Tonight's Movie: I'm No Angel (1933) - A Kino Lorber Blu-ray Review

I've continued this summer's chronological journey through Mae West's filmography with I'M NO ANGEL (1933).

I'M NO ANGEL was recently released on Blu-ray by Kino Lorber, along with a number of other West films.

I've previously reviewed Kino Lorber's releases of West's first two films, NIGHT AFTER NIGHT (1932) and SHE DONE HIM WRONG (1933). I'M NO ANGEL was West's third film, and the second film West made with up-and-coming star Cary Grant. Grant also appeared in SHE DONE HIM WRONG.

In I'M NO ANGEL West plays Tira, a circus performer who takes her lion-taming act from the hinterlands to the big city and becomes a major star.

Tira simultaneously upgrades the men in her life, leaving behind pickpockets and traveling salesman types for the smart social set. Wealthy Kirk Lawrence (Kent Taylor) is smitten and lavishes gifts on Tira; when Kirk neglects his business and his fiancee (Gertrude Michael), Kirk's cousin Jack visits Tira and asks her to end things with Kirk.

Jack immediately falls for Tira himself and they become engaged. Tira's boss (Edward Arnold) is uspet that she plans to retire and conspires with Tira's ex-boyfriend (Ralf Harolde) to make Jack think Tira is unfaithful.

Jack ends the engagement, and the broken-hearted Tira sues Jack for breach of promise, leading to a slam-bang courtroom scene where Tira, rather than her attorney (Gregory Ratoff), questions a series of witnesses.

I'M NO ANGEL isn't quite in the same league as SHE DONE HIM WRONG, with a little too much time in the movie's first half spent on the darker side of Tira's life, but it's still a very entertaining film.

West is poured into stunning, shimmering Travis Banton gowns which are absolutely eye-popping, and she delivers some of her classic lines in this one, including "Peel me a grape" and "When I'm good, I'm very good, but when I'm bad, I'm better."

No one could have pulled off the final courtroom sequence quite like Mae West, and its pleasures make the entire movie worthwhile. She's simply a great deal of fun to watch.

Grant is good, particularly when he's trying to suppress his delighted reactions to West's courtroom antics, although at this early stage of his career there's nothing especially unique about his performance. At this juncture he was simply a pleasant leading man, but of course he quickly developed into a much more significant performer.

When the trial ends, look for the tallest reporter in the crowd surrounding West; it's future star Dennis O'Keefe in one of his seemingly endless bit parts of the '30s. He's seen second from the left in this lobby card.

The cast also includes Gertrude Howard, Libby Taylor, Hattie McDaniel, Nat  Pendleton, and Walter Walker.  Grant's attorney in the courtroom scene is played by future director Irving Pichel.

I'M NO ANGEL runs 87 minutes. It was directed by Wesley Ruggles (brother of actor Charlie Ruggles) and filmed in black and white by Leo Tover.

The Kino Lorber Blu-ray looks great and has a strong soundtrack. Extras are a commentary track by Samm Deighan; the trailer; and half a dozen additional trailers, five for Mae West films and one for a Cary Grant movie.

I've really enjoyed all three Mae West films seen to date and recommend them. It's been a pleasure getting to know her work for the first time.

Next up in Mae West viewing will be a review of the new Blu-ray release of BELLE OF THE NINETIES (1934) costarring Roger Pryor and Johnny Mack Brown, with Duke Ellington as a piano player. Sounds fun to me.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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TCM Star of the Month: Mae West

The May Star of the Month on Turner Classic Movies is Mae West!

Nine West films will be shown this month, spread across three Sunday evenings. 

There are fewer films than is typical for most Star of the Month honorees, but that's a reflection of the fact that West made relatively few films.  All of West's feature films through 1943 will be shown, with the exception of GOIN' TO TOWN (1935).

It's especially exciting that, as noted below, three of the films are TCM premieres.

Here's the West lineup; please click any hyperlinked title to read my past full-length review.

May 4th

NIGHT AFTER NIGHT (1932)

SHE DONE HIM WRONG (1933)

I'M NO ANGEL (1933)

May 11th

BELLE OF THE NINETIES (1934)

KLONDIKE ANNIE (1936) (TCM premiere)

GO WEST YOUNG MAN (1936) (TCM premiere)

May 18th

EVERY DAY'S A HOLIDAY (1938) (TCM premiere)

MY LITTLE CHICKADEE (1940)

THE HEAT'S ON (1943)

As a side note, the last full weekend of the month will feature TCM's annual Memorial Day Weekend war movie marathon.

In conjunction with this month's Mae West screenings, I'd like to again recommend James L. Neibaur's book THE MAE WEST FILMS, which I reviewed last year. It makes an excellent companion to watching Mae West's movies.

For more information on TCM in May 2025, please visit TCM in May: Highlights, Quick Preview of TCM in June, and TCM's online schedule.

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Book Review: The Mae West Films

Three years ago this summer I began watching Mae West films for the first time, and -- frankly somewhat to my surprise -- I discovered that I thoroughly enjoyed them.

As I described at the time, West had been something of a punchline to jokes when I was growing up, and I hadn't been interested in digging deeper. I'm certainly glad I changed my mind, as I found West "a completely unique film persona in both looks and personality...[she] absolutely owns the screen." West's films proved to be a wonderful discovery for me.

I've now seen all but the last couple of West's films of the '30s and '40s, and I was delighted to learn more about her life and career thanks to the new book by James L. Neibaur, THE MAE WEST FILMS. It was recently published by Bear Manor Media.

