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 "...
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Larson E. Whipsnade runs a seedy circus which is perpetually in debt. His performers give him nothing but trouble, especially Edgar Bergen and Charlie McCarthy. Meanwhile, Whipsnade's son ... See full summary »
Edward F. Cline
Fields wants to sell a film story to Esoteric Studios. On the way he gets insulted by little boys, beat up for ogling a woman, and abused by a waitress. He becomes his niece's guardian when... 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 »
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 "respectability." Arrived in Greasewood City with his unkissed bride, Twillie is named sheriff by town boss Jeff Badger...with an ulterior motive. Meanwhile, both stars inimitably display their specialties, as Twillie tends bar and plays cards, and Flower Belle tames the town's rowdy schoolboys...Written by
Rod Crawford <firstname.lastname@example.org>
W.C. Fields walked off the set over what director Edward F. Cline felt was a minor disagreement, but when it was clear after two weeks that he was not coming back to finish the film, nearly one-third was shot using a double. The double used is unknown. It could have been John Sinclair, who had doubled for him in Poppy (1936), or David Sharpe, who was his stunt double in later films. The double wore a plastic mask and most of the shots were long shots. See more »
When the 'train' stops to pick up the Fields character it consists of the locomotive only. The carriages then reappear in the next scene. See more »
[the masked bandit shoots a gun, forcing the stagecoach to stop]
Whoa, hup! Whoa!
Drop those guns.
[the driver and his partner throw their guns to the ground and put their hands up]
Everybody get out.
[the passengers leave the stagecoach]
Do not try anything and nobody will get hurt.
He said to come out, Miss Flower Belle.
Flower Belle Lee:
Well, I got nothing he wants.
I will be the judge of that. Come out, or I will have to kill all these nice people.
[...] See more »
The title, 'The End', is superimposed over Mae West's gluteus maximus as she walks away from the camera. See more »
My Little Chickadee is like a home movie W.C. Fields and Mae West just happened to make in their spare time, on the studio lot, back in 1940. The budget was not as ample as Miss West's er, well anyway, it's a pretty big picture but not that big. The dialogue is better than the film, which is frankly an amateurish mess. Both stars were past their prime when they made this western parody, and both seem a little tired, in general, and with one another, in their scenes together. They're much better when reciting the dialogue, which they worked on together (ah, to have been a fly on the wall during their script conferences). Maybe they spent all their energy on the writing. There certainly isn't much in their performing. For all its flaws, the movie has some hilarious moments, such as Fields' suggestion that he has "some definite pear-shaped ideas" he would like to discuss with Miss West.
Movie censorship was at its peak when this one was made. Fields and West had been two of the shining lights of early talkies, and the advent of the Production Code in the mid-thirties set them both back professionally, especially Miss West, who was the prime cause of it. Since they couldn't quite give this movie their all, due to the extreme censorship of the time, one has to continually read between the lines. There's a lot there, though not as much as I think they imagined there was. The film is an heroic effort none the less, if by today's standards rather quaint.
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