Mulher de Fogo

Ann Sheridan plays Vermilion O'Toole ,a saloon singer who seeks to evade the law by taking refuge in a remote lumber community where she develops a fondness for widower Will Hall who in addition to being a lumberjack doubles as the local preacher.

She sees no reason why she should not make him a good wife and be a fine mother to his 3 boys -a sentiment they endorse The community is outraged but she is nothing if not determined and sets out to stake her claim on Hall .This involves fighting a bear ,getting rid of an old lover and turning out to be an indefatigable fundraiser for the construction of a new church .Shot in lustrous Tecnicolor by Russel Metty and directed with deftness and lyricism by Douglas Sirk, this is a tad syrupy now and again but is also a warm ,affectionate and tender evocation of the spirit of the American West

We all have to start somewhere and for Ross Hunter, producer of some big budget spectacular soap operas for Universal in the 50s and 60s started out with this western family comedy where three kids match make saloon entertainer Ann Sheridan with their father logger/preacher Sterling Hayden. Sheridan is going incognito trying to avoid marshal Larry Gates and a former boyfriend outlaw/gambler Philip Reed who also escaped from Gates.

Sheridan is traveling under the name of Vermillion O'Toole, a tribute to the tint of red in her hair. Hayden's three kids are taken with that hair even in their pre-pubescent years and decide she'd be great.

Surprisingly she takes to being domestic and of course it all works out despite some of the more narrow minded folks in the town who think she's not a suitable mate for the town's spiritual leader.

Being an entertainer calls for Sheridan to have a number or two which she delivers with gusto. Special mention has to be given to Lee Patrick who plays the cigar smoking saloon owner who goes back with Sheridan. Her mission is to distract Gates and distract him she does.

Take Me To Town still holds up well after over 60 years as good family film making.

Saloon entertainer Ann Sheridan has to take it on the lam when her louse of an ex-boyfriend, Phillip Reed shows up, one jump ahead of the law. She finds refuge taking care of three small boys for widowed Sterling Hayden. But local gossip starts to run wild; Hayden is the local preacher.

Given this is director Douglas Sirk's first movie for producer Ross Hunter -- it's Hunter's first time in that role -- there might be a tendency to look at this and compare it to the suburban weepers the pair turned out in the second half of the 1950s. I think that would be a mistake. Given their next collaboration was a 3-D western which Sirk said was his favorite American movie, perhaps we should be a tad less auterist in our appraisals, and a bit more commercial. This looks like a bunch of similar 1950s comedies, including HOUSEBOAT. Given that Hunter co-produced it with Universal's high-volume Leonard Goldstein, likely this was simply another assignment for Sirk, one which he turned out as well as he could, before moving on to the next as it came up. As it stands, Hayden gives a surprisingly relaxed performance, and Miss Sheridan does what she does best, which is doing what she's doing at the moment. The kids are cute, and there's a nice role for Lee Patrick as Miss Sheridan's older dance-hall friend.

This was Ross Hunter's first film as producer for Universal. After his death the obituaries were hardly kind to his great body of work, and that was just before the elevation of Douglas Sirk in places like the English press as being a great director. Without disparaging Sirk I would like to stake a claim that Ross Hunter made Sirk great, and to even claim that 'Take Me to Town' is equal to Sirk's great trio: 'Magnificent Obsession', 'All That Heaven Allows' and 'Imitation of Life'. In some ways it is better as it is bursting with a life and energy that made many other musical westerns pale in comparison. One obituary in The Independent stated that Hunter was gay, but failed to mention that he and his partner supported AIDS charities. Hunter loved life and his enthusiasm towards that life produced great acting where even Sterling Hayden looks as equally responsive as Ann Sheridan whose role in this film outshone any of the others I have seen of hers. She glows, and her wit and charm radiate across the screen. Hayden responds and together with the equally great Lee Patrick make this a ten out of ten musical. At the time it may have been just another double bill film, but after seeing it I defy anyone not to feel better about life. This was Ross Hunter's great gift to the cinema but derided by critics he battled on. Was this due to homophobia? I bet many suspected at the time he was gay and it must be said that in many a film of the Fifties at Universal the screen glowed with good looking guys, in small roles and big. He may have adored women actors as some critics snidely observed, but he had an equal eye for the male and was perhaps the only film producer of the time to do so. Who else could have made Sirk see Sterling Hayden in beautiful soft focus close-up so that all of the audience could see, wow, what a hunk? Hayden bathed in Ann Sheridan's great presence in total sexual equality. Ross Hunter contributed to Gay culture during a dark time and let us celebrate him for it, not deride him. Sirk responded to the inspiration, as did other lesser directors knowing exactly what magic Hunter and the audience wanted. This is true cinema.

The forms the final part of Sirk's early Americana trilogy. As with the first two films, ("Has Anybody Seen my Gal" and "Meet Me at the Fair") it's is a lightweight, extremely affectionate look at American society in the early part of the 20th Century. Along side the abundant good nature, greed and political corruption were dealt with in those films, whereas in this case its acceptance and tolerance for the "other" to which focus is given.

Much of the charm of the movie stems from Ann Sheridan's winning and endearing performance in which she's ably paired by Sterling Hayden. Sirk handles the children particularly well and they turn in lovely comical performances.

While a lot of fun to watch, it's of special interest only in the context of Sirk's career in which he would go on to make far more important and weightier films than this.