter, initially showed a preference for Crawford, whose tenacity eventually won Cukor’s respect. As scripts evolved, Crawford emerged as a more dynamic character, while Shearer remained fixed in her approach. This divergence reflected not only their differing interpretations of what it meant to be successful on screen but also highlighted the larger cultural conversations about femininity during that era.

Douglas’ research into the film also reveals its legacy and relevance in modern discourse on female empowerment. She observes that the representation of women’s friendships, a central theme in *The Women*, has influenced contemporary shows such as *Sex and the City* and *Girls*. The film presented women of varying backgrounds who came together, each with distinct personalities and styles. “They had a great sense of style. They each had their own individual look,” she notes.

Given the successes of the actresses involved, Douglas aims to inspire a renewed understanding of what female empowerment should look like today. “I hope that people can read the book and see how these women did it in 1939,” she reflects. The intricacies of navigating careers and negotiating contracts in an era when such actions were extraordinary reflect a relentless pursuit of agency that resonated through the decades.

Yet, she expresses concern that modern interpretations of empowerment have softened. She wishes for a revival of the courage exhibited by earlier generations of women in film. Douglas believes that it’s time to reclaim assertiveness without fear of negative labels. “I think there needs to be a little bit more girl power, even if it’s bitchy girl power,” she asserts.

In revisiting *The Women*, Douglas hopes audiences will gain fresh insights into the complexities of female identity and ambition. The narrative underscores that there is no singular path to success for women, inviting a broader understanding of empowerment that acknowledges diverse experiences and expressions.

*Jungle Red! The Making of MGM’s The Women* is now available for readers seeking to delve into the rich tapestry of women’s roles in early cinema and the ongoing conversation about female empowerment. In a world where perceptions and expectations of women continue to shift, the film and its legacy provide a compelling lens through which to examine progress and the challenges that remain.