The book opens with a brief overview of West's life and stage work before the movies, then launches into in-depth looks at her dozen films. (I certainly regret the relative brevity of her movie career!) Additional biographical information is included towards the end of the book.

Each movie chapter contains the film's credits, production history, and contemporaneous critical reception, as well as some more recent assessments.

In the interests of full disclosure, this is a good place to pause and mention that I had the lovely surprise of finding my review of West's first film, NIGHT AFTER NIGHT (1932), quoted in the book. I loved her in it!

West was a unique movie personality; as Neibaur notes in his introduction, due to her pre-film stage fame she was able to have some control over her characters and dialogue, although she faced challenges when Production Code enforcement began in 1934. I appreciated the book's behind-the-scenes descriptions of these issues.

I found the book an informative and enjoyable guide which would also be the perfect companion to read alongside viewing the films; I'll return to it as I watch MY LITTLE CHICKADEE (1940) and THE HEAT'S ON (1943) for the first time, and I'm sure I'll consult it again when I rewatch her earlier movies in the future.

I reviewed a paperback edition of this book, which is also available in hardcover and e-book formats. The paperback measures six by nine inches and is 211 pages including bibliography and index. A nice selection of well-reproduced black and white photographs are printed directly on the pages.

Finally, I loved seeing that the book is dedicated to someone I admire very much, Farran Smith Nehme, aka the "Self-Styled Siren."

Previous reviews of books authored by James L. Neibaur: FRANK SINATRA ON THE BIG SCREEN; THE GEORGE RAFT FILMS; THE FILMS OF JUDY GARLAND; THE JOHN WAYNE B-WESTERNS 1932-1939.

My previous reviews of Mae West films: NIGHT AFTER NIGHT (1932), SHE DONE HIM WRONG (1933), I'M NO ANGEL (1933), BELLE OF THE NINETIES (1934), GOIN' TO TOWN (1935), KLONDIKE ANNIE (1936), GO WEST YOUNG MAN (1936), and EVERY DAY'S A HOLIDAY (1937).

Thanks to James L. Neibaur and Bear Manor Media for providing a review copy of this book.

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Tonight's Movie: Every Day's a Holiday (1937) - A Kino Lorber Blu-ray Review

My summer of Mae West viewing continued into the fall with EVERY DAY'S A HOLIDAY (1937), available on Blu-ray from Kino Lorber.

West wrote the screenplay and stars as Peaches O'Day, a con artist in turn-of-the-century New York City.

Peaches is threatened with arrest by Captain Jim McCarey (Edmund Lowe); McCarey is sympathetic to Peaches and allows her to leave town instead.

Peaches transforms herself into the black-haired "Parisian sensation" Mademoiselle Fifi, pursued by police captain and mayoral candidate John Quade (Lloyd Nolan).

When Fifi rejects Quade, he tries to shut down her performances. McCarey refuses to cooperate and not only quits the police force, he runs for mayor against Quade. Peaches/Fifi is, of course, right in the middle of all the goings-on.

I have thoroughly enjoyed all the Mae West films seen to date, but this one title never quite jelled for me. There are some good lines yet the story simply isn't engaging, and Mae seems a bit tamer than usual. Perhaps some of the problem is that her naughtiness is more related to being a con artist than her romantic exploits.

I'm a fan of Lowe but he's somewhat underused, and the usually excellent Nolan is fairly cardboard as the villain. There's a good supporting cast, with Charles Butterworth, Charles Winninger, and Walter Catlett in support -- even a musical appearance by Louis Armstrong! -- yet in this case the parts are better than the whole. The film never really takes off, sort of limping along for its 80-minute running time.

This movie was directed by A. Edward "Eddie" Sutherland and filmed in black and white by Karl Struss.

Kino Lorber's Blu-ray looks good, as have all the West films. The disc has a commentary by Kat Ellinger plus the trailer and five additional Mae West trailers.

Previous reviews of Mae West films released on Blu-ray by Kino Lorber: NIGHT AFTER NIGHT (1932), SHE DONE HIM WRONG (1933), I'M NO ANGEL (1933), BELLE OF THE NINETIES (1934), GOIN' TO TOWN (1935), KLONDIKE ANNIE (1936), and GO WEST YOUNG MAN (1936).

I've enjoyed reviewing all these Mae West films so much that I purchased a copy of Kino Lorber's release of MY LITTLE CHICKADEE (1940), in which she stars with W.C. Fields, and I'll be reviewing that here at a future date.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Tonight's Movie: Goin' To Town (1935) - A Kino Lorber Blu-ray Review

Mae West stars as a dance hall queen who falls in love with a British nobleman in GOIN' TO TOWN (1935), now available on Blu-ray from Kino Lorber.

GOIN' TO TOWN was West's fifth film, and it's also my fifth review as I chronologically watch my way through her films.

Western entertainer Cleo Borden (West) agrees to marry Buck Gonzales (Fred Kohler), but Buck's a no-good fellow who promptly dies in a shootout with the law.

Thanks to a premarital agreement, Cleo inherits a ranch from Buck with oil wells, making her a wealthy woman. She falls for Carrington (Paul Cavanagh), the British engineer managing the wells, but although he's attracted to her, she's not in his league socially.

Cleo's loyal butler Winslow (Gilbert Emery) coaches her as she works her way into the upper crust of society. This includes a trip to Buenos Aires, where Winslow arranges an "in name only" marriage for Cleo and socially prominent but broke Fletcher Colton (Monroe Owsley). Cleo hopes that her new name will make her more socially acceptable to Carrington, although it does come with the little problem of her being married!

