15 reviews
BELLE OF THE NINETIES (Paramount, 1934), directed by Leo McCarey, stars the "calm and collected" Mae West, contributor to the story, screenplay, and bedside manner dialog ("It's better to be looked over than overlooked"). In her fourth feature film and only 1934 release, it also became the first in a series of Mae West comedy/dramas to have the production seal-of-approval. While not up to the standards as her two previous 1933 efforts of SHE DONE HIM WRONG and I'M NO ANGEL, BELLE OF THE NINETIES has more of a reputation than West herself as being the movie to have gone through numerous production problems. Other than alternate titles before the selected choice, and Roger Pryor as the substitute for the original choice of George Raft, BELLE OF THE NINETIES contains several scenes ending with abrupt blackouts. Other than that, BELLE OF THE NINETIES ranks one of Mae West's most interesting, if not entirely successful screen efforts, with her witty one-liners making this more memorable than the plot itself.
Set in the Gay Nineties, circa 1892-93, in St. Louis, Ruby Carter (Mae West), a burlesque queen (and "The most talked about woman in America"), is much admired by many male patrons who attend the café to watch her perform. She sincerely loves a prizefighter called "The Tiger Kid" (Roger Pryor). Feeling Ruby's affection will complicate the Tiger's chances for the championship fight, Kirby (James Donlan), his manager, schemes to break up their relationship. Unaware of the set-up, Ruby leaves St. Louis for New Orleans to accept an engagement working for Ace Lamont (John Miljan) at his Sensation House. While there she stirs up much attention, especially with Ace, causing his mistress, Molly Brant (Katherine DeMille) to become extremely jealous. Having no interest in Ace, Ruby focuses her attention to Brooks Claybourne (Johnny Mack Brown), a young millionaire now supporting her with expensive diamonds and jewelry. Sometime later, Kirby, along with his star fighter, Tiger Kid, arrive in New Orleans where the Tiger is to fight the Champ in a boxing match being promoted by Ace. Ace, jealous of Ruby's affection towards Brooks, hires Tiger to act as the masked bandit to steal her jewelry while on a carriage ride. Later, Ruby spots Tiger is seen conversing with and giving the Ruby's jewelry Ace. Suspecting some sort of setup, Ruby avenges herself on both men, leading to the unexpected murder of one of them.
With a smooth mix of newer songs (by Arthur Johnston and Sam Coslow) and nostalgic tunes from the nineties era, such as "And the Band Played On" (better known as "The Strawberry Blonde"), introduced through underscoring during the opening credits, the soundtrack to BELLE OF THE NINETIES includes: "Here We Are" (sung by chorus); "My American Beauty" (sung by Gene Austin with Mae West appearing in tableaux posing as a butterfly, rose, bat, spider and finally the Statue of Liberty); "When a St. Louis Woman Goes Down to New Orleans," "I Hate to Wait," "My Old Flame," "Those Memphis Blues" (by W.C. Handy) and "Troubled Waters" (all sung by West). With the tunes presented and performed, "My Old Flame," is noteworthy. Set at night, West, smoking a cigarette, stands on the outside terrace watching her maid and beau (Libby Taylor and Sam McDaniel) taking part of Brother Eben's prayer meeting. She sings while the spiritual group of Negroes are seen waving their arms as they are being saved in having their sins washed away in the river. The use of super imposing effects between West and the attendees of the prayer meeting, along with shadowy images reflection from the river, is done quite effectively.
In the supporting cast is Warren Hymer ("Hi, Ruby, this is your Bunny Boy." Ruby: "Bunny Boy? I don't know any rabbits"), and Duke Ellington and his Orchestra during the the "Memphis Blues" number.
Although Mae West is usually the central focus, veteran actor John Miljan (1892-1960) as the villainous Ace Lamont, nearly steals the film his leading lady. West's on screen character description of Ace is summed up with this amusing quote: "That guy's no good. His mother should have thrown him out and kept the stork." In their "love" scene, Ace (Miljan) compliments Ruby about her "golden hair, fascinating eyes, alluring smile, lovely arms ..." Ruby quickly responds, "Wait a minute. Wait a minute. Is this a proposal or are you taking inventory?" One particular scene shows Miljan's true evilness to good advantage as he socks his unwanted mistress, Molly (DeMille) in the jaw, placing her in a closet with the intention of burning down his own casino with her in it so not having to pay off a large gambling debt that would wiped him out financially. Miljan's sinister laugh and dark curly hair add to his snarling meanness. Roger Pryor as the lovesick prizefighter, is showcased well, though never rose to the ranks of stardom. The third billed Johnny Mack Brown is offered the least amount of screen time along with Frederick Burton and Augusta Anderson appearing briefly as his parents.
