Uma Loira para Três

Mae West is certainly entertaining with her wisecracks and sexual innuendo. Unfortunately, she's the only entertaining thing about this whole film. The other actors, even a young Cary Grant, aren't given terribly interesting characters to inhabit. The whole thing is set-bound and the story is nonsense.

Okay, maybe not nonsense, but it is cluttered with too many subplots and one-note characters which fail to hold interest. The first ten minutes are a pain to sit through, mainly because West isn't there to enliven the proceedings. That should not be.

She Done Him Wrong (1933) is an interesting curio and a showcase for Mae West, but as entertainment, it is lacking.

Mae West is another one of those actresses that played the same role time after time. She played Mae West. What distinguishes the movies are the lines and she was a masterful created of double entendre with a big load of sex. She would surround herself with the actors of the day, like Gilbert Roland and Wallace Beery. The one that benefited the most here was Cary Grant. It's hard to realize that he goes back so far. I have to admit that for mot of my life I found West's thing to be off handed and tiresome. But now I know that she had great timing and and interesting stage presence. She could deliver a "dirty" line like no other. This gave us the famous like, "Come up and see me sometime."

Mae West had a Broadway smash when she penned the bawdy tale of DIAMOND LIL for herself--and with a few tweaks here and there the story came to the screen as SHE DONE HIM WRONG. The film was an immediate hit and the role of Lady Lou remains one of West's best remembered performances. The script is jam-packed with some of West's most famous lines, including the memorable "Come up'n see me sometime. I'm home every evenin'" and "You can be had." West throws her lines with style, aplomb, enough innuendo to make a censor cringe, and considerable humor--but, somewhat surprisingly, the movie is not really a comedy.

SHE DONE HIM WRONG is a hard-knocks tale of Bowery bruisers who dance attendance upon the 'Lady Lou' and often resort to crime to keep her dripping in the diamonds she prizes above all else. But although she has one lover already locked up in jail, another one mixed up in the white slavery rackets, and still a third waiting to step into the gap, the Lady Lou is more interested in seducing missionary Cary Grant... only to find him less interested in her body than her soul, a circumstance that prompts West to utter one of the most how-did-that-get-past-the-censors lines in 1930s cinema: "Maybe I ain't got no soul." This is a surprisingly tough little movie, and in addition to West's zinging lines and occasional musical numbers SHE DONE HIM WRONG also offers a glimpse at a very young (and still slightly wooden) Cary Grant; it also has an ensemble cast that plays in a very enjoyable grand manner, truly first rate production values all the way, and A surprisingly brisk running time. West did funnier films than this, but the mix of her sharp wit and the rough story is particularly memorable. This is where the fire started really started, and I recommend it very strongly.

Gary F. Taylor, aka GFT, Amazon Reviewer

Although this really cannot be classified as a musical, it is a classic example of Mae West at her suggestive musical best and what movie audiences thought was naughty in 1933. West costars with the extraordinary Cary Grant and sings three noteworthy songs: "I Wonder Where My Easy Rider's Gone," "A Guy What Takes His Time," and "Frankie and Johnny." --from Musicals on the Silver Screen, American Library Association, 2013

She Done Him Wrong (1933)

*** (out of 4)

Set during the "Gay Ninetiest," Mae West stars as Lady Lou, a nightclub singer who pretty much seduces and vamps over any man that enters the club. Since she has her pick of the litter she sets her sights on the handsome Captain Cummings (Cary Grant).

To say SHE DONE HIM WRONG was 100% Mae West would be an understatement. The actress was a smash on Broadway and her sexual act was quite legendary even during a time when that type of thing wasn't always wanted or allowed. Her stage play was attempted to get on the big screen for a couple years before this film finally did it even though it had to be watered down some. With that said, there's still plenty of sexuality on display here, although you can't help but think this is one of the films that helped eventually bring on the Production Code.

As far as the film goes, it was a smash when it was originally released and it even got a Best Picture Oscar nomination. Watching it today the film is obviously not as strong but at the same time you can't help but watch it and just imagine how people must have felt about it in 1933. The main reason to watch this is of course for the performance of West who is pretty much playing herself. The over-the-top, heated sexuality is actually a lot of fun to watch. You know, I've never found her to be an "attractive" woman but the way she forces her sexuality is just something that works.

The supporting cast is quite good including Grant in another early role where he's pretty much playing that good looking guy that's the object of the main characters affection. Owen Moore, Noah Beery, Sr. and Gilbert Roland are all good as well. The screenplay is another plus or at least the dialogue spoken by West is. She gets a couple classic lines and her delivery is certainly a plus. With that said, the story itself is pretty hit and miss but the 66-minute running time does fly by.