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The Women (2008/I)
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Overview
User Rating:
Director:
Writers (WGA):
Release Date:
12 September 2008 (USA)
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Tagline:
It's all about... more
Plot:
A wealthy New Yorker leaves her cheating husband and bonds with other society women at a resort. full summary | full synopsis
Plot Keywords:
Divorce
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Fashion Show
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Beauty Salon
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Fashion
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Stirrups
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Awards:
2 nominations
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NewsDesk:
(87 articles)
Meg Ryan in 'Serious Moonlight' trailer: Seriously?
(From EW.com - PopWatch. 16 October 2009, 9:15 AM, PDT)
Trailer: Serious Moonlight
(From HeyUGuys. 16 October 2009, 3:38 AM, PDT)
(From EW.com - PopWatch. 16 October 2009, 9:15 AM, PDT)
Trailer: Serious Moonlight
(From HeyUGuys. 16 October 2009, 3:38 AM, PDT)
User Comments:
This misfires by a mile
more (105 total)
Cast
(in credits order) | Meg Ryan | ... | Mary Haines |
 | Annette Bening | ... | Sylvia Fowler |
 | Eva Mendes | ... | Crystal Allen |
 | Debra Messing | ... | Edie Cohen |
 | Jada Pinkett Smith | ... | Alex Fisher |
 | Bette Midler | ... | Leah Miller |
 | Candice Bergen | ... | Catherine Frazier |
 | Carrie Fisher | ... | Bailey Smith |
 | Cloris Leachman | ... | Maggie |
 | Debi Mazar | ... | Tanya |
 | India Ennenga | ... | Molly Haines |
 | Natasha Alam | ... | Natasha |
 | Ana Gasteyer | ... | Pat |
 | Joanna Gleason | ... | Barbara Delacorte |
 | Tilly Scott Pedersen | ... | Uta |
 | Lynn Whitfield | ... | Glenda Hill |
 | Jill Flint | ... | Annie |
 | Emily Seymour | ... | April Cohen |
| Allison Seymour | ... | April Cohen |
| Lauren Lefebvre | ... | May Cohen |
| Lindsay Lefebvre | ... | May Cohen |
| Isabella Panteledes | ... | June Cohen |
| Olivia Panteledes | ... | June Cohen |
| Madaliene Black | ... | January Cohen |
| Meredith Black | ... | January Cohen |
| Jana Robbins | ... | Lingerie Sales Woman |
| Ruby Hondros | ... | Jimmy Choo Wearer |
| NiCole Robinson | ... | Makeover Lady |
| Danielle Perry | ... | Salon Assistant |
| Lindsay Flathers | ... | Taylor |
| Christy Scott Cashman | ... | Jean |
| Celeste Oliva | ... | Gilda |
| Denece Ryland | ... | Cory |
 | Allyssa Maurice | ... | Sweet Woman |
 | Jordan Schechter | ... | Ashley |
| Marina Re | ... | Helene |
 | Stephanie Clayman | ... | Admissions Nurse |
| Maria Elena Ramirez | ... | OB-GYN Maria |
| Pamela Lambert | ... | Scrub Nurse |
| Ellen Withrow | ... | Nurse at Recovery Hotel |
| rest of cast listed alphabetically: | |||
| Kimmie Johnson | ... | Bar Patron |
 | Luz Alexandra Ramos | ... | Carmen |
 | Celia Allen | ... | Cosmetics Saleswoman on Telephone (uncredited) |
 | Desiree April Connolly | ... | Pedestrian (uncredited) |
| Shelly NunChucks Finnegan | ... | Bar patron (uncredited) |
 | Jennifer Gjulameti | ... | Bar Patron (uncredited) |
| Roxanne Nichols | ... | Fashion Assistant (uncredited) |
 | Stream | ... | NY jogger / shopper (uncredited) |
Directed by | |||
| Diane English | |||
Writing credits(WGA) | ||
| Diane English | (screenplay) | |
| Clare Boothe Luce | (play) | |
| Anita Loos | (1939 screenplay) and | |
| Jane Murfin | (1939 screenplay) | |
Produced by | |||
| Diane English | .... | producer | |
| Mick Jagger | .... | producer | |
| Bill Johnson | .... | producer | |
| Victoria Pearman | .... | producer | |
| Jim Seibel | .... | executive producer | |
| Bobby Sheng | .... | executive producer | |
| James W. Skotchdopole | .... | executive producer | |
Original Music by | |||
| Mark Isham | |||
Cinematography by | |||
| Anastas N. Michos | (director of photography) (as Anastas Michos) | ||
