Illeana Douglas's recent publication, 'Jungle Red! The Making of MGM's The Women,' delves into the intricate dynamics behind the 1939 cinematic masterpiece. This work highlights the intense rivalry between two of its prominent stars, Joan Crawford and Norma Shearer, arguing that their ongoing conflict was among the most significant feuds in Hollywood history. The book unpacks how this contentious relationship, marked by professional jealousy and strategic one-upmanship, not only influenced the atmosphere on set but also became a central, albeit unspoken, narrative thread of the film itself.
The animosity between Crawford and Shearer was a well-known secret within MGM, making 'The Women' a fertile ground for their legendary clashes. Even before filming commenced in March 1939, a 'Look' magazine cover explicitly capitalized on their mutual dislike, proclaiming, 'They Don't Like Each Other… Inside Stories of 31 Hollywood Feuds.' Director George Cukor, despite his optimism that the seasoned actresses would rise above petty squabbles, soon discovered otherwise. The lack of male leads in the film meant their 'feud' became the most compelling publicity angle, with every disagreement, from billing order to wardrobe choices and even the placement of their on-set trailers, meticulously reported by gossip columnists.
Anita Loos, the film's screenwriter, noted the fundamental differences between the two stars, stating that Shearer found Crawford 'crude and pushy,' while Crawford perceived Shearer as 'overbearing and uppity.' Both, however, understood the publicity value of their feud and actively contributed to its narrative. Crawford notably skipped Shearer's wrap party luncheon, designed to showcase their camaraderie to the press, and openly embraced the public perception of their rivalry. Shearer, in turn, refused to attend the film's premiere and later issued a public letter criticizing her role and subtly undermining Crawford's performance, describing her as 'the perpetual virgin, the wronged wife.'
The competition extended beyond the set, deeply impacting their careers and personal lives. Crawford, feeling marginalized by MGM's favoritism towards Shearer, who was married to studio executive Irving Thalberg, intensely vied for roles. This was particularly evident with 'Idiot's Delight,' a part Crawford felt was perfect for her but was ultimately given to Shearer. Crawford's frustration was palpable, lamenting Shearer's perceived lack of talent compared to her own unacknowledged performances. Despite initial hesitations from Cukor regarding her acting style, Crawford's unwavering determination, coupled with her open disdain for Shearer, eventually secured her the role of Crystal in 'The Women,' a strategic move she saw as her chance to shine.
The studio, recognizing the marketable tension between the two, played into their rivalry. Cukor's decision to cast Crawford as Crystal, a character designed to challenge Shearer's Mary Haines, heightened the on-screen drama. This was visually emphasized in the opening credits, where Crawford was depicted as a leopard and Shearer as a young deer, symbolic of their contrasting personas. The deep-seated resentment stemmed from their early careers; Shearer saw Crawford as an 'ambitious upstart,' while Crawford felt Shearer's success was largely due to her marriage to Thalberg. This historical baggage culminated in their unforgettable confrontation scene in 'The Women,' a moment where Crawford, free from Thalberg's protective influence over Shearer, seized the opportunity to settle old scores, creating a cinematic moment that transcended mere acting.
