Soy una dama

I must confess to a little bias here, I just love Mae West so you won't get an objective assessment of Goin' to Town from me.

Mae is pleasingly plump in this one, an unlikely sex goddess though it must be remembered that she was about forty before she made a movie. Still, the suitors crowd around her, especially in the Race Track sequence.

Goin' to Town seems to be a sort of modern-day Western with Mae getting around in a car as well as on a horse but she wears the same elaborate Victorian gowns as she did in Belle of the Nineties.

The plot is well summed up elsewhere; Mae is engaged to Buck Gonzales who is shot while rustling cattle. A lawyer advises her that she is entitled to his estate since she agreed to marry him. `You did consent, didn't you?' Mae: `Certainly did - twice!' Another line capable of a risqué interpretation is when Buck says `I've been thinking about you a lot lately' Mae replies `You must be tired'

Wonderful entertainment, she even warbles agreeably in the Samson and Delilah scenes and how about that walk? The word sashay was invented for her. No wonder there were strong rumours that Mae was a female impersonator. She describes her self as `a good woman for a bad man' and later `I'm a woman of very few words but lots of action' (she learnt Spanish while working in Tijuana!)

Goin' to Town is not her best film (for me - She Done Him Wrong) but I thoroughly enjoy it just the same.

Going' TO TOWN (Paramount, 1935), directed by Alexander Hall, from the story by Marion Morgan and George B. Dowell, with screenplay and dialog by MAE WEST, in her only theatrical release of 1935, repeats the formula of sorts from her hit comedy, I'M NO ANGEL (1933), but not as successfully. Once more, she plays a woman who wants to crash into and be accepted amongst the swells of high society, only to get snubbed by the grand dames but admired by the millionaire gents.

Mae West plays a saloon singer named Cleo Borden ("A woman of very few words and lots of action"). She is first seen kissing a young cowboy (Grant Withers) behind a semi- closed curtain, then serenades him on the dance floor with a song before Buck Gonzalez (Fred Kohler Sr.), a wealthy rancher by day and cattle rustler by night, enters the scene. So much in love with her, he proposes marriage. Instead of giving him an answer, Cleo decides to gamble on her decision through a crap game. Losing, she consents on becoming his wife, on the condition that he'd wait two weeks to prepare herself. During those two weeks, Buck is caught cattle rustling (a profession very few people had known), and shot and killed in the process by the sheriff (Francis Ford), who had his suspicions on him. On her wedding day, Cleo arrives at Buck's ranch to learn of her future husband's death. Because she was willing to keep her part of the bargain, she learns from Winslow (Gilbert Emery), Buck's financial accountant, that he had awarded Cleo his entire fortune, making her the wealthiest woman in the state. While inspecting an oil field, which has become part of her inheritance, Cleo takes notice on a geological engineer named Edward Carrington (Paul Cavanaugh). She tries to become the object of his affection, but the no-nonsense Englishman appears to have a strong will and ignores her. After Carrington transfers to Buenos Aires, South America, Cleo reads an article on Mrs. Crane Brittony (Marjorie Gateson), a wealthy matron, in a society magazine. Taking Winslow's advice by winning the heart of Carrington is to become refined and cultured, Cleo heads for Buenos Aires. While there, Cleo enters her horse, Cactus, in the big race, beating the horse owned by Mrs. Brittony, who takes an immediate dislike towards the "cattle baron's widow." Unable to nab Carrington, who defends her honor against malicious gossip, Cleo acquires the affections of Fletcher Colton (Monroe Owsley), Mrs. Brittony's nephew, whose main weakness is gambling. When Colton loses his entire fortune, Winslow talks him into a marriage of convenience with Cleo. Now husband and wife, the couple settle in Southampton, New York. Mrs. Brittony schemes on hiring Ivan Veladov (Ivan Lebedeff), a handsome gigolo, to discredit her and a private detective (Paul Harvey) to expose her low morals standpoints, later leading Cleo as a murder suspect.

Going' TO TOWN is the kind of movie in which the contributors to the screenplay couldn't make up their minds which direction the story is heading. Is it western, comedy or social drama? By the looks of it, all three combined. It starts off promisingly as a full- fledged modern-day western, consisting of shoot-em-up cowboys riding horses, gathering in a local saloon where they indulge themselves with either drinking beer or being around Cleo (West), where the story should have remained throughout. However, after twenty minutes or so, the locale shifts to Buenos Aires where horses continue to take part of the stock, this time at the races, and finally to Southampton, New York. According to the theatrical trailer that precedes the movie in the 1992-93 video release, Mae West has not ONE, but SEVEN male co-stars. With Cavanaugh as her British co-star, West might have selected better known debonairs as Herbert Marshall or Melvyn Douglas, for example, for stronger box-office appeal.

