Soy una dama

This film is really a Mae West vehicle and you can see how she inspired today's stars like Madonna and even Lady Gaga with her dazzling outfits and costumes. Mae West had a style like nobody else and was incredibly talented besides her looks. She was a screenwriter who developed her own projects in order to suit her. In this film, she plays a girl from the wrong side of the tracks who ends up from rags to riches. Along the way, she wants high society's acceptance even of her bawdy behavior and attitudes. Her character might be ill-bred, ill-mannered, and raunchy with jokes but she's entertaining and talented with her singing voice. I wonder if it was her real voice. She's going to climb high society even if it means doing it her way. Mae West is one of the great movie stars during the Great Depression and we can see why people flocked to see her films.

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. (***)

Reviewing the iconic Mae West feels like an exercise in futility. Today's audiences either "buy into" her supremely confident premise and enjoy her oeuvre, or reject her entire egotistic supposition and persona in general.

Going' to Town is the first West vehicle made under the Production Code, and it does somewhat pale in comparison to her earlier films. But still, what we find here contains a great deal to enjoy, even with the buxom star now somewhat muzzled and constrained. Here she is Cleo Borden (I love her character names every time!), an "on-the-level" saloon hall girl who inherits a windfall and attempts to go legit in high society in the Hamptons. Jealous and snooty Marjorie Gateson does everything in her power to stand in her way -- a plot contrivance familiar to West fans.

Firstly, Mae West always seemed to consider the guys in her audience, and here the film starts with an exciting action sequence featuring a chase on horseback with guns blazing. It plays more like something from a George O'Brien oater -- a neat and surprising way to open the proceedings actually. Before long the scene has shifted to Buenos Aires, where the story treats us to an actual horse race that's very nicely filmed in an extremely fast pace.

But the movie's plotting seems a tad overwrought, with perhaps a few too many admirers competing for both West's attentions and meager screen time. But then, fans of outrageous Hollywood fashion can feast their eyes on the haute couture that clothes the corseted blond star. And it certainly does add to the humor having a full-figured actress dominating the proceedings, and Mae West expertly keeps all eyes focused on her abundant charms -- if only to ascertain the reasons behind her supreme confidence.

So, everyone, get a load of Mae West as she rolls her eyes, smokes cigarettes, sings a few songs, steamrolls over her entire supporting cast, and flirts with every man around. That makes some outlandish entertainment that's not to be underestimated even today.

*** out of *****

"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.