Je ne suis pas un ange

Mae West was an unlikely sex symbol. She was a small woman with a face that defied most standards of beauty and an unremarkable body--and by the time she hit film she was edging into middle age. But as West herself might have said, it ain't what ya got, its what ya do with it. If anybody knew what to do with it, Mae West certainly did, and I'M NO ANGEL finds her doing it in remarkably fine style indeed.

The story and script, by West herself, is hilariously improbable. West stars as Tira, a carny entertainer who divides her work between a hootchie coochie act (which gives her the opportunity to perform a sizzling "They Call Me Sister Honky Tonk") and a lion taming act--but when she runs afoul of a small town romeo she hits the road for New York, where she captivates both city and Cary Grant with her circus act. Needless to say, there are comic complications galore, but like the Mounties, Mae West always gets her man.

West did a number of justly famous films during the 1930s, but I'M NO ANGEL is arguably her best, salted with with one memorable quip after another as she cracks whips, snubs snobs, frolics with her maids ("Peel me a grape!"), and waylays the willing Cary Grant with considerable aplomb. If you've never seen a Mae West movie but have always wondered what made her a great star, this is the film to see!

Gary F. Taylor, aka GFT, Amazon Reviewer

I'M NO ANGEL (Paramount, 1933), directed by Wesley Ruggles, Mae West's second starring feature, with the full of story, screenplay and ALL dialog credited by Mae West, as listed in the opening titles super-imposed from an overview of a circus, according to the title, might have been a comedy fantasy centering upon a fallen angel, but as the story goes, it's about a freewheeling woman's rise from circus tent to Park Avenue penthouse.

The story centers around Tira (Mae West), a free-spirited woman working as a midway dancer in Big Bill Barton's (Edward Arnold) low class carnival. She is loved by Big Bill, but has a casual lovers, or in another sense of the word, acquaintances with the male population, one being "Slick" Wiley (Ralf Harolde), a pickpocket. Tira keeps a hotel room in town where she entertains gentlemen friends. One of her latest pickups is Ernest Brown (William B. Davidson), better known as "The Chump," five times married and with no morals. When Slick enters the scene to make a pinch, posing as Tira's husband, the angry Brown decides to leave and expose the two. Before he can get away, he is knocked unconscious by Slick. Mistaking him for dead, Tira and Slick make their getaway, leaving his body in the hallway. After Brown recovers, he discovers he's been robbed. Along with the police, Brown locates Slick at the sideshow and has him arrested. To clear herself, Tira hires Benny Pinkowitz (Gregory Ratoff), a prominent New York City attorney, to handle her pending trial. To obtain the loan, Tira agrees to appear as Bill's latest attraction, the star of a lion taming act, climaxed by putting her head into the mouth of the king of beasts. Because of her renewed success, with the act now playing at Madison Square Garden, Tira becomes the talk of the town. Entering the social scene following her encounter with Kirk Lawrence (Kent Taylor), who happens to be engaged to the jealous Alicia Hatton (Gertrude Michael), his relationship with Tira starts to ruin the family name. Jack Clayton (Cary Grant), Kirk's cousin, decides to pay Tira a visit and buy her off. Instead acquires this lovely product for himself. All goes well until Big Bill hires Slick, recently released from jail, to break up their relationship by posing as Tira's husband dressed in nothing but a bathrobe. Clayton calls off the wedding, leading to a breach of promise suit by Tira.

Songs credited by Gladys DuBois, Ben Ellison and Harvey Brooks, include: "They Call Me Sister Honky Tonk," "No One Loves Me Like That Dallas Man," "I Found a New Way to Go to Town," "I Want You, Need You," and "I'm No Angel" (all sung by Mae West). The title song, sung by West, is heard during the closing casting credits, and before the fade out, has the final say with, "I'm No Angel ... Believe ME!"