As with SHE DONE HIM WRONG, BELLE OF THE NINETIES is very authentic in capturing the flavor of the 1890s era, right down from period settings to costumes, compliments of costume designer, Travis Banton.
BELLE OF THE NINETIES, which went on video cassette in 1992, includes an added bonus of a theatrical trailer featuring certain key sings along with her singing "My Old Flame" differently from what was used in the final print. Nearly a decade later, BELLE OF THE NINETIES became the first Mae West feature from her Paramount years to be distributed on DVD. So far, both VHS and DVD formats have come and gone, as well as having acquired a rare cable TV broadcast in later years on Turner Classic Movies (TCM premiere July 3, 2014). (***)
Set in the Gay Nineties, circa 1892-93, in St. Louis, Ruby Carter (Mae West), a burlesque queen (and "The most talked about woman in America"), is much admired by many male patrons who attend the café to watch her perform. She sincerely loves a prizefighter called "The Tiger Kid" (Roger Pryor). Feeling Ruby's affection will complicate the Tiger's chances for the championship fight, Kirby (James Donlan), his manager, schemes to break up their relationship. Unaware of the set-up, Ruby leaves St. Louis for New Orleans to accept an engagement working for Ace Lamont (John Miljan) at his Sensation House. While there she stirs up much attention, especially with Ace, causing his mistress, Molly Brant (Katherine DeMille) to become extremely jealous. Having no interest in Ace, Ruby focuses her attention to Brooks Claybourne (Johnny Mack Brown), a young millionaire now supporting her with expensive diamonds and jewelry. Sometime later, Kirby, along with his star fighter, Tiger Kid, arrive in New Orleans where the Tiger is to fight the Champ in a boxing match being promoted by Ace. Ace, jealous of Ruby's affection towards Brooks, hires Tiger to act as the masked bandit to steal her jewelry while on a carriage ride. Later, Ruby spots Tiger is seen conversing with and giving the Ruby's jewelry Ace. Suspecting some sort of setup, Ruby avenges herself on both men, leading to the unexpected murder of one of them.
With a smooth mix of newer songs (by Arthur Johnston and Sam Coslow) and nostalgic tunes from the nineties era, such as "And the Band Played On" (better known as "The Strawberry Blonde"), introduced through underscoring during the opening credits, the soundtrack to BELLE OF THE NINETIES includes: "Here We Are" (sung by chorus); "My American Beauty" (sung by Gene Austin with Mae West appearing in tableaux posing as a butterfly, rose, bat, spider and finally the Statue of Liberty); "When a St. Louis Woman Goes Down to New Orleans," "I Hate to Wait," "My Old Flame," "Those Memphis Blues" (by W.C. Handy) and "Troubled Waters" (all sung by West). With the tunes presented and performed, "My Old Flame," is noteworthy. Set at night, West, smoking a cigarette, stands on the outside terrace watching her maid and beau (Libby Taylor and Sam McDaniel) taking part of Brother Eben's prayer meeting. She sings while the spiritual group of Negroes are seen waving their arms as they are being saved in having their sins washed away in the river. The use of super imposing effects between West and the attendees of the prayer meeting, along with shadowy images reflection from the river, is done quite effectively.
In the supporting cast is Warren Hymer ("Hi, Ruby, this is your Bunny Boy." Ruby: "Bunny Boy? I don't know any rabbits"), and Duke Ellington and his Orchestra during the the "Memphis Blues" number.
