Former dance hall queen Cleo Borden, newly rich, falls for and pursues an upper-crust Englishman.Former dance hall queen Cleo Borden, newly rich, falls for and pursues an upper-crust Englishman.Former dance hall queen Cleo Borden, newly rich, falls for and pursues an upper-crust Englishman.
Rafael Alcayde
- Sr. Alvarez
- (uncredited)
Stanley Andrews
- Engineer
- (uncredited)
Storyline
Did you know
- GoofsWhen Edward Carrington brings the maps to Cleo's ranch house Cleo lights a cigarette, smokes a few puffs, and flicks the cigarette away, but the cigarette reappears for a few seconds in the following reverse angle shot.
- Quotes
Buck Gonzales: You ain't scared of me 'cause they say I'm a bad man?
Cleo Borden: I'm a good woman for a bad man.
- ConnectionsFeatured in Hollywood: The Gift of Laughter (1982)
Featured review
This was the first Mae West movie to appear after the introduction of the Production Code the year before and, given the generally held belief that this factor harmed her successive films, I was expecting to be let down by this one; indeed, while rarely scaling the heights of her best work, I found it to be a very engaging and entertaining vehicle with a fair amount of good lines.
Amusingly, this film – with the word “town” in its title – starts out way out West while West’s GO WEST YOUNG MAN (1936) starts out in a rural setting and goes rustic gradually! Interestingly enough, it features a vivid horse-racing sequence and another hilarious vignette in which West dabbles in opera singing: playing Delilah (“the only woman barber who made good”), she is prone to call out to her Samson, “Come ‘ere, Sammy!”; it’s worth mentioning here that The Marx Brothers also lampooned just these very diverse subjects for their first two big-budget MGM extravaganzas!
The plot is quite busy, especially for a 70 minute movie, with a handful of besotted males vying for the hand of wealthy oil tycoon West (who marries – and is subsequently widowed – twice during the course of the film, even if she is clearly chasing after her no-nonsense British employee Paul Cavanagh who is really an aristocrat!). Initially, I thought that Cavanagh was a curious choice for her leading man but, ultimately, he acquits himself rather well under the circumstances, and Gilbert Emery is a welcome familiar face as West’s Pygmalion (once she decides to take on the upper crust of society in her bid to win Cavanagh’s affections); incidentally, this portion of the film bears more than a passing resemblance to George Raft’s predicament in Mae West’s debut feature, NIGHT AFTER NIGHT (1932)!
Amusingly, this film – with the word “town” in its title – starts out way out West while West’s GO WEST YOUNG MAN (1936) starts out in a rural setting and goes rustic gradually! Interestingly enough, it features a vivid horse-racing sequence and another hilarious vignette in which West dabbles in opera singing: playing Delilah (“the only woman barber who made good”), she is prone to call out to her Samson, “Come ‘ere, Sammy!”; it’s worth mentioning here that The Marx Brothers also lampooned just these very diverse subjects for their first two big-budget MGM extravaganzas!
The plot is quite busy, especially for a 70 minute movie, with a handful of besotted males vying for the hand of wealthy oil tycoon West (who marries – and is subsequently widowed – twice during the course of the film, even if she is clearly chasing after her no-nonsense British employee Paul Cavanagh who is really an aristocrat!). Initially, I thought that Cavanagh was a curious choice for her leading man but, ultimately, he acquits himself rather well under the circumstances, and Gilbert Emery is a welcome familiar face as West’s Pygmalion (once she decides to take on the upper crust of society in her bid to win Cavanagh’s affections); incidentally, this portion of the film bears more than a passing resemblance to George Raft’s predicament in Mae West’s debut feature, NIGHT AFTER NIGHT (1932)!
- Bunuel1976
- Nov 23, 2007
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Details
- Runtime1 hour 11 minutes
- Color
- Aspect ratio
- 1.37 : 1
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