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 »
A young American girl visits Paris accompanied by her fiancee and her wealthy uncle. There she meets and is romanced by a worldly novelist; what she doesn't know is that he is a blackmailer who is using her to get to her uncle.
Set in New York City, Mae West is Peaches O'Day, a con artist who befriends Captain Jim McCarey (Edmund Lowe), a cop who must turn her in unless she leaves town. The clever Peaches returns transformed as sultry brunette and Parisian sensation Mademoiselle Fifi. After catching her show, crooked mayoral candidate John Quade (Lloyd Nolan) tries to close it down when Peaches demurely declines his romantic overtures. Captain McCarey jumps in the race for mayor against Quade, and the loyal Peaches fervently campaigns for him. As usual, Mae causes a commotion as she deftly maneuvers her way through a battle between the good and the corrupt.
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. Mae West's pre-code reputation apparently influenced sponsors against it, even though it's strictly post-code, and airings were few and far between. One of its earliest documented telecasts took place in Pittsburgh Monday 18 April 1960 on KDKA (Channel 2). It was released on DVD 16 October 2012 as a single as part of the Universal Vault Series and again 8 March 2016 as one of nine titles in Universal's Mae West: The Essential Collection. See more »
Mae West's Last Paramount Pic is One of Her Funniest
This lesser-known Paramount frolic, directed by Edward Sutherland, is one of Mae West's funniest and breeziest vehicles in her late period. It turned out to be her last Paramount picture, from her own solidly crafted screenplay. I had the opportunity of watching it recently along with another West movie called "Klondike Annie"(1936), directed by Raoul Walsh. Though Walsh is a vastly superior director than Sutherland, I much prefer this one to "Klondike Annie."
Set in the 1890s New York, Mae delightfully plays Peaches O'Day, a notorious confidence woman who sells the Brooklyn Bridge and flees the city while the police are looking for her capture. She later returns disguising as a hilariously droll French singer, Madamoiselle Fifi. Then she promotes the city's election candidate Capt.McCarey (Edmund Lowe), who also plays the good cop tracking down the corrupt police chief (Lloyd Nolan). Mae is aided by uniformly fine supporting players: Charles Winninger, Herman Bing, Charles Butterworth, Chester Conklin, and Louis Armstrong as the musical street cleaner.
Mae's suggestive one-liners are sparkling and fresh, especially the moment when she impersonates the French dame. Sutherland's unpretentious direction flows breezily through several hugely entertaining moments.
Pleasant and thoroughly enjoyable, "Every Day's Holiday" is must viewing for Mae West fans or anyone looking for harmless, pleasurable escape.
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