Although Mae West is usually the central focus, veteran actor John Miljan (1892-1960) as the villainous Ace Lamont, nearly steals the film his leading lady. West's on screen character description of Ace is summed up with this amusing quote: "That guy's no good. His mother should have thrown him out and kept the stork." In their "love" scene, Ace (Miljan) compliments Ruby about her "golden hair, fascinating eyes, alluring smile, lovely arms ..." Ruby quickly responds, "Wait a minute. Wait a minute. Is this a proposal or are you taking inventory?" One particular scene shows Miljan's true evilness to good advantage as he socks his unwanted mistress, Molly (DeMille) in the jaw, placing her in a closet with the intention of burning down his own casino with her in it so not having to pay off a large gambling debt that would wiped him out financially. Miljan's sinister laugh and dark curly hair add to his snarling meanness. Roger Pryor as the lovesick prizefighter, is showcased well, though never rose to the ranks of stardom. The third billed Johnny Mack Brown is offered the least amount of screen time along with Frederick Burton and Augusta Anderson appearing briefly as his parents.
As with SHE DONE HIM WRONG, BELLE OF THE NINETIES is very authentic in capturing the flavor of the 1890s era, right down from period settings to costumes, compliments of costume designer, Travis Banton.
BELLE OF THE NINETIES, which went on video cassette in 1992, includes an added bonus of a theatrical trailer featuring certain key sings along with her singing "My Old Flame" differently from what was used in the final print. Nearly a decade later, BELLE OF THE NINETIES became the first Mae West feature from her Paramount years to be distributed on DVD. So far, both VHS and DVD formats have come and gone, as well as having acquired a rare cable TV broadcast in later years on Turner Classic Movies (TCM premiere July 3, 2014). (***)
Mae West throws all the curves in this one as a singer (?) in the 1890s who dumps her boxer boyfriend in a mix-up and runs off to New Orleans to perform and live there. She's featured in a stunning musical number where she models a shimmering gown against which numerous costumes are superimposed by a projector! One pose has her as lady liberty. Unfortunately, this is a less liberated, somewhat cleaned-up Mae West. She still likes to have fun, and enough gags remain to make this one worth a few solid laughs. Good production by Paramount.
Mae West's first vehicle following the enforcement of the Production Code emerges as a lesser comedy, despite the involvement of the renowned McCarey (who directed many a star comedian around this time, including various Laurel & Hardy shorts, Eddie Cantor, The Marx Bros., W.C. Fields and Harold Lloyd).
As ever, West wrote the script herself: having gone through the titles included in the R1 DVD collection not too long ago, this film can be seen to have adhered strictly to formula so that, in spite of offering nothing new (all the men, be they naïve or unscrupulous, invariably throw themselves at the star's feet who, of course, plays a notorious chanteuse), the undercasting of the chief supporting players and the severely reduced trademark double entendres, it still gets by on the consummate professionalism on display (conveyed in Paramount's recognizable in-house style). Among the highlights here are a marathon boxing match, a typically soulful number by the underprivileged black community and the fiery climax.
The film's brief 70-minute running-time (in PAL mode) and unassuming plot line makes this ideal for late-night viewing; however, such rampant streamlining also leads to an overly abrupt denouement in which events are neatly tied up via a montage of newspaper clippings!
As ever, West wrote the script herself: having gone through the titles included in the R1 DVD collection not too long ago, this film can be seen to have adhered strictly to formula so that, in spite of offering nothing new (all the men, be they naïve or unscrupulous, invariably throw themselves at the star's feet who, of course, plays a notorious chanteuse), the undercasting of the chief supporting players and the severely reduced trademark double entendres, it still gets by on the consummate professionalism on display (conveyed in Paramount's recognizable in-house style). Among the highlights here are a marathon boxing match, a typically soulful number by the underprivileged black community and the fiery climax.
The film's brief 70-minute running-time (in PAL mode) and unassuming plot line makes this ideal for late-night viewing; however, such rampant streamlining also leads to an overly abrupt denouement in which events are neatly tied up via a montage of newspaper clippings!
- Bunuel1976
- Dec 23, 2008
- Permalink
This movie is classic Mae West, full of one-liners with carefully disguised meanings to escape the censors. It's interesting to note that this is the movie where she really began to fight with the Hays Office and the Breen Office to get her movie past the censors...She had to change the title from "It's No Sin" (people picketed in the streets with signs that said, "Yes, It Is"). Therefore, this movie could be seen by some as not quite as good as her 3 previous movies. However, it is still a gem from Mae's classic period. Everyone should see a Mae West movie at least once...
- weezeralfalfa
- Feb 4, 2017
- Permalink
The movie star most affected by the newly enforced Production Code was Mae West. She was one of the main catalysts why a stricter enforcement from the Hays Office was enacted by mid-1934. West's first movie under the new censorship system, September 1934's "Belle of the Nineties," underwent several laborious revisions before filming was underway as well as being required by the censors to reshoot several scenes after their circumspect review of the movie.