When they meet again, Carrington has a new name as well: He's inherited a title and is now an earl. The couple realize they're in love for keeps, but first they have to solve the problem of her current husband, whose gambling debts have landed him in hot water.

While lacking the style and pre-Code surprises of SHE DONE HIM WRONG (1933), I found GOIN' TO TOWN very enjoyable. It's an entertaining story, with West on screen for the vast majority of the film's 74 minutes. I've been pleasantly surprised by how much I'm enjoying West's films, including this one.

The screenplay, penned by West (based on a story by Marion Morgan and George B. Dowell), gives her plenty of fun zingers; they may be a little more tame than in her pre-Code films but there are still a few eyebrow-raising lines, and all in all it's a well-written script.

There aren't any big names among the men in the cast; they're on the bland side but acquit themselves competently. I wondered a bit if better-known, more charismatic actors weren't chosen in order for West to stand out more in contrast. (Of course, Cary Grant wasn't a star either when he was cast in West's earlier films.) Among the male actors, I found Emery as the butler the most entertaining, to the point I briefly wondered if he might end up with Cleo instead of Carrington.

Marjorie Gateson is appropriately nasty as Colton's aunt, who hates Cleo and is determined to cause her downfall.

An added plus is West performing some catchy numbers by Sammy Fain and Irving Kahal, including "He's a Bad Man" and "Now I'm a Lady"; the latter was cowritten by Sam Coslow.

Cleo also stages the Saint-Saens opera SAMSON AND DELILAH. Although IMDb lists West as singing the number, I assume the soprano voice was dubbed. I haven't been able to find out more information at this point, but perhaps the commentary track with Kat Ellinger will shed light on that.

The film was directed by Alexander Hall (HERE COMES MR. JORDAN) and filmed by Karl Struss.

The Blu-ray print isn't perfect, a little soft in spots and a line here and there, including during the opening credits; the soundtrack also isn't quite as strong as other West films. That said, it's perfectly watchable and brought me considerable viewing pleasure.  I definitely recommend it for Mae West fans, as well as for those who want to make her acquaintance, as I've been doing this summer.

In addition to the previously mentioned commentary, the disc includes the trailer and five additional trailers for West films available from Kino Lorber.

Previous reviews of Mae West films released on Blu-ray by Kino Lorber: NIGHT AFTER NIGHT (1932), SHE DONE HIM WRONG (1933), I'M NO ANGEL (1933), and BELLE OF THE NINETIES (1934).

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Tonight's Movie: Belle of the Nineties (1934) - A Kino Lorber Blu-ray Review

The summer of Mae West continues with BELLE OF THE NINETIES (1934), which was recently released on Blu-ray by Kino Lorber.

I'm watching West's films for the first time, in chronological order, via Kino Lorber's new Blu-ray releases; links to the previous reviews are at the end of this post.

BELLE OF THE NINETIES was West's fourth film and her first released after enforcement of the Production Code began in July 1934. BELLE OF THE NINETIES was released in September 1934, but it still manages to be somewhat racy despite the tighter restrictions on movie content.

West plays Ruby Carter, a wildly popular St. Louis entertainer who leaves for New Orleans after breaking off a romance with boxer the Tiger Kid (Roger Pryor).

In New Orleans Ruby is a hit at an establishment owned by Ace Carter (John Miljan). Ace is interested in his relationship with Ruby being more than just business, to the dismay of his current mistress, Molly (Katherine DeMille).

Ruby turns down Ace and instead accepts jewels from wealthy young Brooks Claybourne (Johnny Mack Brown). However, their burgeoning relationship is thrown off course when Tiger shows up in New Orleans and is recruited for a boxing match by Ace.

While BELLE OF THE NINETIES isn't on the level of West's prior films, I still enjoyed it quite well.

Getting the negatives out of the way first, the movie has some strange edits, particularly early on, with scenes ending abruptly; I wasn't sure if this was due to censorship or the script simply running out of gas! Perhaps the commentary track by Samm Deighan will shed some light on that.

Another issue is leading man Roger Pryor; I've seen him in a few other films and have frankly never understood his film career, as I find him lacking in both looks and charisma. That's unfortunately the case again here. (I've read that West wanted George Raft for the part.) It's a shame the more appealing Johnny Mack Brown has just a small role despite being billed third.

Now for the positives. First, of course, is West herself; I continue to find her fascinating to watch both in terms of looks and personality. West wrote the story and much of the dialogue, and despite the Production Code she still tosses off a lot of good one-liners, such as "Better to be looked over than overlooked." She's also got a stunning wardrobe designed by the great Travis Banton.

West performs several musical numbers, and what she doesn't have in terms of a voice she makes up for with tons of style. (It reminds me of the description of Ida Lupino in ROAD HOUSE: "She does more without a voice than anybody I've ever heard.") The best part is that Duke Ellington and His Orchestra are on hand for a couple of numbers, with the highlight being "Memphis Blues." Good stuff.

I like the way West balances playing someone who makes a living off men, in various ways, with also being sharp-witted and independent. For instance, at one point she's done out of some jewels; thanks to overhearing a conversation, she figures out what happened and comes up with a plan to get them back. No need for anyone to ride to her rescue, she's got it capably covered.

All in all, it's an enjoyable 73 minutes. While a stronger leading man and smoother editing would have put BELLE OF THE NINETIES closer to the quality level of her prior films, what ended up on screen is still quite fun to watch.