Film Editing by | |||
| Tia Nolan | |||
Casting by | |||
| Amanda Mackey Johnson | |||
| Cathy Sandrich | |||
Production Design by | |||
| Jane Musky | |||
Art Direction by | |||
| Mario Ventenilla | |||
Set Decoration by | |||
| Debbie Cutler | |||
Costume Design by | |||
| John A. Dunn | |||
Makeup Department | |||
| Cydney Cornell | .... | hair stylist: Annette Bening and Eva Mendes | |
| Julie Hewett | .... | makeup department head | |
| Melanie Hughes | .... | co-makeup department head | |
| Araxi Lindsey | .... | hair stylist: Jada Pinkett Smith & Lynn Whitfield | |
| Araxi Lindsey | .... | makeup artist | |
| Kelley Mitchell | .... | key makeup artist | |
| Elaine L. Offers | .... | makeup artist: Meg Ryan & Eva Mendes | |
| Roxanne Wightman | .... | assistant department head hair | |
Production Management | |||
| Benjamin C. Dewey | .... | production supervisor: Boston | |
| Daniel Hank | .... | unit production manager: New York | |
| Tracey Landon | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Takahide Kawakami | .... | second assistant director | |
| Kenyon Noble | .... | second second assistant director | |
| Chris Surgent | .... | first assistant director | |
Sound Department | |||
| Joshua Adeniji | .... | foley editor | |
| Gioia Birkett-Foa | .... | additional sound utility | |
| Brian Courchine | .... | sound utility | |
| Robert Dehn | .... | assistant sound editor | |
| Robert Dehn | .... | sound studio manager | |
| Levent Erdogan | .... | assistant sound editor | |
| Judah Getz | .... | adr mixer | |
| Judah Getz | .... | foley mixer | |
| Scott Hinkley | .... | sound re-recording mixer | |
| Cody King | .... | sound effects editor | |
| Richard Kitting | .... | sound recordist | |
| Andrew Morgado | .... | adr mixer | |
| Jay Nierenberg | .... | supervising sound editor | |
| Angelo Palazzo | .... | sound effects editor | |
| Kevin S. Parker | .... | boom operator | |
| Tyler Parkinson | .... | pre-record engineer | |
| Stuart Provine | .... | sound effects editor | |
| Vic Radulich | .... | dialogue editor | |
| Joel Reidy | .... | boom operator | |
| Cathie Speakman | .... | supervising adr editor | |
| Jonathan Wales | .... | sound re-recording mixer | |
| Tom Williams | .... | production sound mixer | |
Visual Effects by | |||
| Jamie Baxter | .... | digital compositor | |
| Ryan Beadle | .... | digital I/O | |
| Patrick Clancey | .... | digital opticals | |
| Sam Dabbs | .... | lead title designer | |
| Mark Dornfeld | .... | visual effects supervisor | |
| Sarah Grieshammer | .... | digital compositor | |
| Shaina Holmes | .... | digital compositor | |
| Paulina Kuszta | .... | visual effects coordinator | |
| Evelyn Lee | .... | digital artist | |
| Amani Williams | .... | digital compositor | |
| Thomas Mathai | .... | data manager (uncredited) | |
Casting Department | |||
| Matt Bouldry | .... | casting assistant | |
| Bridgette Glover | .... | casting associate | |
| Meredith Jacobson | .... | local extras casting | |
| Marisa Kushner | .... | extras casting | |
| Carolyn Pickman | .... | location casting | |
| Adam Vincentz | .... | local extras casting | |
Costume and Wardrobe Department | |||
| Lindsey Alexander | .... | costume assistant | |
| Laurie Bramhall | .... | key tailor | |
| Michael Burke | .... | set costumer (as Mike Burke) | |
| Elizabeth Clifford | .... | key costumer | |
| Carrie Davis | .... | costume assistant | |
| Sharon Globerson | .... | assistant costume designer | |
| Virginia Johnson | .... | costume supervisor | |
| Sara Mills-Broffman | .... | costume buyer | |
| Margaret Moy | .... | costume assistant | |
| Clinton E. O'Dell | .... | costumer | |
| Barbara Dalton Rotundo | .... | additional costumer | |
| Tina Ulee | .... | costumer | |
Editorial Department | |||
| Michael Hatzer | .... | digital intermediate colorist: Efilm | |
| Christian Prejza | .... | digital intermediate producer: EFILM | |
