The celebrated MAE WEST wrote the clunky screenplay for this mish-mash of a comedy/drama, occasionally strutting on stage to warble a tune that would drive the judges on "American Idol" to declare disastrous. Let's face it--a singer, she ain't, and as for her acting--well, it's the reputation for being sexy when American movie stars were still in their infancy that made all the clamor back then. But by today's standards, this is not worth a peek except to get a glance at the very young and handsome CARY GRANT and GILBERT ROLAND.
Both of them have little to do but fawn on Miss West--and neither one shows even a glimmer of the talent they had in future roles. Grant at least has more to do do than Roland--he's a Salvation Army man who keeps an eye on the patrons and is part of the story twist at the end.
An awkward script full of one-dimensional stereotypes, hammy performances from the supporting cast, and as the centerpiece, an extravagantly gowned and jeweled MAE WEST strutting her stuff as only she did--but badly in need of some good material for her own gags. She comes across as strictly overrated for this effort, taken from her Broadway play "Diamond Lil" but rewritten for the screen.
About the only witty line she gets a chance to utter comes early on, in her entrance: "I'm the finest lady who ever walked the streets." She purrs a few other lines but none of them have the sting of shock appeal or true wit. Evidently, censorship was part of the reason.
Certainly not one of Mae West's best--it's tedious enough to watch even though it runs barely over an hour. And oddly enough, it won a Best Picture nomination in 1933. Hard to believe.
Trivia note: Interesting to see Noah Berry as one of her lovestruck companions, half-brother of Wallace Beery, who bears a strong resemblance.
Both of them have little to do but fawn on Miss West--and neither one shows even a glimmer of the talent they had in future roles. Grant at least has more to do do than Roland--he's a Salvation Army man who keeps an eye on the patrons and is part of the story twist at the end.
An awkward script full of one-dimensional stereotypes, hammy performances from the supporting cast, and as the centerpiece, an extravagantly gowned and jeweled MAE WEST strutting her stuff as only she did--but badly in need of some good material for her own gags. She comes across as strictly overrated for this effort, taken from her Broadway play "Diamond Lil" but rewritten for the screen.
About the only witty line she gets a chance to utter comes early on, in her entrance: "I'm the finest lady who ever walked the streets." She purrs a few other lines but none of them have the sting of shock appeal or true wit. Evidently, censorship was part of the reason.
Certainly not one of Mae West's best--it's tedious enough to watch even though it runs barely over an hour. And oddly enough, it won a Best Picture nomination in 1933. Hard to believe.
Trivia note: Interesting to see Noah Berry as one of her lovestruck companions, half-brother of Wallace Beery, who bears a strong resemblance.