
Thirteen women who were schoolmates send to a swami for their horoscopes. Little do they realize that Ursula, a half-breed Asian, is using her hypnotic powers over the swami and them to lead them or their families to their deaths. It seems that she too went to their school, but was forced to leave by their bigotry, and is exacting revenge. Will she be stopped in time to save Laura's son, Bobby?... (Full plot summary below)
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Thirteen women who were schoolmates send to a swami for their horoscopes. Little do they realize that Ursula, a half-breed Asian, is using her hypnotic powers over the swami and them to lead them or their families to their deaths. It seems that she too went to their school, but was forced to leave by their bigotry, and is exacting revenge. Will she be stopped in time to save Laura's son, Bobby?
Leave your thoughts about Thirteen Women.
| Commercial Appeal (Memphis, TN)John BeifussA rarely seen, undervalued and racially provocative semi-horror film that anticipates the 'body count' movies of future decades, this is a doozy and a knockout, with Myrna Loy at her sexiest and most exotic. |
| User Reviewnefnie lMyrna as a half-caste serial killer, knocking off the girls who were mean to her at private school one-by-one. Sign me up. |
| User ReviewNate TThirteen former sorority sisters start to receive, one by one, a horoscope prophesizing their doom from a renowned swami. When the prophecies begin to play out, the remaining few gather to fight their destiny. It turns out Myrna Loy attended their college but wasn't accepted into the sorority because she was a half-caste Hindu. It's Loy who is behind the letters, having influenced the swami with her mind powers, and she's out for bloody revenge on the girls who shunned her. Sounds like the plot of an eighties slasher like "House On Sorority Row" right? Wrong, this was made in 1932, taking advantage of that small window before the Hays Code shut the party down. I can't say if the makers of the "Final Destination" series were influenced by this but the theme of trying to escape your fate is very similar. The opening scene involving a trapeze act feels like a thirties precursor to the set pieces of that franchise. There's an effective scene on a subway platform, Archainbaud ratcheting up the tension by exaggerating the sound of the station turnstiles. Hollywood wasn't known for raising the issue of racism in the early thirties so the motives of Loy are quite a curiosity. Tellingly though she isn't portrayed with any of the sympathy such a character would evoke in a contemporary movie. Likewise the mention of a miscarriage feels pretty heavy compared to the general frothiness of thirties cinema. One of the women implies a promiscuous nature which will be a bit of a shock if you're not familiar with pre-code cinema. Irene Dunne plays a single mother, trying to stop Loy from claiming the life of her son. How often do we see a single mother as the heroine of a movie now let alone back then? Male audiences may have found this early feminism uncomfortable. In his review at the time, New York Times critic Mordaunt Hall noted "an uncomfortable absence of hearty male chatter in this demoniacal intrigue". Several characters meet their fate through suicide, a topic that immediately became taboo once the code was introduced. In possibly the first creepy offscreen coincidence surrounding the production of a horror movie, star Peg Entwistle ended her life on the day of the film's release. Dramatically, she threw herself from atop the letter H on the famous Hollywood sign. It may be creaky even for it's era but it's a nice little curiosity piece and an interesting foreshadowing of the slashers that would appear almost half a century later. |
| User ReviewI don't know wIf you're someone who enjoys movies where women sit around and gossip and get divorces from their husbands, you'll like this movie, but if you're like me and want more from a movie look elsewhere. Overall, this movie is okay, but it's long and it gets annoying listening to the women gossip for scene after scene. |
| User ReviewSamuel CWatchable junk; one of the first talkie revenge stories. |
| User ReviewAntonius BIn genre terms it's crazy that this movie came out in 1932. It's basically the idea of And Then There Were None and Slasher films but predates it all. Other than that it's racist against Asian people and boring. The only watchable things really were the little boy actor and Myrna Loy's face. |
| User Reviewjay nSilly junk, wildly dated that was one of Myrna's final villainess Eurasian roles. She looks great but is far better than the part deserves. |