Ruby Carter, the American Beauty queen of the night club-sporting world, shifts her operations from St. Louis to New Orleans (which kind of belies the Western genre designation), mostly to ... See full summary »
Rightly suspected of illicit relations with the Masked Bandit, Flower Belle Lee is run out of Little Bend. On the train she meets con man Cuthbert J. Twillie and pretends to marry him for "... See full summary »
The bold Tira works as dancing beauty and lion tamer at a fair. Out of an urgent need of money, she agrees to a risky new number: she'll put her head into a lion's muzzle! With this attraction the circus makes it to New York and Tira can persue her dearest occupation: flirting with rich men and accepting expensive presents. Among the guys she searches the love of her life, from whom she only knows from a fortune-teller that he'll be rich and have black hair. When she finally meets him, she becomes a victim of intrigue. Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
Mae West's famous line in this film, "Beulah, peel me a grape," was inspired by West's pet monkey, Boogie. The monkey loved grapes, and one day West noticed that although he would eat grapes by the dozens, he would always peel the skin off each one before popping it into his mouth. See more »
In the scene where she's firing that pistol: If I've counted correctly, she discharged eight shots from her six-shooter (without reloading). See more »
Always remember, honey. A good motto is: "Take all you can get and give as little as possible". Don't forget, honey. Never let one man worry your mind. Find 'em, fool 'em and forget 'em!
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Before the Paramount logo appears on screen in the opening credits, a sign declares that the studio is an NRA (National Recovery Act) member with the text "We do our part" written beneath. See more »
Considered by many to be Mae West's finest film appearance (with only 1933's SHE DONE HIM WRONG and 1940's MY LITTLE CHICKADEE even coming close), the legendary star of the stage and screen has rarely been in better form than in this seminal film. Based on her own stage hit, the film's storyline is naturally preposterous, but West and director Wesley Ruggles wisely keep the focus on the then-salty dialogue and the still hilarious word play. Although he doesn't make his first appearance until nearly two-third of the film is over, Cary Grant remains the ideal straight man to West's zany antics. The film moves at a brisk pace, and its concluding courtroom sequence is unarguably one of the funniest scenes in film comedy.
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