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 ... See full summary »
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 »
Letty, a young woman who ended up pregnant, unmarried and on the streets at fifteen is bitter and determined that her child will not grow up to be taken advantage of. Letty teaches her ... See full summary »
Tired of the dangerous life as gambling boss, Ace Corbin 'retires' from the racket and travels cross-country by train to begin a new life with a new name. On the train, he meets Eleanor and... 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>
Considerable problems arose with the censors, mostly about the suggestive lines in some of the songs. The song "Nobody Loves Me Like a Dallas Man" was originally "Nobody Does It Like a Dallas Man". After the songs were toned down, the Hays office approved the film, and it was passed by the National Board of Review. See more »
During closeup when Tira sorts through a pile of phonograph records with different titles (That Dallas Man, That Frisco Man, etc.), all the labels have same serial number. See more »
It's not the men in your life that counts, it's the life in your men.
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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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