Red Dust: Southeast Asia and Slinky Gowns

Currently fixated on the film Red Dust, MGM's hit from 1932 starring Clark Gable, Jean Harlow, and Mary Astor. Lots of drama occurred during the production of this film (which we will talk about later on),  but what always astounds me is the setting and the costumes from this film and how they juxtapose each other so well, and so...weirdly. 

This film takes place in Southeast Asia during the early 30's, with Gable being the head honcho at a rubber making plant. He has many native workers and shacks up in a pretty nice place considering he is in the middle of nowhere. The house has Swiss Family Robinson vibes, with wood paneled walls, awning windows, and rolling doors. The decor is simple but quaint with basic furniture, simple curtains, and comfy small beds. Yes beds, as in plural, for this rubber plant has many visitors. 

Two of these visitors are Jean Harlow and Mary Astor. Harlow is on her way to Singapore where she gets dropped at the plant and has to stick around until the next ride comes. Astor is an unexpected tag-a-long with her hubby who is there to do some work with Gable. Both of them packed for a pleasure cruise. 

The costumes for this film where done by Adrian, which as the chief costumer at MGM makes sense, but in this film, he goes full force with the actress's wardrobe and forgets completely that this is not your average song and dance picture. All outfits worn by Harlow and Astor are to the nines, with satin biased cut nighties, lace and feather trim robes, and well constructed dresses with all the accessories to go with it. Perfect for the jungle. Harlow's character is supposedly a prostitute, but it is very subtly explained. She has a bubbly personality and a temper to match. Her costumes for her character fit the part, with 30's floral dresses and satin lounge wear. 

Astor's character is high strung and a bit stuffy, and her outfits are expensive, clean, and simple. Adrian really understood the personalities of these women when he dressed them, hence why he is the master. Maybe he had some left over pieces from filming Grand Hotel, which was made the same year.

What really seems a bit odd though, is these women are outfitted for life in the city. Both characters knew they would be in the middle of nowhere where it rains profusely and is humid for days when they packed. The men in this film are always sweaty and wiping their faces throughout the film, yet Harlow and Astor look dry as can be! Imagine Katharine Hepburn on the African Queen wearing a frilly biased cut dress with a hat and belt, chugging down the river in Africa. In this film, it is a similar setting but with a high class suitcase.  In 1953's Mogambo, which was basically a remake of Red Dust, Grace Kelly and Ava Gardner are feminine and colorful, yet their outfits are a bit more appropriate for the surroundings, but alas, another film, another decade, another vision.

"How do these women stay so fresh?"

Red Dust looks exotic with tigers, unexpected rainstorms, and plants everywhere. This film was actually done at the studio. Unlike it's counterpart Mogambo, which was filmed in Kenya and had tons of exterior B-roll of native tribes, jungle animals, and Kenya's beautiful scenery, Red Dust used what it had to make this film come alive. Cedric Gibbons did a great job disguising the set to match the film, and dressing the sets. 

This was the second of six films that Gable and Harlow would work on during her short career, their first being The Secret Six a year before. This filming for this picture proved to be one to remember. Harlow's husband Paul Bern committed suicide (as they say) during the filming of Red Dust, which not only made shooting for Harlow difficult but put pressure on the studio. She took ten days off and they shot around her to finish the film. Louis B. Mayer wanted to remove Harlow from the film, as he knew rumors about her husband's death would become an issue. He tried very hard but in the end was supportive of her once he learned that fans felt sympathy for Harlow and were encouraged to see her on screen. Mayer told director Victor Fleming to hurry and finish the film so they could profit off of the public's interest. Not very sympathetic, but he was running a studio. 

This film was made pre-code and it is apparent. The love triangle between the characters is very sexy for the time. There are several make out scenes where Harlow is horizontal on a bed while she is being kissed - the audacity! A famous scene that proves there were no rules at this point is when Harlow is bathing in a barrel and Gable pushes her underwater. Harlow is topless, and even though you see nothing, it is very suggestive for the time. Allegedly Jean stood up bare chested right before a cut and shouted, "Here's one for the boys in the lab!" This was referring to the men who were editing the film. Fleming removed the film from the camera before any chance of it getting out to the public could happen. 

        

        

Donald Crisp, Jean, Clark, and Mary double checking that script.