Mamzelle Mitraillette

Zany, scattered and at times downright demented, it is perhaps not so terribly surprising this was considered such a disaster when it came out that it instantly vaporized Preston Sturges' Hollywood career. I guess this sort of loose, free wheeling parody (and at times it has a Coen Brothers inspired kookiness about it) just wasn't the sort of thing audiences took to in 1949.

That very looseness, that daffy unrehearsed quality can give one the impression that the film is simply not as good as it could've been, but my God it isn't THAT bad. There are sparks of originality throughout and while it may never quite catch fire, this is still Sturges and still superior to a good number of tame, vanilla comedies that came out around this time.

It may not have been the case but it certainly looks like many of the actors were having a ball during filming, particularly Cesar Romero. Watch the one scene where he is quizzing some hayseed local about his sweetheart's (Betty Grable) whereabouts. He can barely keep a straight face and happily lets this character actor steal the scene with a funny, one man "who's on first?" routine. I thought Grable did a fine job as well and showed pretty fair comic timing, though I wonder if Sturges really wanted that other Betty (Hutton) for the role and couldn't get her for some reason. Sturges may have allowed those two freaky brothers (one of whom is played by Sterling Holloway) to take things too far; I'm sure audiences at the time watched their crazed antics with stone faces. In fact, they're not even recognizably human which may have been the point. I'm not sure.

An odd, not terribly satisfying movie, but watchable, never boring and with spurts of that famous snappy Sturges dialogue.

I have loved this movie ever since I was a child. The slapstick comedy never gets old.

Shortly before "Anne Get Your Gun" was released, this film, which I dub "Betty, Get Your Gun" was released, as an often raucous western comedy, starring Betty Grable and Cesar Romero. But, sometimes the duo of Sterling Holloway and Dan Jackson, as the demented Basserman boys, take center stage. They have a penchant for spying on Betty, and acting up in her class or elsewhere. Porter Hall is perfect as the harried Judge O'Toole: the unlucky recipient of 3 bullets from Betty's gun, in a running gag sequence, that lodge in the least damaging place: his buttocks. Hugh Herbert is perfect as the eccentric doctor who pulls these slugs out. Rudy Vallee plays a dapper wealthy bachelor, who owns a gold mine, and competes with Cesar for Betty's heart. Cesar is a handsome rogue who has a love-hate relationship with Betty. .......During the credits, and at the end, the peppy title song is sung. Rather early on, onstage, Betty sings the melodious "Every Time I meet You", accompanied by a barbershop quartet. This was composed by Josef Myrow and Mack Gordon. Later, in a private setting, Rude Vallee, along with Betty, sing the standard "In the Gloming"......The silliness occasionally gets out of hand, but on the whole I liked it. See this short second feature film at YouTube.

I loved this movie--but I love most old films better than the newer ones. This one was hilarious and timeless. Any schoolteacher should really love and appreciate this hilarious film. I had the great honor of meeting Mr. Romero also one time, and he was the most friendly, gracious (and good-looking) man. I didn't know he had once been a big star at one time! Ms. Grable showed she had fantastic comedic timing in the hilarious well-colored flick. If you love to laugh like I do--watch it! Shows Ms. Grable had brains, as well as looks!

When you hear the name Preston Sturges you expect great things, but this isn't one of his best efforts. Yes, for the gentlemen viewer it has Betty Grable in a range of corsets playing a pseudo Annie Oakley, and for the ladies it has Rudy Vallee (admittedly rather past his prime). For comedy value it has the peerless Sterling Holloway, but this isn't his finest hour.

Plotwise there isn't much here. Grable has an on-off relationship with Cesar Romero which sometimes causes her to go off toting a gun. Twice in a row Porter Hall's judge is in the way, and off she goes on the run with her Mexican friend to impersonate a schoolteacher. And that's it.

There's a couple of songs, but Grable and Vallee's musical talents are wasted and the only real pull of this film is the fact it is in Technicolor. Given the number of second-rate features which were at the time this was made, that's no draw. And even Grable misses her target here.