| David Townsend | .... | post-production coordinator | |
| Benjamin Wiser | .... | post-production assistant | |
Music Department | |||
| Chris Douridas | .... | music supervisor | |
| Jennifer Nash | .... | music editor | |
| Cindy O'Connor | .... | composer: additional music | |
| Tyler Parkinson | .... | composer: stock music | |
| Dennis S. Sands | .... | music scoring mixer | |
| Erin Scully | .... | music executive | |
| Niko Toubia | .... | assistant music supervisor | |
| Alexandra Hill | .... | music licensing manager (uncredited) | |
Transportation Department | |||
| William Gillespie | .... | driver: production van | |
| Ronald R. Harrison | .... | driver | |
| Marc Scott | .... | transportation coordinator | |
Thanks | |||
| Daniel Moder | .... | special thanks | |
Production Companies
- Picturehouse Entertainment (presents) (as Picturehouse)
- Inferno Distribution (in association with) (as Inferno)
- Jagged Films
- Lanoue Film Arts
- New Line Cinema
- Shukovsky English Entertainment
- Picturehouse Entertainment (2008) (USA) (theatrical)
- Alliance Films (2008) (Canada) (theatrical)
- Bontonfilm (2008) (Czech Republic) (theatrical)
- CDI Films (2008) (Argentina) (theatrical)
- Constantin Film (2008) (Germany) (theatrical)
- Double Edge Entertainment (2008) (Taiwan) (theatrical)
- Entertainment Film Distributors (2008) (UK) (theatrical)
- Golden Village Pictures (2009) (Singapore) (theatrical)
- Hollywood Entertainment (2008) (Greece) (theatrical)
- Independent Films (2008) (Netherlands) (theatrical)
- Innoform Media (2009) (Singapore) (theatrical)
- Italian International Film (2008) (Italy) (theatrical)
- Mirovision (2008) (South Korea) (theatrical)
- Monopole-Pathé (2008) (Switzerland) (theatrical)
- Nordisk Film Theatrical Distribution (2008) (Finland) (theatrical)
- On Pictures (2008) (Spain) (theatrical)
- TFM Distribution (2009) (France) (theatrical)
- Viva International Pictures (2008) (Philippines) (theatrical)
- Califórnia Home Vídeo (2009) (Brazil) (DVD)
- Central Partnership (2008) (Russia) (all media)
- Divisa Home Video (2009) (Spain) (DVD)
- New Line Home Video (2008) (USA) (DVD)
- Paramount Home Entertainment (2009) (Germany) (DVD)
- Transeuropa Video Entertainment (TVE) (2009) (Argentina) (DVD)
- Warner Home Video (2009) (Netherlands) (DVD)
- Warner Home Video (2009) (Netherlands) (DVD) (Blu-ray)
- Custom Film Effects (visual effects)
- David Haddad transportation equipment
- Dolby Laboratories sound post-production
- EFilm digital intermediate
- Falco Ink. publicity
- Grand Army Entertainment financial consultant
- Haddad's transportation equipment
- Kallista Marketing & PR international publicity
- Kaye Lites grip and lighting equipment
- Right Lobe Design Group graphic sequences
- Right Lobe Design Group titles
- Sonic Magic sound post-production
- Square Tite Entertainment & Marketing hair stylist
- Square Tite Entertainment & Marketing special thanks
- Sublime Sound post-production sound services
- Verve Records soundtrack
Additional Details
MPAA:
Rated PG-13 for sex-related material, language, some drug use and brief smoking.
Parents Guide:
Runtime:
114 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 more
Sound Mix:
Certification:
USA:PG-13 (certificate #44249) |
Finland:K-11 |
Ireland:15A |
UK:12A |
Canada:14A (Ontario) |
Netherlands:AL |
Canada:G (Québec) |
Canada:PG (Alberta/British Columbia/Manitoba) |
Australia:PG |
South Korea:15 |
Argentina:13 |
Philippines:PG-13 (MTRCB) |
Hong Kong:IIB |
Germany:o.Al. (f) |
Portugal:M/12 |
Czech Republic:12 |
Singapore:NC-16 |
Taiwan:GP |
New Zealand:PG |
Switzerland:7 (canton of Vaud) |
Switzerland:7 (canton of Geneva) |
Mexico:B |
Singapore:M18 (DVD rating) |
Peru:14
Filming Locations:
Company:
Fun Stuff
Trivia:
Goofs:
Continuity: Before the fashion show, Mary's mother asks Mary to rethink how she is presenting the coats for the show. When we view the fashion show, there are no coats modeled, only dresses.
