Minha Dengosa

Mae West was certainly not your classic beauty, but sauntering into Hollywood at the age of 40 (!) she was somehow very attractive, if more in a "just can't take your eyes off" sort of way than one of genuine good looks. She had a saucy charisma and brash feminine confidence that made her age and weight oddly desirable, and within the start of her film career a bonafide symbol. But by the time of "My Little Chickadee," at 48, it seems her age has finally caught up to her, and she is reduced to making cheap imitations of herself. The magic and allure is all gone, and though she makes a brave attempt at salvaging a last piece of that brazen hell of films like "She Done Him Wrong" and "I'm No Angel," her success is poor. What's more her self-confidence has seemed to become a self-centerdness, and she no longer seems to be acting, but standing alone quoting herself. She no longer really reacts to anyone, but is completely self-contained, as if she was the only actor in the whole picture.

But old age, weight, and wrinkles, the things that most dragged down West, only add to the charm of Fields, who turns in a delightful and suitable performance. For Fields, "My Little Chickadee" only helps to better define his screen presence, and at times he would be very funny. I say "would be." Perhaps it is the admirable struggle and fail of a star who could have nearly retired by the time she was just starting out, but the film has an air of sadness that... well, just isn't funny.

Although My Little Chickadee did not turn out to be the comedy smash of all time, both W.C. Fields and Mae West got in enough of their own shtick to make it worthwhile to see. What I can't figure out is when both were under contract at Paramount earlier in the decade why Adolph Zukor never thought of teaming them.

Probably because both of them were highly individualized and highly specialized performers. Both wrote their own material, but Mae believed her words were golden as she wrote them and Bill Fields was notorious with the ad-libs, even with a script he wrote.

Like Dallas in Stagecoach, Mae West as Flower Belle gets kicked out of one town and heads for another town accompanied by one of the Lady's League in the person of Margaret Hamilton. She's been spotted by Hamilton entertaining the mysterious masked bandit as only Mae entertains.

On the train she meets up with small time con man Cuthbert J. Twillie, a Fields pseudonym if there ever was one. She's convinced she's got a bankroll and she needs a husband to maintain a respectable front. Her gambler friend Donald Meek who looks like a clergyman and remember in Stagecoach Thomas Mitchell originally thought he was one, marries them on the train.

As a husband Fields is as ardent as Bob Hope was in The Paleface with Jane Russell who also needed to get married out of necessity to a stooge. He's sure willing enough, but Mae's to smart for him as she's got town editor Dick Foran and saloon owner Joseph Calleia panting hot and heavy for her as well.

My favorite moment is when Mae slips a goat into her bed and Fields gets a big surprise when he thinks he's finally going to score.

I'd have to say the film's a tie in terms of these two icons trying to top the other. There's plenty enough here to satisfy fans of both Mae and Bill and the many like myself who love both of them.

You could call it "slapstick" at its best. They don't make them like W C Fields and Mae West anymore. Is that a good thing? Probably. Any imitations could hardly live up to their special brand of comedy. That episode on the train where they get acquainted -- "It is not good for man to be alone" quoth he, from the Bible at that. "Yeah, it's not much fun for a woman either," says she. "Do you think it possible for us to be alone together?" he asks. "Quite possible," is her reply. Who can resist a smile at that dialog!

By the way, for one scene how they could get that billy goat to lie down in bed under blankets, I'll never know! There's also a scene of a young girl coming into the bar slightly tipsy and I'm sure it's a young Celeste Holmes but there are no credits to verify this. I wonder if anyone else has noticed this?

Flower Belle (Mae West) is burning the midnight oil with "The Bandit," who is masked of course. She also encounters a naive editor (Dick Foran) and conquers that territory too to some extent. Well, for Flower Belle it's all in a day's work, you might say. Townsfolk are up in arms and intent on finding the Masked Bandit. Along the way they make W C Fields their sheriff but that doesn't solve anything. Meanwhile down at the saloon...

This movie with Mae is the one I like best.

I love this little gem of a movie. It has two of the great stars of the early cinema, W.C. Fields and Mae West.

Fields is hilarious in his role as con man/card shark Cuthbert J. Twillie, who meets Flower Belle Lee (Miss West's character) on a train bound for Greasewood, a town that is ran by corrupt saloon owner Jeff Badger (Joseph Calleia). Flower Belle was ran out of her previous town and cannot return until she is married and a respectful woman, i.e., not promiscuous. She marries Cuthbert just to give her some respectability and it's hilarious to watch Fields pathetic attempts to try to be with his unwilling bride.

Of course, since this a Mae West film (both she and Fields wrote the screenplay) there are several funny double entendres in the film and Mae gets to sing a song, Willie of the Valley. I love both Mae West and W.C. Fields...they were both legends and I really wish they would have made another film together. The Hollywood rumor mill had it that they actually couldn't stand each other off screen, but if this is true, and I tend to believe that their feud was exaggerated for publicity purposes, you could not tell it by their performances. They had terrific on screen chemistry together.

"My Little Chickadee" is a fun film all the way around.

No need to recap the plot.

I guess Universal figured that since West and Fields were so funny apart, they'd be even funnier together. Unfortunately, things didn't quite work out that way. Each gets off some funny lines, but rarely do they share the same frame. It's almost like two movies in one. But then neither comedian needs a second party to bounce jokes off of. Each was like a self- contained act on his or her own—West with her leering innuendos, Fields with his grouchy misanthropy. So trying to mix them is like trying to mix Jupiter with Mars. Good thing the great Margaret Hamilton is along to bridge the gap.

If West comes off a shade less prominently than Fields, it's probably because she's less of an actor. Basically, she's got one comedic posture, and as good as it is, her air of the sexually irresistible doesn't adapt well. Fields' style, on the other hand, goes through a number of emotions, exasperation never far behind. Then too, his fascination with words from the thesaurus is usually on dialog display. Here I really love "euphonious appellation" instead of the more down-to-earth "nice sounding name".

Anyway, each was a comedic genius in his or her own right. And I particularly salute West for her daring brand of comedy at a time when censors did their best to eliminate the fleshy side of life. Nonetheless, each is better viewed in solo starring roles, e.g. Fields in It's a Gift (1934), and West in I'm No Angel (1933).