When rival reporter and girlfriend Bette Davis passes out at the execution of a Broadway star found guilty of murder, the chauvinistic George Brent uses this to try and prove to her that a woman's place is behind the stove and that it is a man's job to report the news. This is Brent's romantic way of proposing which Davis turns down, determined to prove him wrong. They both end up working overtime to scoop each other over a murder which took place at a fire that Davis initially reported on. It leads to a lot of witty banter between them and many amusing situations with each of them tied until the final minutes as to who has the one-up on the other.What could be a rather predictable battle of the sexes comedy with the man ultimatelty convincing the little woman to put on an apron and give up her career for him has the nice little twist of this not about to happen. It is one of the more feminist liberal views of a woman's career in the 30's from the most macho studio in Hollywood. Just a few years before, both Kay Francis (in "Man Wanted") and Ruth Chatterton (in "Female") tried but failed to get past what Warners felt a woman's place should be. Davis stands her ground here, but the secondary story of the murder that they are investigating is never as interesting as the interactions between the two leads. Singer Winifred Shaw is a rather dour femme fatale, but Roscoe Karns is amusing as Brent's photographer pal.There are some amusing little character bits, particularly Mary Treen's as an too willing to be helpful nurse. The story is all wrapped up neatly with a great denouncement that ranks higher as a pro-women's film and could have been an interesting series.

"Front Page Woman" (1935) uses the same feminist "rivals in business; partners in love" motif that "Traveling Saleslady" (1935) does. However, "Woman" is a murder mystery involving reporters; "Saleslady" is a comedy involving salespersons. Still, it's interesting to compare the two.Both films have great supporting performances, excellent pacing, and flawless plots. Playing masters of their fields, both leading men (George Brent) and (William Gargan) perform well. Indeed, a surprisingly animated Brent does, for him, an absolutely charming job. (Perhaps the mutual sexual attraction he and Davis had was the spark behind it.) Where the films differ, however, is in their leading ladies' performances, and in their romantic resolutions.Bette Davis, like Joan Blondell, keeps claiming she is her rival's equal. But clearly, unlike Blondell, she is not. She doesn't have Brent's creative mind, his street smarts, his social skills, or his stomach for the job (she faints, for example, at the execution she demanded to attend). When he offers her help, she turns him down, and when, out of revenge, he sets traps for her, she falls into them.The film's end, however, does offer redemption. Not only does Davis solve the mystery, and get her job back--she also gets her man. Brent, in a rare feminist resolution for its time, tells her how much he respects what she has done, and seems willing to have her continue working after marriage. (One wonders how much the steel-willed Davis influenced this outcome?) Whether she chooses to, however, is more ambiguous. While Blondell, in stark contrast, blithely tosses away a terrific sales career to placate her "oinky" husband to be.

Greatly enjoyed this Betty Davis film which I had never viewed and found Davis at her very best in appearance and in a very light hearted role she portrayed as Ellen Garfield. I believe Davis was around 27 years of age when she appeared in this film and she was very charming and had a good supporting actor, George Brent, (Curt Devlin) who was a star reporter for his newspaper and was in competition with Ellen Garfield to get the big scoop or headline stopper for their respective newspapers. This couple were also love birds who had intentions to get married only under certain terms they agreed upon together, a sort of contest that would lead to some very important big steps in their lives. Veteran actor Roscoe Karns, (Toots O'Grady) was the photographer for Curt Devlin and gave a great supporting comical role through out the entire picture. This is a very enjoyable 1935 Classic film and I believe that Davis and Brent both gave outstanding performances. Enjoy.

Rival reporters Garfield and Devlin are also a couple who delight in scooping each other often to the detriment of their respective papers. Brent and Davis are charming together and have an easy rapport. Curtiz's workmanlike direction and the rapid fire dialogue still hold up well, helped by the story's hesitation to endorse traditional male/female roles. If this proto-screwball comedy has a flaw it's that Garfield never seems a savvy enough rival for Devlin despite topping him to keep their endless competition going. Reminiscent of `The Front Page' and `His Girl Friday.' Recommended.