Mae West the Goddess Aphodite of the thirties !!!

General Service Studios - 1040 N. Las Palmas, Hollywood, Los Angeles, California, USA

W.C. Fields and Mae West in My Little Chickadee (1940)

George Raft and Mae West in Night After Night (1932)

Micheline Cheirel, Ann Hunter, Dick Powell, and Walter Slezak in Cornered (1945)

Pat O'Brien, Anne Jeffreys, and Walter Slezak in Riffraff (1947)

Anthony Perkins, Edward Albert, Henry Hull, and Salome Jens in The Fool Killer (1965)

When caught between two evils, I generally like to take the one I never tried.

Phillip Reed, Jackson Snyder, and Mae West in Klondike Annie (1936)

Victor McLaglen and Mae West in Klondike Annie (1936)

Marlene Dietrich and Mae West in Klondike Annie (1936)

Mae West

Victor McLaglen

Phillip Reed

Marion Morgan

George B. Dowell

Carlton Rose, a girl known as &quot;the Frisco Doll&quot; escapes to Alaska after accidentally killing her guard.

Raoul Walsh

Klondike Annie

Did any actor&apos;s career suffer from the production code as Mae West&apos;s did?...

...well, maybe Warren Williams&apos; career perhaps, but that&apos;s another story.

Set in 1890&apos;s San Francisco, West is hamstrung by the two year old production code, and it shows, especially in the watered down dialogue and lack of double entendres. The films&apos; highlight is about fifteen minutes into the movie as West sings &quot;I&apos;m an Occidental Woman in an Oriental Mood For Love&quot;. The Code censored the overtly sexual lines, but they missed enough that the first 35 minutes is pleasant. It&apos;s when West starts trying to pass as a missionary(?!) that the film becomes actively painful.

West looks like she&apos;s gagging on the mealy mouthed dialogue set in Nomes&apos; missionary center. The film misses numerous opportunities for fun. West gets screen credit for the script, but from the sanctimonious tone of the scripts&apos; second half, I&apos;d say she got &quot;help&quot; whether it was wanted or not.

West is truly the whole show. The Code censored her words, but they couldn&apos;t censor her eye-rolling gagging air of supreme confidence, or her way of making an innocuous line an innuendo.

Not as good as I&apos;d hoped or as bad as I&apos;d feared, it is worth the watch, just realize the film peaks early.

Did any actor's career suffer from the production code as Mae West's did?...

...well, maybe Warren Williams' career perhaps, but that's another story.

Set in 1890's San Francisco, West is hamstrung by the two year old production code, and it shows, especially in the watered down dialogue and lack of double entendres. The films' highlight is about fifteen minutes into the movie as West sings "I'm an Occidental Woman in an Oriental Mood For Love". The Code censored the overtly sexual lines, but they missed enough that the first 35 minutes is pleasant. It's when West starts trying to pass as a missionary(?!) that the film becomes actively painful.

West looks like she's gagging on the mealy mouthed dialogue set in Nomes' missionary center. The film misses numerous opportunities for fun. West gets screen credit for the script, but from the sanctimonious tone of the scripts' second half, I'd say she got "help" whether it was wanted or not.

West is truly the whole show. The Code censored her words, but they couldn't censor her eye-rolling gagging air of supreme confidence, or her way of making an innocuous line an innuendo.

Not as good as I'd hoped or as bad as I'd feared, it is worth the watch, just realize the film peaks early.

Carlton Rose, a girl known as "the Frisco Doll" escapes to Alaska after accidentally killing her guard.

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Klondike Annie

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