Mi pequeño gorrión

An Old West comedy that doesn't make a lot of sense, "My Little Chickadee" is mostly a cinematic vehicle for the talents of its two stars: Mae West and W.C. Fields.

Mae, all decked out in flowery glad rags, does her usual shtick, as she rolls her eyes, smiles mischievously, and walks in the slinky, suggestive manner that she's known for. I love it. She doesn't "act" so much as she projects her own unique on-stage persona. In this film she sings only one song: "Willie Of The Valley". It's okay, but I could have wished for a song more suitable to her wonderfully bawdy public image.

Wearing a high top hat and white gloves, and with that big nose and eccentric way of speaking, W.C. Fields plays Cuthbert J. Twillie, a blustery, flamboyant older man who uses big words to impress, and devious tricks to hoodwink. He's not seriously criminal, just a good-natured, booze-loving flimflam man trying to get along in life as best he knows how. Sometimes he succeeds, sometimes not. Fields is just as unique as Mae West. And his comedic routine is straight out of vaudeville.

The script's dialogue contains lines that highlight the humor of Fields, like when he tries to impress Flower Belle (Mae West): "The days of chivalry are not over. I've been worried about you my little peach fuzz. Have you been loitering somewhere? ... You are the epitome of erudition, the double superlative ...". His flowery metaphors sometimes get on Flower Belle's nerves, like when he says to her: "I climb the ladder of love to reach for the stars". She snaps back: "I'm in no mood for astronomy".

For all his bluster, Twillie is actually the weaker of the two characters. It's Flower Belle who uses a pistol to knock off villainous Indians, and Twillie whose use of a kid's slingshot backfires.

In this story, Margaret Hamilton, in her best witch voice, plays a histrionic busybody, in a support role.

This is a film that will appeal mostly to fans of Fields and/or West. I think the film probably showcases Fields' talents a little better than those of West. What hurt this film is the real-life villainous Production Code which tried to water down the bawdy dialogue. As a result, both the plot and some of the dialogue come across as flat. Had the self-righteous censors left the scriptwriters alone, "My Little Chickadee" could have really sizzled.

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.

You could call it "slapstick" at its best. They don't make them like W C Fields and Mae West anymore. Is that a good thing? Probably. Any imitations could hardly live up to their special brand of comedy. That episode on the train where they get acquainted -- "It is not good for man to be alone" quoth he, from the Bible at that. "Yeah, it's not much fun for a woman either," says she. "Do you think it possible for us to be alone together?" he asks. "Quite possible," is her reply. Who can resist a smile at that dialog!

By the way, for one scene how they could get that billy goat to lie down in bed under blankets, I'll never know! There's also a scene of a young girl coming into the bar slightly tipsy and I'm sure it's a young Celeste Holmes but there are no credits to verify this. I wonder if anyone else has noticed this?

Flower Belle (Mae West) is burning the midnight oil with "The Bandit," who is masked of course. She also encounters a naive editor (Dick Foran) and conquers that territory too to some extent. Well, for Flower Belle it's all in a day's work, you might say. Townsfolk are up in arms and intent on finding the Masked Bandit. Along the way they make W C Fields their sheriff but that doesn't solve anything. Meanwhile down at the saloon...

This movie with Mae is the one I like best.

I believe that, some time in the 1970's, more than thirty years after MY LITTLE CHICKADEE was made, the term "high concept" was coined. So, starting in the seventies, a lot of movies with sure-fire ideas became the trend. ("What?", someone, circa 1990 might say, "Arnold Schwarzenegger is being teamed with Danny DeVito? Why, that must be hilarious!") So, clearly, somebody thought the idea of W.C. Fields and Mae West sharing the silver screen would work, and MY LITTLE CHICKADEE remains the ultimate example of both the pitfalls and the merits of High Concept movie-making. Fields and West, both iconic figures, were actually so similar that the audience's loyalties are torn. We watch a West picture to observe Mae West turn the tables on men and we watch a Fields picture to watch Fields flout authority. When Fields and West meet and appear to like each other (he wanting sex and she wanting money) we love them both. Fields gets off one of his most memorable lines as he holds her fingers up to his lips and says, "What symmetrical digits.") She, in turn, throws her false submission at him, letting us know between the lines that she's a woman of steel. So far, so good. Their romance is viewed suspiciously by a character actress who is the perfect foil for both of them: Margaret Hamilton, who, of course, played the Wicked Witch of the West the year before in THE WIZARD OF OZ. Fields and West are married aboard the train by West's con-man friend -- hence, they are not really being married -- and this actor is also the sort of figure who belongs in a movie with either Fields or West. But let's cut to the chase. Both Fields and West have separate moments for the rest of the movie and each of these moments is somewhat minimal. West's scene teaching a classroom of overgrown adolescents seems to be a whitewashing of a bawdy routine from her stage days. It almost makes it. Fields's various encounters with gamblers and a female drunk (who HAS to be Celeste Holm, uncredited, as someone else on this board has noted) are promising, but somehow never really engaging. Thinking about this movie, nevertheless, brings a smile to the face. There are so many little things which, popping into the memory, are funny, that it has to be acknowledged that MY LITTLE CHICKADEE achieved its goal: driving into our minds the idea of the harmony of two comics who'd made audiences howl with laughter in live performance twenty years earlier. It should also be said that the ideal audience for MY LITTLE CHICKADEE is an audience in a darkened movie theatre. Ideally, the year should be the year it was made and the audience should be made up of people who've been anticipating this pairing and would be more than willing to hoot throughout. Has anybody got a time machine?

Although My Little Chickadee did not turn out to be the comedy smash of all time, both W.C. Fields and Mae West got in enough of their own shtick to make it worthwhile to see. What I can't figure out is when both were under contract at Paramount earlier in the decade why Adolph Zukor never thought of teaming them.

Probably because both of them were highly individualized and highly specialized performers. Both wrote their own material, but Mae believed her words were golden as she wrote them and Bill Fields was notorious with the ad-libs, even with a script he wrote.

Like Dallas in Stagecoach, Mae West as Flower Belle gets kicked out of one town and heads for another town accompanied by one of the Lady's League in the person of Margaret Hamilton. She's been spotted by Hamilton entertaining the mysterious masked bandit as only Mae entertains.

On the train she meets up with small time con man Cuthbert J. Twillie, a Fields pseudonym if there ever was one. She's convinced she's got a bankroll and she needs a husband to maintain a respectable front. Her gambler friend Donald Meek who looks like a clergyman and remember in Stagecoach Thomas Mitchell originally thought he was one, marries them on the train.

As a husband Fields is as ardent as Bob Hope was in The Paleface with Jane Russell who also needed to get married out of necessity to a stooge. He's sure willing enough, but Mae's to smart for him as she's got town editor Dick Foran and saloon owner Joseph Calleia panting hot and heavy for her as well.

My favorite moment is when Mae slips a goat into her bed and Fields gets a big surprise when he thinks he's finally going to score.

I'd have to say the film's a tie in terms of these two icons trying to top the other. There's plenty enough here to satisfy fans of both Mae and Bill and the many like myself who love both of them.