BELLE OF THE NINETIES was directed by Leo McCarey and filmed by Karl Struss.

Like the previously reviewed West releases, the Kino Lorber Blu-ray is of very nice quality. In addition to the aforementioned commentary track, the disc includes the trailer along with five additional trailers for Mae West films which are also available from Kino Lorber.

Previous reviews of Mae West films released on Blu-ray by Kino Lorber: NIGHT AFTER NIGHT (1932), SHE DONE HIM WRONG (1933), and I'M NO ANGEL (1933).

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Tonight's Movie: Klondike Annie (1936) - A Kino Lorber Blu-ray Review

The summer of Mae West continues, as I chronologically watch my way through her films thanks to Kino Lorber. I continue to find West's films a delightful first-time discovery.

KLONDIKE ANNIE (1936) was West's sixth film, and like the others seen to date, I found it quite enjoyable. An added plus is that it's directed with typical verve by Raoul Walsh. I really enjoyed the movie's rough-and-tumble vibe, with a bracing dose of the Golden Rule mixed in.

West wrote the screenplay for KLONDIKE ANNIE, in which she plays Rose, aka the Frisco Doll. As the movie begins Rose is living in San Francisco, the "kept woman" of Chan Lo (Harold Huber). Chan Lo, who owns a saloon in which tuxedoed swells mix with workaday types, is obsessed with Rose.

Rose is essentially imprisoned by the jealous Chan Lo and determines to escape by ship. At this point the plot becomes a bit murky due to censorship edits; she does indeed escape, but what's not made clear, due to cut scenes, is that before she leaves she kills Chan Lo in self-defense.

Rose heads to Alaska on a cargo ship captained by Bull Brackett (Victor McLaglen). When he receives a poster indicating Rose is wanted for murder -- the viewer's first indication of this plot point -- he essentially blackmails her into having an affair. The film manages to be fairly bawdy despite being made in the Production Code era, as it's more than clear what's going on with Rose and Bull, including a crack she makes about "The pleasure was all yours."

An earnest missionary named Annie (Helen Jerome Eddy) boards the ship in Seattle, headed for an Alaskan settlement house, but she dies en route; before she passes on, her sweetness and dedication make an impression on Rose.

When Mountie Jack Forrest (Phillip Reed) boards the ship looking for Rose, she switches clothes and identities with the dead Annie; upon arriving in Alaska, Rose determines to pay that debt back to Annie by taking her place and helping Annie's fellow missionaries make a success of their endeavors. Rose is followed by Bull, who finds unorthodox ways to help her as he tries to convince her to make their relationship permanent.

Like West's BELLE OF THE NINETIES (1934), the film's strange edits aren't helpful, and it's hard not to wish for what might have been if the film were intact. I'd also have liked to better understand how a woman as strong as Rose had ended up in such an unpleasant situation as the movie began. That said, I found it quite an enjoyable 80 minutes.

West is her usual lusty, wisecracking self, tempered with gratitude toward Annie and a sneaking suspicion that some of what Annie has said about the value in being "good" is correct. I especially liked the way Rose used her understanding of human foibles to connect with the miners and townspeople, "meeting them where they're at," so to speak. 

As usual, West writes herself some wonderful lines. One of my favorites: "When caught between two evils, I generally like to take the one I've never tried."

I do admit that once again I was left baffled by West's choice of leading man -- Victor McLaglen?! I was almost expecting, especially given the way he initially pressures Rose for intimacy, that McLaglen would end up being the villain, especially with the handsome young Mountie in the picture (shades of Cary Grant's undercover man in SHE DONE HIM WRONG). I give the movie points for going in unexpected directions, though one hopes Rose won't end up just as much a prisoner of the feisty Bull as she was of Chan Lo; in Bull's favor, he's as direct with her as Rose is with him, and he tries hard to accommodate her wishes.

It almost seems obligatory these days to mention that some aspects of the film may make modern-day viewers uncomfortable, whether it's Chan Lo being played by by Harold Huber, Rose as the Frisco Doll singing lyrics like "I'm an Occidental woman in an Oriental mood for love," or the like.

However, I think anyone likely to seek out this film as entertainment is smart enough to mentally acknowledge that things have certainly changed in nearly 90 years -- indeed, I found that aspect somewhat interesting from an historical perspective -- and move on to appreciate what the film has to offer. Indeed, if I had to agree with everything I see on screen in a film I'd find myself left with a very short list of movies to watch.

The movie was filmed by George T. Clemens. The supporting cast includes Lucile Gleason, Esther Howard, Harry Beresford, Conway Tearle, and Philip Ahn.

The Kino Lorber Blu-ray looks and sounds quite good, with a crisp soundtrack which is easy to understand.

Blu-ray disc extras consist of half a dozen trailers for Mae West films and a commentary track by Alexandra Heller-Nicholas and Josh Nelson.

Previous reviews of Mae West films released on Blu-ray by Kino Lorber: NIGHT AFTER NIGHT (1932), SHE DONE HIM WRONG (1933), I'M NO ANGEL (1933), BELLE OF THE NINETIES (1934), and GOIN' TO TOWN (1935).

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Tonight's Movie: Night After Night (1932) - A Kino Lorber Blu-ray Review

Next week Kino Lorber will be releasing Blu-ray editions of Mae West's first nine films, originally released to theaters between 1932 and 1940.

I'll be reviewing the first eight films in that group, and they're all completely new to me. I started off with West's very first movie, NIGHT AFTER NIGHT (1932), in which -- despite the billing on the DVD cover -- she appears in support of George Raft and Constance Cummings.