West was familiar with uptight censors from her previous stage and early movie works. Thrown in a New York City jail after police shut down her first play in 1927, the now-41-year-old actress wrote a bawdy movie script based on her play, 'It Ain't No Sin,' knowing the Hays Office was going to chop it to shreds. Her low opinion on censors was reflected in her autobiography. "Every person who is not a moron or a mental defective of some sort carries a very effective censor and super-critic of his actions in his cerebral cortex, and in his heart," West wrote. "If that doesn't work, no amount of censorship from the outside will do anybody any good." West was well prepared which passages were going to be sliced, and wrote a backup script with less raunchy lines.
The censors at first amazingly left in the original title. Paramount Pictures, as a publicity stunt, gathered 40 parrots and taught them to say the phrase "It Ain't No Sin." Eventually, head censor Jospeh Breen realized the title had to be changed and demanded it be. Since no one wanted parrots who repeatedly shrieking "It Ain't No Sin," they were all transported back to South America where they came from and released into the jungle. The birds could be heard by the natives in the area for years high up in the trees screeching the line over and over again.
Before the "Belle of the Nineties" was seen by the censors, the studio previewed the movie before an audience. The viewers howled at Mae West's racy lines and the situations she found herself in. But that was before the censors visually saw it and sliced out some, in their eyes, questionable scenes. The end result was acceptable by contemporary film critics back then as well as the public, although it failed to gain the popularity as her previous movies. Wrote one The New York Times reviewer, "There are gags for every taste and most of them are outrageously funny according to almost any standard of humor." Today's reassessment of "Belle of the Nineties" is not as generous as when it was first released. Modern reviewer Barry Chapman noted her movie "would probably have been a lot funnier if the Hays Office hadn't 'protected' moviegoers." An even harsher review was written by David Nusair, highlighting the movie is "unlikely to please even the most ardent of West's followers, with the almost total absence of positive attributes, aside from West's mere presence." "Belle of the Nineties" does offer several songs from West, backed by the Duke Ellington Orchestra, including what would become the popular hit "My Old Flame."
The actress adjusted to the new moral code to deliver first-rate comedy films, but none came close to her 1933 hits "She Done Him Wrong" and "I'm No Angel." The viewing public was looking for more sauce on the screen, and were denied that because of the censors' heavy hand.
West was familiar with uptight censors from her previous stage and early movie works. Thrown in a New York City jail after police shut down her first play in 1927, the now-41-year-old actress wrote a bawdy movie script based on her play, 'It Ain't No Sin,' knowing the Hays Office was going to chop it to shreds. Her low opinion on censors was reflected in her autobiography. "Every person who is not a moron or a mental defective of some sort carries a very effective censor and super-critic of his actions in his cerebral cortex, and in his heart," West wrote. "If that doesn't work, no amount of censorship from the outside will do anybody any good." West was well prepared which passages were going to be sliced, and wrote a backup script with less raunchy lines.
The censors at first amazingly left in the original title. Paramount Pictures, as a publicity stunt, gathered 40 parrots and taught them to say the phrase "It Ain't No Sin." Eventually, head censor Jospeh Breen realized the title had to be changed and demanded it be. Since no one wanted parrots who repeatedly shrieking "It Ain't No Sin," they were all transported back to South America where they came from and released into the jungle. The birds could be heard by the natives in the area for years high up in the trees screeching the line over and over again.
Before the "Belle of the Nineties" was seen by the censors, the studio previewed the movie before an audience. The viewers howled at Mae West's racy lines and the situations she found herself in. But that was before the censors visually saw it and sliced out some, in their eyes, questionable scenes. The end result was acceptable by contemporary film critics back then as well as the public, although it failed to gain the popularity as her previous movies. Wrote one The New York Times reviewer, "There are gags for every taste and most of them are outrageously funny according to almost any standard of humor." Today's reassessment of "Belle of the Nineties" is not as generous as when it was first released. Modern reviewer Barry Chapman noted her movie "would probably have been a lot funnier if the Hays Office hadn't 'protected' moviegoers." An even harsher review was written by David Nusair, highlighting the movie is "unlikely to please even the most ardent of West's followers, with the almost total absence of positive attributes, aside from West's mere presence." "Belle of the Nineties" does offer several songs from West, backed by the Duke Ellington Orchestra, including what would become the popular hit "My Old Flame."
