Dalbert Pringle
In this completely contrived, 1933, star-vehicle (which was adapted from Mae West's Broadway play) - West (40 at the time) played Lady Lou, the quintessential "whore-with-a-heart-of-gold". (Yawn!) With hips that rivalled those of an overweight rhino - West (a total clothes-horse) repeatedly struck me as resembling the likes of Porky Pig in drag rather than looking like an actual woman.If you ask me - I think that Mae West (who's the epitome of the "one-note" actress) was pure vulgarity personified. Not only was she a terrible performer. But she couldn't sing worth a damn. And, when it came to delivering her famous "innuendo-loaded" one-liners, she made me absolutely cringe, big-time.With this film now being 83 years old - I really did try to cut it some slack - But, believe me - I found Mae West to be so downright revolting that only a measly 2-star rating was the best that I could do here.And, on top of all of that - This film's story ended on such a despicable "bum-note" that it actually made my skin crawl, like you wouldn't believe... The only thing that I was thankful for was that this unendurable picture only had a 65-minute running time.... Wow! What a relief that was!!
bigverybadtom
This movie is known for Mae West having said the (often-misquoted) line, "Why don't you come up sometime and see me? I'm home every evening." It even won the award known as "Outstanding Production" for 1933, and it supposedly prompted the Hays Commission to crack down on movie standards.Based on the stage play "Diamond Lil", West plays the girlfriend of a criminal bar owner who has bought her expensive diamonds, but she has cheated on him with a variety of other men. One of them is none other than an undercover policeman who is after said bar owner.The movie had good potential for comedy or drama, but realizes neither. It is instead dull, and Mae West proved to be a weak performer and an even worse singer. Presumably she was more famous for being rebellious than for her talent.
utgard14
In 1890s New York, saloon singer Lady Lou (Mae West) is attracted to a reformer (Cary Grant) while dealing with many suitors and a psychotic escaped convict (a memorably creepy Owen Moore). This is often called Mae West's best movie. It's a vanity project full of people complimenting her. If there was even the slightest hint West was poking fun at herself I would like this much more. As it is, it's a watchable but pedestrian comedy. Mae spouts one-liners and oozes what I think is supposed to be sex appeal. If you find her attractive, more power to you. Some of her lines are amusing. Mae sings a few songs but they're terrible. Her voice, or lack thereof, is the pits. Obviously she has a lot of fans so this will hold more appeal for them than it did for me. One of Cary Grant's earliest big roles. Also a very weird performance from Owen Moore. Worth seeing to check off your list if you're a film buff.
vincentlynch-moonoi
Other than pure sex appeal (at least the sex appeal of the 1930s), I've never understood the hubbub over Mae West. And, as a result, I've avoided watching this film my whole life (and I'm 65 now), despite it including my favorite actor -- Cary Grant. But, finally time to watch the film, and what I found was a rather well done film, although quite short at only 66 minutes. Interestingly, Mae West is given credit for writing the play on which the film was based.Mae West is interesting for her manner of speaking and quick retorts, but as a singer...well, no thank you. "Hot Saturday" (1932) is often credited as Cary Grant's first starring role, but I thought he was rather still there. Here he does nicely, though he doesn't get a lot of screen time...even though his character is key to the plot (he plays the head of a mission for the poor who is tempted by West...or is he?). You will notice a few other famous or semi-famous names in the film, though none are outstanding. Interestingly, a very young Chuck Connors has a role here.What impressed me about the film was the detail. It really gives one a pretty good idea of at least one version of the late 1890s in the Bowery in New York City.At just over an hour, I recommend it, if for no other reason than the history of it. If it had stretched to 90 minutes, I might reconsider. So, go up and see it sometime, big boy!
AD