I wasn't sure what to expect of this film, as reviews seemed to be all over the place. Leonard Maltin gave it two stars and called it "a crashing bore," while the current IMDb rating is a very respectable 6.8 stars, with over 640 viewers weighing in.

Danny of Pre-Code.com called it "woefully underseen" and "a nice little hidden gem," while Dan of Mystery File feels it's "quite a nice little movie indeed."

I'm pleased to say that I thoroughly enjoyed it -- and I hope the esteemed Mr. Maltin will revisit it one day, as it's grand fun. I'm honestly surprised this film isn't better known.

Raft plays Joe Anton, who owns a speakeasy in a ritzy mansion which was formerly the home of Jerry Healy (Cummings), who has taken to sitting at a table night after night while she mourns the past and contemplates her future. Wealthy Dick (Louis Calhern) wants to marry her, but while she wants financial security, she doesn't love him.

Joe, meanwhile, is a busy fellow. He has two sort-of girlfriends, jealous Iris (Wynne Gibson) and laid-back, good-natured Maudie (West), who doesn't show up until well into the movie. He also has tutoring sessions every day with Miss Jellyman (Alison Skipworth), as he aspires to improve himself.  Miss Jellyman is a teacher who is both kind and determined as she works with Joe to clean up his grammar and help him better understand history and world events.

Meanwhile another gangster, Frankie (Bradley Page), is unhappy about Joe opening a business in his territory and is determined to push him out of the way, whether it's nicely (buying him out) or not-so-nicely (a gun battle is a distinct possibility).

The movie has a marvelous cast and gives them clever, interesting bits throughout. One of my favorite moments was early on when Joe unlocks a gun case and he and his men urgently arm themselves before heading to a confrontation with Frankie and his men.

Joe's righthand man Leo (Roscoe Karns) exclaims to wait a minute, and you think he's forgotten a weapon -- then he plucks a flower and puts it in Joe's lapel. You have to make sure you're properly dressed for possible gangland warfare!

Joe's first scene with Miss Jellyman is just delightful, as she patiently helps him read an article about world politics and converse on a higher plane. Miss Jellyman is unexpectedly drawn further into Joe's world when he asks her to dine with him and Jerry, wanting to make a good impression on the "high-class" Jerry with his erudite older friend.

Of course, wouldn't you know it, right in the middle of dinner is when Maudie (West) appears back in Joe's life and upsets the apple cart...but, hilariously, the earthy Maudie and the refined Miss Jellyman hit it off and become friends. There's a scene where Maudie asks Miss Jellyman to join her in business and Miss Jellyman is flattered but feels she's clearly too old for what she thinks Maudie's business is...it turns out her impression is not exactly correct. Both ladies add some excellent comedy to the movie.

The always-lovely Theresa Harris has a too-small role as a ladies' room attendant, and this is one of numerous films featuring a pair of future stars as extras, "Wild Bill" Elliott and Dennis O'Keefe. They're each in the same nightclub scene; O'Keefe is the drunk passed out asleep with his head on a table, and Elliott can just barely be glimpsed on the dance floor. One of these days I'm going to attempt a count on how many movies feature both of these men in their bit player days.

I run hot and cold on Raft, finding him stiff in some films and more interesting in others; he's really quite good in this. His hurt when he believes he's been rejected by Jerry is palpable. 

Cummings, who I really liked in both SEVEN SINNERS (1936) and HAUNTED HONEYMOON (1940), is also good as the lovely yet brittle Jerry, wrestling with her heart and her finances.

The movie was directed by Archie Mayo and filmed by Ernest Haller.

The movie runs a brisk 73 minutes. Script contributors included Joseph L. Mankiewicz and Mae West, who apparently played a key role in creating her character and writing her own dialogue. One of her classic moments comes when a hatcheck girl (Patricia Farley) exclaims "Goodness, what beautiful diamonds!" and West's character replies "Goodness had nothing to do with it, dearie!"

Kino Lorber's Blu-ray looks good and has a strong soundtrack, especially given the movie's vintage. The disc includes the movie's trailer, five additional trailers for other Mae West films, and a commentary track by Alexandra Heller-Nicholas and Josh Nelson.

My Mae West viewing started out on a strong note with this film, and I'm curious to become further acquainted with her work this summer thanks to Kino Lorber's releases.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Tonight's Movie: Go West Young Man (1936) - A Kino Lorber Blu-ray Review

Mae West has another winner in GO WEST YOUNG MAN (1936), a very enjoyable comedy released on Blu-ray this summer by Kino Lorber.

I've been watching my way through West's filmography chronologically thanks to Kino's new releases of her films, and I'm really enjoying becoming familiar with her work for the first time. I'm particularly impressed that not only was she a unique screen presence, she also wrote her own screenplays.

GO WEST YOUNG MAN is particularly fun on multiple levels. West plays temperamental, man-hungry movie star Mavis Arden, first met at a screening of her film DRIFTING LADY. We're shown clips from DRIFTING LADY, which has a movie-within-a-movie cast including Jack La Rue and band leader Xavier Cugat.

Mavis's contract stipulates she can't marry for five years, and her studio publicist, Morgan (Warren William), does his best to keep her away from men, including politician Francis X. Harrigan (Lyle Talbot). Along with his professional responsibility, it seems as though some of Morgan's motivation may be personal.

