Woman's World is Hollywood at its commercial best, a highly-polished product, technically and story-wise. Basic story premise is the behind-the-scenes scramble for the top job of a gigantic industrial firm.
Woman’s World is Hollywood at its commercial best, a highly-polished product, technically and story-wise. Basic story premise is the behind-the-scenes scramble for the top job of a gigantic industrial firm.
Clifton Webb, as president of Gifford Motors, brings three of his district managers to New York for a firsthand observation to select a successor to the recently-deceased sales manager. He invites their wives along since he believes that the right wife is just as important as the right man for the job.
There’s June Allyson and Cornel Wilde from Kansas City, Lauren Bacall and Fred MacMurray from Philadelphia, and Arlene Dahl and Van Heflin from Dallas. All the men in Webb’s estimation are equally capable of handling the No. 1 post. The final decision rests on their wives.
Allyson is a hayseed from K.C., extremely devoted to her husband and three children. Bacall is bitter and disillusioned and at the point of separation from her ambitious husband. Dahl is a pushy glamor gal, not unwilling to throw her sex around to gain her aims.
The choice, of course, is left to the very end and will come as a surprise to many. Unlike Metro’s Executive Suite, in which the audience could quickly put its finger on the chosen man, World keeps ’em guessing. The entire cast, under Jean Negulesco’s fine direction, contribute a performance as polished as the entire production.