It took almost 80 years for Hollywood to remake the George Cukor 1939 film “THE WOMEN”.  Adapted and modernised from the Clare Boothe Luce play, THE WOMEN gets a makeover by writer/director Diane English while retaining the essence of the original film.

The story concerns two friends, Mary Haines (Meg Ryan in fine form) and gossip queen, Sylvia Fowler (Annette Bening).  Sylvia discovers through her manicurist that Mr. Haines is having an affair with shop girl Crystal Fowler (Eva Mendes).  Sylvia and her circle of socialites try their best to help out though often creating more trouble than the trouble itself.  Involved are a host of other characters, most really inconsequential but made more interesting by stars like Bette Midler, Carrie Fisher and Candice Bergen playing them.

To maintain the spirit of the ultimate chick flick, English’s version leaves the male species out in the entire film – just as in Cukor’s film.  English ensures her audience takes notice of this fact, as evident in the exterior street and departmental store scenes devoid of the male species. 

THE WOMEN will inevitably be compared to the box-office successful SEX AND THE CITY.  Though both films indulge the point of view of the fairer sex, THE WOMEN is more ‘classy’ – reminiscent of the sophisticated comedies of the past.  Don’t expect any skin to be revealed here, as that would be totally inappropriate.  Both films bear a cheerful tone throughout.  English’s film begins, for example with a song (corny though it may be) celebrating the wake up of a beautiful day.

Though the film contains all the identical characters (and names) of the original, English takes noticeable liberties.  The most glaring is the delivery scene that forms the film’s climax.  Though undoubtedly a crowd pleaser, one wonders if she needed to go to such extremes to win over her audience. 

THE WOMEN will undoubtedly please as many just as it will b dismissed by many as utter rubbish.  But it should be remembered that the film’s aim is to lift audiences (mostly female) out of life’s doldrums and place them in glass towers where high fashion, beauty, class and even morality (adultery is frowned upon; friendship is all important) rule.  In this respect, Diane English’s THE WOMEN succeeds.