During a trip from Washington to Pennsylvania Morgan and Mavis's chauffeured car breaks down, requiring them to stay at a nearby boarding house run by Mrs. Struthers (Alice Brady), her sister Miss Kate (Elizabeth Patterson), and her daughter Joyce (Margaret Perry). Mrs. Struthers also has a very starstruck maid, Gladys (Isabel Jewell).

Mavis initially resists having to stay in the middle of nowhere, until she gets a look at hunky Bud Norton (Randolph Scott). She does her best to seduce Bud, to the dismay of both Morgan and Bud's sweetheart Joyce.

It's looking as though Mavis may succeed in luring Bud to accompany her to Hollywood, but then Gladys hears on the radio that Mavis has been kidnapped and goes to the police...chaos ensues.

I found this movie quite enjoyable, particularly the relationship between Morgan and Mavis. He sees right through her but likes -- loves? -- her anyway, and the pair seems to have fun with a perennial battle of wits as he tries to stop her from having a love life.

The extended section of the film set at the boarding house is a bit like a country house farce such as THE GOOSE AND THE GANDER (1935) or SNOWED UNDER (1936), but with characters who are (mostly) on a lower economic scale.

Given the weak male leads of some of West's films, it was a real pleasure to watch her bantering with Warren William, who could more than hold his own opposite the actress. One of the recurring jokes is Mavis's frequent use of malaprops, which Morgan swoops in to smooth over. They have some great dialogue, such as Morgan telling Mavis to think of her reputation, and she replies "You think of it, that's what you're being paid for."

Scott is also fine as the earnest Bud, who is frequently oblivious to Mavis's attempts to woo him. Patterson is especially delightful as the maiden aunt who quickly sees through Mavis and works to encourage Joyce while plotting to keep Mavis and Bud from spending time alone.

Jewell is also a stitch as the giddy maid. At one point she befuddles Morgan by launching into a very funny impersonation of Marlene Dietrich. Her boyfriend is played by Maynard Holmes, who was unfamiliar to me; it struck me as the kind of role which could have also been played by Grady Sutton or perhaps Sterling Holloway.

The supporting cast also includes Etienne Girardot, Nicodemus Stewart, Charles Irwin, John Indrisano, and Alyce Ardell.

While GO WEST YOUNG MAN isn't a great movie, it's 82 very entertaining minutes. I smiled during much of the film, and you can't ask for more than that from a movie.

GO WEST YOUNG MAN was directed by Henry Hathaway and filmed in black and white by Karl Struss.

The Kino Lorber print has some softness as well as brief lines in the opening credits, but all in all it's just fine, with no distracting issues. The soundtrack is also good. The disc provides a terrific opportunity to see a fun film.

Disc extras consist of eight trailers for other films available from Kino Lorber, most starring West, and a commentary track by Lee Gambin.

Previous reviews of Mae West films released on Blu-ray by Kino Lorber: NIGHT AFTER NIGHT (1932), SHE DONE HIM WRONG (1933), I'M NO ANGEL (1933), BELLE OF THE NINETIES (1934), GOIN' TO TOWN (1935), and KLONDIKE ANNIE (1936).

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

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Tonight's Movie in 2021: The Year in Review

Happy New Year!!

It's time once again for a look back at the movie viewing year that was! As always, 2021 was yet another terrific viewing year, filled with a wide variety of films. And I was especially thrilled to see some movies in a theater again this year, given that between March 2020 and July 2021 my theatrical viewing consisted solely of drive-in movies.

I saw 190 films in 2021, which rather interestingly was down slightly from last year, which was in turn my lowest tally since 2010. You'd think that pandemic restrictions would lead to my viewing more films rather than fewer.

Although I attended two film festivals in 2021, seeing a total of 19 films at those events, I also did more traveling last year which didn't involve seeing movies...or at least many at once! And fine TV series such as the Disney+ Marvel programs also periodically lured me away from movie viewing.

For comparison, I saw 198 films in 2020, 238 films in 2019, 282 films in 2018, 284 films in 2017, 275 in 2016, 310 movies in 2015 (my record to date!), 286 movies in 2014, 277 films in 2013, 220 in both 2012 and 2009, 226 in 2011, and 211 movies in 2010.

I saw 28 films theatrically this year, including 2 drive-in films in that tally. I thought that was a pretty good number considering that theaters were shut down in California for a significant chunk of 2021. Looking back in time, I only saw 9 big screen films in "locked down" 2020, 91 big screen films in 2019, 116 theatrical films in 2018, 102 in 2017, 75 in 2016, 115 in 2015, 78 in 2014, 50 in 2013, and 55 in 2012.

Seven of my theatrical viewings were brand-new films released in 2021. More information on the new titles seen last year follows below.

74 of this year's 190 films were repeat watches, with eight of those repeat viewings coming on a big screen at one of the two film festivals I attended in 2021.

For comparison, in 2020 there were 64 repeat watches and in 2019 there were 81 repeat watches, so this year's rewatch number falls in the middle of the last couple years. Further back in time, in 2018 there were a whopping 92 repeat watches, while in 2017 there were 68 repeat films, 62 in 2016, 76 in 2015, 68 in 2014, 41 in 2013, 36 in 2012 and 2009, 15 in 2011, and only 13 in 2010.

As usual, each hyperlinked title which follows in this post links to my past review. While I haven't listed every movie seen or gone into extensive detail here, it's always my hope that the linked reviews will provide resources for further exploration and inspiration for future viewing.

Each linked review includes options available for watching each title, including DVD, Blu-ray, streaming, and even VHS, a format I continue to utilize periodically. I know the same is true for some of my readers!