The actress adjusted to the new moral code to deliver first-rate comedy films, but none came close to her 1933 hits "She Done Him Wrong" and "I'm No Angel." The viewing public was looking for more sauce on the screen, and were denied that because of the censors' heavy hand.
- springfieldrental
- Apr 7, 2023
- Permalink
... Paramount Pictures, and director Leo McCarey. West stars as Ruby Carter, an infamous stage performer known as much for her headline-grabbing social life as for her sex-drenched song numbers. She gets mixed up in love with hot-headed boxer Tiger Kid (Roger Pryor) and New Orleans nightclub owner Ace Lamont (John Miljan). Also featuring Mike Mazurki in his debut.
The always-boundary-pushing West ran up hard against the censors and the newly tightening Production Code here, and much of the film had to be reshot to appease them. Even so, many scenes were cut depending on the market it was playing in, and the film proved to be West's first box office disappointment. There's not much to the story, but there rarely is in her films. They serve as a showcase for her unique charms and one-liners. The supporting cast is okay. I wasn't familiar with Pryor, who seems to have peaked with this movie before moving to radio (he does have a good voice), and while his attitude is right, he doesn't look like a boxer. Katherine DeMille, the adopted daughter of Cecil B. DeMille and the future wife of Anthony Quinn, is good (and sexy) as the former love of Miljan, and West's chief rival.
The always-boundary-pushing West ran up hard against the censors and the newly tightening Production Code here, and much of the film had to be reshot to appease them. Even so, many scenes were cut depending on the market it was playing in, and the film proved to be West's first box office disappointment. There's not much to the story, but there rarely is in her films. They serve as a showcase for her unique charms and one-liners. The supporting cast is okay. I wasn't familiar with Pryor, who seems to have peaked with this movie before moving to radio (he does have a good voice), and while his attitude is right, he doesn't look like a boxer. Katherine DeMille, the adopted daughter of Cecil B. DeMille and the future wife of Anthony Quinn, is good (and sexy) as the former love of Miljan, and West's chief rival.
Mae West stars as a popular nightclub entertainer who's dating a boxer. His manager hates her, and sets her up to look like she's cheating on him. To get away from a bad situation, she accepts a job in New Orleans where she becomes the toast of the town, but her boss's unwelcome attentions cause more strife. I must confess that I have never been very fond of West and this is most decidedly a showcase for her. She wrote it and is really the uncontested star. It's okay. Duke Ellington appears but is pretty decisively kept in the background.
The enforcement of the Hollywood production code in 1934 was abrupt, and for many in-production movies it meant hasty rewrites and reshoots. Belle of the Nineties, Mae West's follow-up to the phenomenally successful (not to mention outrageously code-flaunting) I'm No Angel and She Done Him Wrong, was just such a victim of the post-code cull.
Sources vary regarding this picture, but most agree it had to be adapted quite extensively to fit the more stringent regulations. The story is typical Mae West (she wrote her own material) but the jokes are a little lukewarm, suggestive of nothing more than a nice cuddle and the prospect of marriage. It's odd though because there is as always suggestion of much more in West's body language. Her opening scene is as good an example as any. A musical number, but West doesn't sing or dance; she merely flicks her eyes and sashays her hips as a number of backdrops appear behind her, a performance existing solely to convey her sexual allure.
As well as toning down the dialogue, the story seems to have been truncated, possibly to save time after the rewrites. A large chunk of plot is skimmed over with a few newspaper headlines. When West's character arrives in New Orleans she flirts with a young man who picks up her glove, and it looks as if he is going to become an important character, but he doesn't. The director is slapstick master Leo McCarey, who seems to be using the opportunity to fine-tune his cinematic technique, handling movement on different levels and keeping the camera chugging smoothly around. His biggest contribution is probably to show West's musical numbers from the point-of-view of a face in the crowd, with the camera often at her feet or peeping out between other silhouettes. All in all though it seems a little plodding for a McCarey job, and one wonders if the hassle of reshoots had drained his enthusiasm for the project somewhat.