Following the success to SHE DONE HIM WRONG, I'M NO ANGEL, which re-teams West with Grant for the second and final time, proved to be an improvement over its predecessor, and to many Mae West fans, her best movie, and it's easy to see why. The courtroom scene where Tira (West) acts as her own attorney in the breach of promise suit, questioning the men in her past and present, and the male jurors who want to become part of her future, is priceless. With the members of the jury seen laughing out loud during Tira's defense sure had it's theater audiences doing the same thing back in 1933. During the course of West's longest movie, 86 minutes, I'M NO ANGEL is a full of memorable one-liners ("When I'm good, I'm very good. When I'm bad, I'm better," "Beulah, peal me a grape," "It's not the men in my life, but the life in my men," plus many more), and suggestive scenes leading only to the imagination of its viewers. I'M NO ANGEL is the movie where she introduced her most famous line, "Come up and see me some time," recited after her courtroom battle while on the telephone talking to the (unseen) Juror # 4. This line was spoken to Cary Grant, here, and in SHE DONE HIM WRONG, but each time in different ways. In spite of Grant's name billed second in the cast, his character appears very late into the story.

I'M NO ANGEL also consists of Mae West's personal traits. For instance, it's been written that West, born under the sign of Leo (month of August, a "hot" month) usually visited her astrologer for advice and never went through the day without reading her horoscope. Her character of Tira does just that, having her fortune told by the Rajah (Nigel De Brulier), who, while looking into the crystal ball, tells her he sees a man in her life. The surprised Tira responds, "Only ONE!" Later on in the story, one of her maids tells says she's a "one man woman." She quickly quips, "Yeah, one man at a time."

I'M NO ANGEL was thankfully produced before the production code went into effect, thus making this a "pre-code" comedy that has stood the test of time. It had become one of many Mae West/Paramount comedies of the 1930s to be distributed on video cassette in 1992. to commemorate West's centennial birth (1892). I'M NO ANGEL, along with SHE DONE HIM WRONG, became the movie package acquired by Turner Classic Movies, with I'M NO ANGEL having made its premiere on that station on January 6, 2001. For anybody who has never seen a Mae West comedy, especially her two prime comedies released 1933, I'M NO ANGEL should make a good introduction, and a suitable companion piece with SHE DONE HIM WRONG, both co-starring the only actor to appear opposite West on screen more than once. His name, of course, being Cary Grant. (**1/2)

The dancer and lion tamer of a circus Tira (Mae West) meets with an admirer at a hotel room and her lover, the pickpocket Slick Wiley (Ralf Harolde) try to steal the man and hits his head with a bottle. Slick believes that he had killed the man and flees, but he is arrested by the police.

Tira fears to be betrayed by Slick and asks for a loan to Big Bill Barton (Edward Arnold) to leave the place. However, he offers her the money provided she accepts to put her head into the mouth of a lion. The show is a success and the circus move to New York, where the millionaire Kirk Lawrence (Kent Taylor), who is engaged but becomes her "protector", giving expensive gifts to Tira. But when she meets Kirk's partner Jack Clayton (Cary Grant), they fall in love with each other and decide to get married. But Big Bill does not want to lose his great attraction and plots a scheme with Slick to call off the engagement of Clayton and Tira.

"I'm No Angel" is one of the most important films of the controversial Mae West, the actress who saved Paramount Pictures from bankruptcy after the Great Depression. This actress was responsible for the censorship code in Hollywood and her malicious quotes are great. For example, "When I'm Good, I'm Very Good. But, When I'm Bad... I'm Better"; or the song "No One Does It Like a Dallas Man", that was forced to be changed "No One Loves Me Like a Dallas Man". My vote is seven.

Title (Brazil): "Santa Não Sou" ("Saint I am not")

The great stars are inimitable. With the very greatest, such as the outrageous one-of-a-kind Mae West, nobody else even mirrors the style. Bogart, Hepburn, Dietrich, Cagney, maybe a few others - all you ask is that the story not smother what they do best. Here is Mae West's finest movie, giving her the opportunities, sometimes denied elsewhere, to strut her stuff - all of it. Suggestive dialog, provocative poses, sashaying hips, and a young Cary Grant who makes her purr: the Production Code would not be far behind.

Considered by many to be Mae West's finest film appearance (with only 1933's SHE DONE HIM WRONG and 1940's MY LITTLE CHICKADEE even coming close), the legendary star of the stage and screen has rarely been in better form than in this seminal film. Based on her own stage hit, the film's storyline is naturally preposterous, but West and director Wesley Ruggles wisely keep the focus on the then-salty dialogue and the still hilarious word play. Although he doesn't make his first appearance until nearly two-third of the film is over, Cary Grant remains the ideal straight man to West's zany antics. The film moves at a brisk pace, and its concluding courtroom sequence is unarguably one of the funniest scenes in film comedy.