Unlike her previous screen efforts, Going' TO TOWN has its limitations when it comes to song numbers. West first sings "He's a Bad Man" while on the dance floor with Grant Withers, with his profile looking directly at her while the camera catches West's face is full view. Later on in the story while trying to be accepted to high society, she sings "My Heart at Thy Sweet Voice" in the SAMSON AND DELILAH opera. Interestingly, she doesn't spoof opera, as one might expect, but plays it straight. Before the fade-out, she sings, "I'm a Lady" (with part of her lyrics being her catch phrase of "Come up and see me sometime") as she walks downstairs with her new husband by her side. The camera this time ignores her male co-star and takes full focus on West while singing her closing number. There were a couple of times in the story where West did appear to be preparing herself for another moment of vocalization, one at a social function and another where she puts on the radio playing instrumental music. Expecting her to go into a song, this scene soon goes into a fade-out.

In spite of mixed reactions towards Going' TO TOWN, this fifth Mae West feature has become a rare find these days. Unseen in the television markets since the 1970s, it was distributed on video cassette in 1992 and cable television's Retroplex (Premiere: November 12, 2016). Credited at 74 minutes, video presentation runs at 70. West's one liners still makes the movie (WEST: "For a long time I was ashamed of the way I lived." GRANT WITHERS: "You mean you reformed?" WEST: "No, I got over being ashamed"; or her reference to Ivan Lebedeff: "We're intellectual opposites. I'm intellectual and you're opposite."). Mae West certainly has her moments on screen, but from the basis of the script, is passable entertainment. (***)

"Goin' to Town" is a very good comedy and sort of Western that stars Mae West. It's also labeled as a musical, and Mae's Cleo Borden sings a couple of tunes and then some. The plot unfolds in three separate locales. The opening scenes have Cleo in a Western setting where she is a popular saloon singer. After she promises to marry a rancher who does some rustling on the side, he gets killed on her wedding day, but she inherits his land which has just been dotted with oil wells.

Cleo takes a fancy to the chief engineer of the oil project, Edward Carrington (played by Paul Cavanagh). But he doesn't seem to take a hankering to her. So, when he heads off for a social outing at the races in Argentina, Cleo enters her own high-spirited horse in the races in Bueno Aires. After the glamorous setting there, she heads for the high class New England area - still pursuing Carrington and trying to break into high society where she has been snubbed by a couple of flighty wealthy matrons.

The story has some extravagant and very funny developments there. The movie has some shenanigans with others trying to foil Cleo's quest for social standing. There's some more rough stuff and she tries some very unusual ways to establish herself. She's on the up and up but some of the high society patrons are not. They will "get theirs" in the end, and the film has a nice surprise ending for all - Cleo and the audience. This is a somewhat crazy and frenzied story with a sizable cast and light comedy. But it's Mae West at her best - whether singing in a saloon, a high class casino, or an opera in her own mansion.

This is the third of the Mae West movies on the 5-film, 2-disc collection I just watched and I just found out, the first made after the Production Code became a bit more strict. It's a bit of a mess, to tell the truth what with the change in locales from the Wild West to South America to Southampton. And some of the plot points confused me. But as long as Ms. West manages to keep her zingers at the ready and get some good songs in, to boot, this is still a pretty enjoyable outing for her. And it's always fun to see her give it to the snobbish society ladies, that's for sure! The men, for the most part, are pretty interchangeable but really, there's still plenty to enjoy in Going' to Town.

GOIN' TO TOWN was Mae West's fifth film and even if the Hays Office was now trying their best to clamp down her sexy persona, Mae was still very much a red-hot firecracker in this 1935 release getting some surprising saucy lines and actions past the censors. Set in rural Texas, Mae is quite the uninhibited prairie playgirl. The movie was even publicized with the tag "Variety is the Spice of Life" and the fact that Mae has seven lovers in the film (actually, it's "just" five - two of the men are merely devoted and platonic associates). As Mae notes in the picture, "Where there's a man concerned, I always do my best." And best she does, GOIN' TO TOWN is easily one of her top five pictures.