Belle of the Nineties is perhaps the weakest of all the Mae West pictures, because it is like some strange hybrid. By leaving in West's promiscuous character and sassy mannerisms but taking out all the witty smut, Paramount has left us with something far more disturbing and questionable than the easygoing innuendo of her previous efforts. Things like the oddness of West's walk start to stand out as verging on ridiculous. Of course, the choice of leading man doesn't help either. Roger Pryor's childish grin as he gazes appreciatively at the blonde beauty is decidedly creepy in itself. A few years later, with Klondike Annie, West would work out a suitable post-code persona for herself, which without her trademark sexuality was mediocre though certainly watchable. But Belle of the Nineties, lacking the sex but having the set-up, is awkwardly bad.
Sources vary regarding this picture, but most agree it had to be adapted quite extensively to fit the more stringent regulations. The story is typical Mae West (she wrote her own material) but the jokes are a little lukewarm, suggestive of nothing more than a nice cuddle and the prospect of marriage. It's odd though because there is as always suggestion of much more in West's body language. Her opening scene is as good an example as any. A musical number, but West doesn't sing or dance; she merely flicks her eyes and sashays her hips as a number of backdrops appear behind her, a performance existing solely to convey her sexual allure.
As well as toning down the dialogue, the story seems to have been truncated, possibly to save time after the rewrites. A large chunk of plot is skimmed over with a few newspaper headlines. When West's character arrives in New Orleans she flirts with a young man who picks up her glove, and it looks as if he is going to become an important character, but he doesn't. The director is slapstick master Leo McCarey, who seems to be using the opportunity to fine-tune his cinematic technique, handling movement on different levels and keeping the camera chugging smoothly around. His biggest contribution is probably to show West's musical numbers from the point-of-view of a face in the crowd, with the camera often at her feet or peeping out between other silhouettes. All in all though it seems a little plodding for a McCarey job, and one wonders if the hassle of reshoots had drained his enthusiasm for the project somewhat.
Belle of the Nineties is perhaps the weakest of all the Mae West pictures, because it is like some strange hybrid. By leaving in West's promiscuous character and sassy mannerisms but taking out all the witty smut, Paramount has left us with something far more disturbing and questionable than the easygoing innuendo of her previous efforts. Things like the oddness of West's walk start to stand out as verging on ridiculous. Of course, the choice of leading man doesn't help either. Roger Pryor's childish grin as he gazes appreciatively at the blonde beauty is decidedly creepy in itself. A few years later, with Klondike Annie, West would work out a suitable post-code persona for herself, which without her trademark sexuality was mediocre though certainly watchable. But Belle of the Nineties, lacking the sex but having the set-up, is awkwardly bad.
Mae West is back to her sassy self. I shouldn't say "back" because she never left off being sassy. Mae West began her career by finding a character she liked and faithfully sticking with it; and it can't be said that it was someone else's doing. Mae West wrote the scripts she performed. She wrote "Night After Night," "She Done Him Wrong," "I'm No Angel," and "Belle of the Nineties," and she was the same character in all of them--just a different name.
"Belle of the Nineties," like "She Done Him Wrong," took place in the late 19th century. Ruby Carter (Mae West) was a club performer in St. Louis dating a boxer named Kid Tiger (Roger Pryor). When a ploy by Kid Tiger's manager broke them up, she took her talents to New Orleans. Ruby was just like every other Mae West character: a vamp. She was smart, sassy, sexy, witty, flirtatious, and ALL the men wanted her. Mae's characters never break a sweat, never lose, and are never in a hurry. She's too cool for any of that.
In New Orleans Ruby had a contract with Ace Lamont (John Miljan) to perform at his Sensation House. Ruby packed the place. She had to deal with Ace as well as the throng of panting men who paid to see her. Her chief suitor besides Ace was Brooks Claybourne (John Mack Brown). He lavished her with expensive jewelry in hopes of winning her heart. She entertained the compliments and charms of them all, but she didn't give her heart to any of them.
Things were rather easy going until Tiger Kid came to New Orleans for a fight. He hooked up with Ace, who was bad news, and he saw Ruby again after their break up. It was anybody's guess how things were going to turn out, but Ruby would be the victor no matter what.
I think I liked this movie more than the previous two Mae West movies because the vamping was tempered more to focus on the scheming aspects of the plot. Instead of this being so much about the men who desired her (they were still there, just not as heavily as "She Done Him Wrong" and "I'm No Angel"), it was a little of the men who desired her and more of the scheming men in her life (principally Ace). It played out rather nicely.
