The film was also novel in terms of starring women in its 130 speaking roles including the animals like horses or dogs shown in the film. This all-female film earned the director the title of “women’s director”.
The film ‘The Women’ received a volley of criticism and it is quite evident for an all-female film that it would be subjected to feminist interpretation. The absence of men completely denies the fact or dejection of the concept pertaining to “the female as an object of gaze”. A consistent mark of heterosexuality and that of bleak mark of lesbianism is noticed in the film through the character of Nancy Blake. Heterosexuality in the pre-war era among the high class societies is a predominant theme of the film. The film ‘The Women’ is circular in nature and the final scene of the film shows the predicament and fulfils the beginning discourse of the film. The final scene of the movie is not only the concluding scene but it is also a sumptuous scene indeed. Divorce was a social taboo at that point of time when the film was made. Naturally, Cukor knew it well that his audience amid this oestrogen stimulating movie would love to watch Mary rushing out from the party to finally succumb to the waiting arms of Stephen, her infidel husband.
Mary learns about her foolishness and a close shot with a narrow frame gets focused on the facial expression of Mary. Norma Shearer excellently portrays the expression most apt for this scene and the play of light and shadow with the to and fro fine agile movement of the camera enables to capture a tight-lipped close shot of Shearer’s expression specially her eyes that captivated a sense of longing, desire to fall back on the arms of the beloved and pinning to replenish all that she has lost becomes evident when Mary is shown rushing out of the party hall almost in the vein of a bullet from the gun through the movement and language of camera. The background score, building a climactic appeal