El sexo débil

The trick in this movie is keeping track of the seven girls - seven dual main characters. All are very different young ladies who, by chance, manage to travel in the same train compartment off to their base. What makes this extra fun is the commentary by Leslie Howard throughout - he spies on the bustling station and selects six candidates, so is it any coincidence that these six strangers end up together? (The seventh, Gwen, almost misses the train and is the last addition to the group)

The easiest four to keep track of are the lorry drivers. Beautiful blonde Anne who loses a loved one in the war, foreigner Erna who is desperate for revenge on the Nazis that destroyed her family, chirpy Scots lass Maggie, who always has a sweet and a smile, and no-nonsense Joan, who comes across as bossy and stand-offish, hiding the fact that she's just as shy and lonely as the rest.

Then we have the remaining three - good time girl Dot, Gwen who "won't be left behind any more" and the little half-pint, Miller, who "finally gets her gun". She's the baby of the group, and is the hardest to keep track of because she is practically Lilli Palmer's twin - it's only when they speak that one can tell the difference!

If you enjoyed films like "Millions Like Us" and "2000 Women" then you'll love this one. An easy 10/10!

I saw this film recently on TV, and although social attitudes have changed drastically and is a tad patronising, it's still a worthy entry in the "soldiers going through training" film. What is unusual about it is that it concentrates on women rather than men. British films at the time (and for quite a few years afterwards) were male dominated. The recruits are a mixed bunch: Betty Miller (Joan Greenwood), the youngest, has never been away from home before or done anything for herself and is desperately homesick; Dot Hopkins (Jean Gillie)who wants to do something different; Erna the refugee (Lilly Palmer); Maggie Fraser (Rosamond John) the friendly Scottish girl, who never stops eating; Anne Lawrence (Joyce Howard) who is from a service family who knows what she has to do and is the beauty of the group. Joan Simpson (Barbara Waring), who is sharp tongued and stand-offish but who turns out to be as lonely as the rest of them and Gwen Haydon(Joan Gates) the cheery Cockney girl. Although I found the film enjoyable, I would like to have known more about the background of the recruits. Rosamond John's Scottish accent was unconvincing, though her performance was fine. And was Joan Simpson meant to be a lesbian? She showed her disdain for men throughout and the lady who saw her off at the railway station was very affectionate towards her, though she is listed in the credits as "Miss Simpson", although no reference to their being related was never made clear. Joyce Howard is lovely with a warm, friendly personality. I had never heard of her before and wondered if she was a relation to Leslie Howard, the director? And how any stretch of the imagination could John Laurie (the soldier who dances with Maggie) be referred to as "young", as Leslie Howard did in the final narration? He must have be 45 if he was a day. However, it was nice to see him with a smile on his face for a change. All in all, a good entry in the British wartime film genre.

Seven attractive women join the ATS (Auxiliary Territorial Service) in Great Britain during World War II. This was a volunteer branch of the British Army, for female participants, like the United States Women's Army Corps (WACs). The "lead" is (arguably) platinum blonde Joyce Howard (as Anne Lawrence), but they are all essentially supporting roles. The women come from different locations and classes. They get to know each other during training (better than we get to know them). All have moments and/or potential, but it's all for naught...

You're likely to recognize the director in the opening sequence is actor Leslie Howard. He keeps his back to the camera while narrating, but still shows a bit of cheek. Later on, Howard's back for another cameo. Presumably "omniscient", Mr. Howard doesn't add much to the story, though his presence helps make the film seem more cohesive. In reality, "The Gentle Sex" is weak on storytelling and character development. Rumored to have been doing more work for the Allies than making movies, Howard died when his plane was shot down by Nazis in June 1943. A tragic loss.

***** The Gentle Sex (4/15/43) Leslie Howard ~ Joyce Howard, Lilli Palmer, Rosamund John, Joan Greenwood

The most interesting thing about this film is that it was Leslie Howard's last film before he was killed--shot down by German planes en route to Lisbon during the war. He both directed and narrates this story which was meant both to celebrate the work of women in the army as well as bolster the spirits of the folks at home. In many ways, the film seems pretty dull...or at least kind of petty through much of the picture. After all, the women's boot camp seemed pretty easy and their work not especially hazardous. Fortunately, by the end of the picture you see real sacrifices and difficulties--something you find yourself longing for because through so much of the film the ladies don't seem exposed to many hardships. Because of this, if you see the movie, stick with it...it's worth it. For a similar sort of film, though a bit better, try "So Proudly We Hail"--the story of a group of nurses and the serious hardships they endure in the early days in the Pacific War.

This film should be watched with an understanding of its intentions, which was to bolster morale and pay tribute to the ordinary British women serving in the ATS, as well as encourage recruitment. There were many propaganda films made around this time, some better than others, but they all had a huge impact on helping the war effort. These were not career soldiers, remember. They'd been called up from offices, shops and factories from all over Britain and did a fantastic job. Practically every British family had at least one female member serving in the ATS during the second world war. We're reminded over and over again, that these women were doing the kind of work normally reserved for men and more important were valued for it! Every so often, a bystander will remark on how hard they work. The film lost no opportunity to remind a tired and increasingly demoralised British public what the war was about and why it was important not to give in.