Mae stars as Cleo Borden, goodtime gal in a Texas saloon who states "I'm a good woman for a bad man." She is particularly pursued by Buck Gonzales, a wealthy rancher who nevertheless engages in stealing cattle. The sheriff is on to Gonzales and warns him, which both he and Cleo dismiss. "Buck ain't got nothing bad on his mind but me," says Cleo. Cleo is not exactly a one man woman though, romancing another cowboy (Grant Withers) on the side. Buck is determined to have her for himself and proposes marriage which intrigues but not necessarily thrills Cleo, who decides to play a game of dice with him to decide whether she will marry him or not. Buck wins and in his eagerness to claim her as his wife, makes a will declaring her his sole heir and they plan to marry within two weeks. On the eve of their wedding though, Buck is caught cattle rustling and is shot to death by the law. Cleo learns of his death as she arrives to be married and is soon informed she has now inherited his estate.

It doesn't take Cleo long to pursue her next man, a British geological engineer Edward Carrington (Paul Cavanaugh) working Buck's property with whom she engages in a cat and mouse routine. She tries her best to vamp him and almost suceeds but is aware she is not the typical woman such a well-bred gentleman pursues. Oil is discovered on the estate and Cleo is wealthier than ever but Carrington's work is now done and he leaves. With the help of the ranch's bookkeeper Winslow (Gilbert Emery), also British, who has stayed on to help her "with the cattle and the men" who work there (Cleo immediately replying, "Just the cattle, I'll take care of the men'), Cleo decides to polish herself up and upon learning Carrington is currently in Buenos Aires to attend the horse races, she decides to enter Buck's racing-trained stallion Cactus in the race and goes down there herself to deliberately bump into Paul again. The blonde bombshell is a hit with the international males in Argentina and Carrington seems happy to see her again but there's trouble brewing when she clashes with a wealthy socialite (Marjorie Gateson) and Paul is appalled by her flirting with a sleazy gigolo (Ivan Lebedeff).

This comedy is packed with lots of Mae's delicious wisecracks and sass and has one of greatest ever slams, directed at the Russian gigolo whom she's now sized up, "We're intellectual opposites...I'm intellectual and you're opposite." Cleo and Paul have a classic love-hate burgeoning romance in then brand-new IT HAPPENED ONE NIGHT fashion but is there any doubt Mae West will get what she wants? Mae is wonderful and looks great dolled up in minks and high fashion and vamping her way through three songs as well as an aria from the opera "Samson and Delilah".

Leading man Paul Cavanaugh is quite good in one of his more notable movie roles, but I do agree with another reviewer that Leslie Howard would have been better cast in the part as Cavanaugh doesn't quite have the sex appeal of a man a woman would chase around the world. Standing out in the cast are three classic 1930's supporting players. Marjorie Gateson was perhaps the most formidable advisory Mae ever had on the screen. Elegant and middle-aged (three years Mae's senior), Ms. Gateson specialized playing frosty socialites and here was at her most malevolent. When Monroe Owsley was in a movie, you knew there was going to be trouble for the leading lady with this untrustworthy beau and he serves that purpose here for Mae as he did for Barbara Stanwyck, Claudette Colbert, Loretta Young, and scores of other movie queens (sadly, he passed away two years after this film's release at age 36.) Owsley was such a good actor at times he fooled the audience as much as the female star. There was no such shading in sinister Ivan Lebedeff, the international equivalent to Owsley, playing sleazy bad guys the likes of Greta Garbo and Marlene Dietrich were sorry they had crossed his path, though here Lebedeff is more of a birdbrain than his stock character yet just as predatory.

There's some pretty racy and controversial stuff here for a post-code; Cleo's blithe attitude toward marriage, her later marrying society figure Owsley just to crash society and the circles Carrington socializes in with the intent to divorce once she's achieved her goal. There's even a couple of derriere jokes (riding a horse for an extended period for the first time, Mae cracks "Usually it's my feet that hurt" and later looking over a map opened up on a table by Paul she coos, "You can find some amazing things on a map," and proceeds to sit on the edge of it.) The raciest line though doesn't go to Mae but to young character actor Jack Pennick, a regular supporting actor in John Ford films, playing a tongue-tied cowboy who has a hard time getting his words out right. Informing the other cowboys who wonder what's going on behind closed doors with Cleo and Mae at the saloon (which Jack learns by peeping through the keyhole!), he tries to say"She's got him tied, roped, and ready for branding" but it comes out, "She's Got him tope (sic) rided (sic) umm ride toped (sic) umm tied roped and betty for randing (sic) umm randy for bedding umm she's got him ready!" GOIN' TO TOWN is a fabulous showcase for one of the cinema's most delightful stars, Miss Mae West.