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Quotes:
Catherine Frazier:
It feels like someone kicked you in the stomach, feels like your heart stopped beating, feels like that dream you know the one when you are falling and you want so desperately to wake up before you hit the ground but its all out of your control, you cant trust anything anymore, no one is who they say they are, your life is changed forever, and the only thing to come out of the whole ugly experience is no one will be able to break your heart like that again.
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Movie Connections:
Referenced in "Saturday Night Live: Michael Phelps/Lil' Wayne (#34.1)" (2008)
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Soundtrack:
Count on Me
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FAQ
A Note Regarding SpoilersIs it true that "The Women" has an all-female cast?
Is "The Women" based on a novel?
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more (105 total)
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I believe an entire book can be written about the odyssey to remake the classic film on which this film is loosely based. When Hollywood first started talking about such enterprise, the reaction was always negative because there were just too many aspects that could have gone wrong, starting with the solid ensemble that made the original unforgettable, and that's exactly where things begin souring here, with the selection of actresses that otherwise can do remarkable work, but that are not suited to the parts, and sadly enough, have been directed with the heavy hand of a director that doesn't understand or appreciate the source material.
It seems as if there is no focus or direction, or as if the direction that has been taken is to obliterate anything that was good about the original film. This is called an updating, as in let's drain the story out of humor, snappy dialogue, and any interesting premise. Most of all, let's prove that women have come a long way, except that the problem is that we don't really get (at least by watching this film) where the women are truly going.
For starters, casting Meg Ryan in the central role proves almost fatal to the movie because somehow she seems to have locked herself into some sort of limbo where women don't really change appearances, even after 20 years of working in the movies. Her Mary which proved to be a difficult role in the 30's, somehow grew from her interaction with the other stereotypes, like Dorothy in "The Wizard of Oz" by learning, observing, and realizing that she had a choice in the matter. It might not have been a choice that women would celebrate nowadays, but it was fun ride, and part of the fun, was the catty, silly, sometimes slapstick routines that elevated that movie into the realm of the sublime. In here, we are down to earth with a thud. By changing the nature of Sylvia, the film has lost a lot of its spark, and it isn't in anyway Annette Bening's fault. I couldn't help but admiring how she tried to save this sinking ship and got a sinking feeling as she struggled with the horrible lines she was handled. Thankfully I entertained myself by looking at some of her terrific outfits and kept reminding myself how talented this lady really was. Her Sylvia is wise but flawed, and she could have been a great creation. Unfortunately Ms. English wasn't paying attention to her own work and loses control of the one character that could have turned the film into a fresh direction.
Yet that wasn't the biggest blasphemy of them all. In the original, we have Joan Crawford doing probably one of the best performances by a woman. Her Crystal is legendary, with conniving lines, incendiary moves, duplicitous maneuvers, and some very sexy poses. She was the link between the male and the female, and through her we knew what the whole catastrophe was about. She provided the tension between men and women. She was dangerous, sexy, the ultimate femme fatale. A woman of intelligence that we feared and admired, and most importantly, we wanted to destroy to save our heroine. Eva Mendes, as gorgeous as she is, is two dimensional in this outing because of weak writing, and once again, some bad casting.
There are more atrocities in the film, such as the addition of a terrible role for Mensing as the dedicated mother who lives for having babies, and the rather annoying lesbian turn by Pinkett. Then comes the biggest waste of talent in the movie, as Bette Middler, who is a little unrecognizable in her make up, shows the spark of what could have been. Her acidic delivery reminds us of the contemporary angle the film could have taken. Her words revive and put a big of much needed naughtiness in the film, and it is exciting to see that it could really fly, then she is gone. She is in the film all of six minutes, and she fades away in the middle of the muddle.
Here is a movie that raised our anticipation level and truly disappointed us, a film that could have joined the successful "Sex in the City" who made an amazing transition to the big screen because it respected its source material and didn't compromise. It gave us more, bigger and better adaptation. It truly updated what had made it successful before. "The Women" in its present reincarnation needs to go back and rework itself, much like "The Hulk" did it this year, find more suitable performers, a really good writer, and most of all, someone who truly treasures what good movies are about.