Respected society lady Sheila Seymour (Kay Francis) runs a canteen for servicemen during WW2, as well as a beauty parlour. On the surface she is sweet, charming, and personable. But behind closed doors, she is a ruthless crime boss and both of her businesses are a front for her real money-maker - marrying off women to servicemen to then collect their war benefits. Her women are marrying several men at a time. When Peter Martin (Paul Kelly) finds that his good friend has killed himself due to realizing his new bride already has several husbands, he goes undercover to investigate. Into the fray comes Gladys Smith (Gertrude Michael), who recognizes Sheila as an old partner in crime and is looking for an avenue to horn in on Seymour's racket. She finds it in a scheme of blackmail involving Connie (Teala Loring), who is Sheila's rebellious daughter who has been tucked away in an exclusive girl's school. Shelia becomes increasingly ruthless and cold-blooded as the walls close in and everything she has built is threatened.

It's the terrific performance of Kay Francis in one of her last films surrounded by a sensational supporting cast which makes this above average and a bit of a cult classic. This is a very interesting picture that is almost a feminist film way ahead of it's time: the smartest and toughest characters are all women. Francis is ruthless and cold-blooded throughout and strongarms several male crime-bosses here. In 1945, with offers dwindling, Francis made a last gallant attempt at a film comeback by forming her own producing company with Jeffrey Bernerd. Francis was desperate and had a ruthless penny-pinching approach which included looking out for low budget stories, and with "Allotment Wives," even rewriting the script. The picture had a breakneck 10 day shooting schedule with the main objective being to make money. Many film buffs consider this the best of Kay Francis' "Monogram Trilogy." It's a good companion piece for MILDRED PIERCE (also 1945) -- only ALLOTMENT WIVES has a harder edge -- Kay Francis is tougher, in a more complex role. She looks slim and stylish here as she leads a crime syndicate while fronting with a chic salon. The film is full of surprises and suspense. Excellent support comes from Teala Loring as Kay's troubled daughter who is kept from harms way at a private girls school. Their scenes together have a genuine feeling that allows sympathy for their situation and struggle. Kay's final scene on the staircase is a classic and her exit line is a memorable one. Gertrude Michael does a fine job as Kay's long lost friend out to do her no good. Her character throws more sympathy Kay's way even though Kay herself has a cold-blooded side in a losing "man's" game.