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 »
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 »
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 »
The great stars are inimitable. With the very greatest, such as the outrageous one-of-a-kind Mae West, nobody else even mirrors the style. Bogart, Hepburn, Dietrich, Cagney, maybe a few others - all you ask is that the story not smother what they do best. Here is Mae West's finest movie, giving her the opportunities, sometimes denied elsewhere, to strut her stuff - all of it. Suggestive dialog, provocative poses, sashaying hips, and a young Cary Grant who makes her purr: the Production Code would not be far behind.
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