The next section of this post will look at some additional statistics, including films seen at festivals and lists of most-seen actors. The last section of the post is a month-by-month review of additional notable titles not already mentioned.

Here's a look back at the great movie viewing year which was 2021!

...I attended two film festivals this year, both in October. First up was the Lone Pine Film Festival, where I saw eight films, six of which were new to me. The new titles were BAR 20 (1943), WESTWARD HO (1935), HANGMAN'S KNOT (1952), THE CATTLE THIEF (1936), THE CISCO KID AND THE LADY (1939), and the TV-movie RED RIVER (1988).

...Previously reviewed films seen at the Lone Pine Film Festival were RIO GRANDE (1950) and BORDER TREASURE (1950).

...At the Arthur Lyons Film Noir Festival, held in Palm Springs, I saw 11 films, five for the first time. New to me at the festival were: THE CRUEL TOWER (1956), ANGELS WITH DIRTY FACES (1938), and VIOLENT SATURDAY (1955), along with the only two foreign films I saw in 2021, JENNY LAMOUR (1947), also known in France as QUAI DES ORFEVRES, and THE BLACK VAMPIRE (1953), known in Argentina as EL VAMPIRO NEGRO.

...Previously reviewed movies seen at the Arthur Lyons Fest were WHERE THE SIDEWALK ENDS (1950), NIGHT HAS A THOUSAND EYES (1948), THE BIG SLEEP (1946), HIGH WALL (1947), PLAYGIRL (1954), and THE RECKLESS MOMENT (1949).

...I attended two drive-in screenings last year: STEAMBOAT BILL, JR. (1928) at the Hollywood Legion Drive-In Theater in March and FLYING DOWN TO RIO (1933), hosted by the Art Deco Society of Los Angeles at Mess Hall Market in Tustin at the end of July.

...In addition to STEAMBOAT BILL, JR., the seven silent films I saw this year included the new-to-me SENSATION SEEKERS (1927), A CHAPTER IN HER LIFE (1923), LIGHTS OF OLD BROADWAY (1925), CHILDREN OF DIVORCE (1927), and 13 WASHINGTON SQUARE (1928). I also revisited THE DELICIOUS LITTLE DEVIL (1919).

...I resumed attending indoor movies in July 2021. Brand-new movies seen theatrically last year were: F9: THE FAST SAGA (2021), BLACK WIDOW (2021), JUNGLE CRUISE (2021), FREE GUY (2021), SHANG-CHI AND THE LEGEND OF THE TEN RINGS (2021), ENCANTO (2021), and SPIDER-MAN: NO WAY HOME (2021).

...I only saw one feature-length documentary in 2021, THE DONUT KING (2020).

...I enjoyed 11 Hallmark TV-movies in 2021: CHRISTMAS IN MONTANA (2020), SENSE, SENSIBILITY & SNOWMEN (2019), USS CHRISTMAS (2020), TIME FOR US TO COME HOME FOR CHRISTMAS (2020), HARVEST LOVE (2017), GOURMET DETECTIVE: EAT, DRINK AND BE BURIED (2017), ROUX THE DAY: A GOURMET DETECTIVE MYSTERY (2020), THE SECRET INGREDIENT (2020), SNOWKISSED (2021), MERRY & BRIGHT (2019), and WELCOME TO CHRISTMAS (2018). I liked them all to varying degrees, with CHRISTMAS IN MONTANA and MERRY & BRIGHT probably being my favorites among this group.

...The worst picture I saw in 2021 was unquestionably THE ART OF LOVE (1965) starring James Garner. Past "winners" in this category: HULLABALOO (1940) from my 2009 list, FORT BOWIE (1958) in 2011, INHERIT THE WIND (1960) in 2012, a tie between DAVY CROCKETT, INDIAN SCOUT (1950) and FLYING BLIND (1941) in 2013, FORT YUMA (1955) in 2014, THE ROBIN HOOD OF EL DORADO (1936) in 2015, MAKE MINE LAUGHS (1949) in 2016, DEJA VU (1985) in 2017, GOLDIE GETS ALONG (1933) in 2018, MADAME X (1966) in 2019, and THE MOONLIGHTER (1953) in 2020. Fortunately it's quite rare when I don't find at least some things in a film to enjoy!

...Fred MacMurray was my most-seen actor in 2021, with seven films. Just behind MacMurray, at six films, was Rock Hudson.

...Actors seen in five films apiece last year: Cary Grant, Bob Hope, William Powell, Randolph Scott, and John Wayne. I saw Van Heflin, Ralph Bellamy, and Ray Milland in four films each in 2020.

...Also seen regularly in 2021, in three films apiece: Fred Astaire, Noah Beery Jr., Humphrey Bogart, Gary Cooper, Preston Foster, William Holden, Tim Holt, Richard Martin, Barton MacLane, Anthony Quinn, Lyle Talbot, and Robert Young.

...Thanks to watching the majority of her films this year, Mae West was my most-seen actress of 2021, with eight movies. Claudette Colbert followed closely, with seven films.

...Ranking at five films apiece were Carole Lombard, Myrna Loy, and Barbara Stanwyck. I also saw Doris Day and Glenda Farrell in four films each.

...Seen in three films apiece were Judy Garland, Paulette Goddard, Bonita Granville, Donna Reed, Maureen O'Hara, Ginger Rogers, Angie Dickinson, and my most-seen actress of 2020, Marjorie Woodworth.

...Below is a month-by-month look at some additional titles not already listed above which I found especially memorable viewing in 2021.

