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This was the first Mae West movie to appear after the introduction of the Production Code the year before and, given the generally held belief that this factor harmed her successive films, I was expecting to be let down by this one; indeed, while rarely scaling the heights of her best work, I found it to be a very engaging and entertaining vehicle with a fair amount of good lines.

Amusingly, this film – with the word “town” in its title – starts out way out West while West’s GO WEST YOUNG MAN (1936) starts out in a rural setting and goes rustic gradually! Interestingly enough, it features a vivid horse-racing sequence and another hilarious vignette in which West dabbles in opera singing: playing Delilah (“the only woman barber who made good”), she is prone to call out to her Samson, “Come ‘ere, Sammy!”; it’s worth mentioning here that The Marx Brothers also lampooned just these very diverse subjects for their first two big-budget MGM extravaganzas!

The plot is quite busy, especially for a 70 minute movie, with a handful of besotted males vying for the hand of wealthy oil tycoon West (who marries – and is subsequently widowed – twice during the course of the film, even if she is clearly chasing after her no-nonsense British employee Paul Cavanagh who is really an aristocrat!). Initially, I thought that Cavanagh was a curious choice for her leading man but, ultimately, he acquits himself rather well under the circumstances, and Gilbert Emery is a welcome familiar face as West’s Pygmalion (once she decides to take on the upper crust of society in her bid to win Cavanagh’s affections); incidentally, this portion of the film bears more than a passing resemblance to George Raft’s predicament in Mae West’s debut feature, NIGHT AFTER NIGHT (1932)!

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 *****

This was my first time seeing a Mae West picture. I've always heard her name. Man, she can fling the sass! Mae marries a rancher who dies just before their wedding day, yet she still is gifted his large cattle ranch with acers of land and various animals in additional to oil wells. Thus, she becomes very wealthy and the talk of the town. Although, she does most of the talking. Being a sassy woman, she makes an amusing effort to be more lady-like as she sets her eyes on an English gentleman operating in her new high-class sphere. This is some genuinely funny '30s fun. Mae has oodles of good dialog zingers mixed with amusing physical comedy.

"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.

In Going' To Town Mae West enacts her own version of the Horatio Alger story. She rises from dance hall queen, to millionaire, to high society, and finally to a title. Mae starts this rise by being a 'good woman to a bad man'.

The bad man is Fred Kohler who mixed cattle rustling with a lot of legitimate money and pays the ultimate price. He leaves everything to his fiancé Mae West. It's the beginning of her rise.

All the time she's got her eye fixed on Englishman Paul Cavanaugh who she knows as the engineer drilling for oil on Kohler's and now her property. She doesn't know at first he's an heir to a title, but she finds out soon enough.

Mae really comes into her own in this film. In previous films she had George Raft and Cary Grant twice as leading men. Going' To Town is a film she carries all by herself.

Cavanaugh is the film's weakness. Not a strong enough personality to be a lead, one can't figure out why Mae's so set on him. Someone like Leslie Howard would have really given that part some character. And what a team that would have been.

Still this film is all Mae West. And that's all you need.