Free on Odnoklassniki.
"Belle of the Nineties," like "She Done Him Wrong," took place in the late 19th century. Ruby Carter (Mae West) was a club performer in St. Louis dating a boxer named Kid Tiger (Roger Pryor). When a ploy by Kid Tiger's manager broke them up, she took her talents to New Orleans. Ruby was just like every other Mae West character: a vamp. She was smart, sassy, sexy, witty, flirtatious, and ALL the men wanted her. Mae's characters never break a sweat, never lose, and are never in a hurry. She's too cool for any of that.
In New Orleans Ruby had a contract with Ace Lamont (John Miljan) to perform at his Sensation House. Ruby packed the place. She had to deal with Ace as well as the throng of panting men who paid to see her. Her chief suitor besides Ace was Brooks Claybourne (John Mack Brown). He lavished her with expensive jewelry in hopes of winning her heart. She entertained the compliments and charms of them all, but she didn't give her heart to any of them.
Things were rather easy going until Tiger Kid came to New Orleans for a fight. He hooked up with Ace, who was bad news, and he saw Ruby again after their break up. It was anybody's guess how things were going to turn out, but Ruby would be the victor no matter what.
I think I liked this movie more than the previous two Mae West movies because the vamping was tempered more to focus on the scheming aspects of the plot. Instead of this being so much about the men who desired her (they were still there, just not as heavily as "She Done Him Wrong" and "I'm No Angel"), it was a little of the men who desired her and more of the scheming men in her life (principally Ace). It played out rather nicely.
Free on Odnoklassniki.
- view_and_review
- May 20, 2024
- Permalink
As I watched the Mae West film, "Belle of the Nineties", I found myself wishing they'd made the movie six months earlier. This is because the film debuted in September, 1934...a couple months after the new toughened Production Code came into effect. This is because West's shtick was bawdy humor....and in the Code era, nothing even remotely bawdy would be allowed. So, as a result, West's character is pretty dull and the movie mostly forgettable.
Mae stars as Ruby, a woman who sings in the saloon owned by a local baddie, Ace Lamont. Lamont was played by John Miljan...a man who always played disreputable jerks. So, you know from the outset that he's a guy up to no good. But, like EVERY man in a Mae West film, he is drawn to her like a moth to a flame. But because he's bad to the core, he wants Ruby AND he wants to screw her...out of her diamonds. Can Ruby outsmart this conniving jerk?
It's odd, but after the movie was over, I already found myself forgetting it. Sure, a Code picture with West could be good ("My Little Chickadee" and "Go West Young Man" were pretty good Code films), but this one just seemed to be so neutered that it was dull and forgettable. Gone are West's terrific one liners as well as any sense of fun.
Mae stars as Ruby, a woman who sings in the saloon owned by a local baddie, Ace Lamont. Lamont was played by John Miljan...a man who always played disreputable jerks. So, you know from the outset that he's a guy up to no good. But, like EVERY man in a Mae West film, he is drawn to her like a moth to a flame. But because he's bad to the core, he wants Ruby AND he wants to screw her...out of her diamonds. Can Ruby outsmart this conniving jerk?
It's odd, but after the movie was over, I already found myself forgetting it. Sure, a Code picture with West could be good ("My Little Chickadee" and "Go West Young Man" were pretty good Code films), but this one just seemed to be so neutered that it was dull and forgettable. Gone are West's terrific one liners as well as any sense of fun.
- planktonrules
- Dec 1, 2020
- Permalink
- martinpersson97
- Sep 16, 2023
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Mae West's mere dozen motion pictures were mostly comedies, but they generally included her shimmying languorously though a song or two. Musically, this is probably the best Mae West film, notable for the inclusion of Duke Ellington's orchestra. It was the first time a white singer shared the screen democratically with black musicians, and it's said that West fought hard to make it happen. With Ellington's orchestra backing her up, she sings "Memphis Blues," "Troubled Waters," and the unforgettable "My Old Flame." She was ahead of her time in almost every way, a one-woman liberation movement who wrote her own material and wrote plays dealing with everything from interracial love to homosexuality. The Hays Code almost did her in, but no survey of musicals would be complete without the inclusion of Mae West. --from Musicals on the Silver Screen, American Library Association, 2013
- LeonardKniffel
- Apr 5, 2020
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