...January started off well with Billy Wilder's FIVE GRAVES TO CAIRO (1942), starring Franchot Tone and Anne Baxter; it was one of my favorite new-to-me discoveries of 2021...I revisited Robert Mitchum and Janet Leigh in the excellent HOLIDAY AFFAIR (1949) thanks to a new Blu-ray release...I always enjoy revisiting Jack Webb's DRAGNET (1954) with its great cast and dialogue...I think RIO GRANDE (1950), which I saw twice in 2021, might have just barely edged out SHE WORE A YELLOW RIBBON (1949) as my favorite of John Ford's Cavalry trilogy this year; at minimum, it's now a tie...I appreciated Judy Garland more than ever when I revisited THE PIRATE (1948) for the first time in years...WAKE ISLAND (1942) was sad, stirring, and educational...THE FOUNDER (2015), about Ray Kroc of McDonald's fame, wasn't a perfect movie, but there was much to appreciate and it was an interesting film to critique...CALCUTTA (1947) is always fun to watch thanks to favorites Alan Ladd and Gail Russell...BLIND ADVENTURE (1933) was an enjoyable little "B" mystery set in foggy London starring Robert Armstrong...I enjoyed Jean Muir in the romantic melodrama HER HUSBAND'S SECRETARY (1937).

...February viewing kicked off with the Blu-ray release of AFTER THE THIN MAN (1936), the first of several films in the series which I rewatched last year...THE SHEPHERD OF THE HILLS (1941), starring John Wayne and Harry Carey Sr., was an unusual and interesting film...I love THE PAJAMA GAME (1957) and its music and was delighted to revisit it...CALL IT A DAY (1937) was a pleasant family drama with an excellent cast...THUNDER ON THE HILL (1951) is an outstanding mystery with Claudette Colbert trying to aid convicted murderess Ann Blyth...THE GOLDEN BLADE (1953) was swashbuckling fun with Rock Hudson and Piper Laurie...UNKNOWN (2011) was a most enjoyable mystery starring Liam Neeson as a man injured in an accident, only to find no one seems to remember him once he recovers...ROOM FOR ONE MORE (1952) has been a favorite Cary Grant film since I was very young, and my 2021 viewing cemented my good impression of it...Jean Muir appeared in my viewing again in the most enjoyable "B" aviation drama FUGITIVE IN THE SKY (1937)...Belita's charismatic skating performances elevated the mystery SUSPENSE (1946)...SMART BLONDE (1937) introduced me to crime-solving reporter Torchy Blane (Glenda Farrell)...GOOD NEWS (1947) is one of my all-time favorite MGM musicals, and the new Blu-ray was a stunning pleasure to watch...I also love Doris Day and Jack Carson in MY DREAM IS YOURS (1949), another great Blu-ray release...TAXI, MISTER (1943) was a fun film in the "Streamliner" series of short movies, with Grace Bradley a comic delight...I always love watching Tim Holt and Richard Martin and saw them in HOT LEAD (1951) in February...I also revisited the Western SEMINOLE (1953), starring Rock Hudson, Anthony Quinn, and Barbara Hale.

...March began with a fun new-to-me Bing Crosby movie, HERE COME THE WAVES (1944)...Every time I revisit SAN FRANCISCO (1936), starring Clark Gable, Jeanette MacDonald, and Spencer Tracy, it impresses me anew, including the special effects, still stunning after all these years...SHOW BOAT (1951) is a beautiful MGM musical...Julie Adams played an unusual leading role as a Mexican revolutionary in WINGS OF THE HAWK (1953)...Dorothy Lamour was particularly charming in the Bob Hope comedy CAUGHT IN THE DRAFT (1941)...PRAIRIE CHICKENS (1943) was a Western "Streamliner"...I also caught another Torchy Blane film, FLY AWAY BABY (1937)...NOTHING BUT THE TRUTH (1941) reunited the team of Bob Hope and Paulette Goddard...ON MOONLIGHT BAY (1951) is a favorite Doris Day film...MAN FROM DEL RIO (1956) featured an interesting performance by Anthony Quinn...I love watching the "three Roberts" -- Mitchum, Ryan, and Young -- in CROSSFIRE (1947)...and there was more Bob Hope in MY FAVORITE BLONDE (1942), opposite Madeleine Carroll.

...I'd forgotten just how enjoyable NO MAN OF HER OWN (1932) is, starring Clark Gable and Carole Lombard, and am glad I revisited it in April...I saw the visually beautiful animated film RAYA AND THE LAST DRAGON (2021) streaming on Disney+...Van Heflin and Ruth Hussey played TENNESSEE JOHNSON (1942) and his wife in an MGM biopic...Western favorite George O'Brien starred in O'MALLEY OF THE MOUNTED (1936)...I found MAN OF THE WORLD (1931), with William Powell and Carole Lombard, better than I had on first viewing...I really enjoyed GALLANT SONS (1940), about a group of teenagers solving a crime; a good cast makes it quite entertaining...Carole Lombard and Fred MacMurray shine in THE PRINCESS COMES ACROSS (1936)...BROADWAY MELODY OF 1940 (1940) featured the sublime dancing of Fred Astaire and Eleanor Powell...THE RIDE BACK (1957), starring Anthony Quinn and William Conrad, was one of my favorite discoveries of 2021, a really well-done Western...and I revisited another Lombard film, LOVE BEFORE BREAKFAST (1936), which I like a lot despite its silliness; Preston Foster costars.

...In May I saw another Thin Man movie, ANOTHER THIN MAN (1939)...There was also more Lombard and MacMurray, this time in HANDS ACROSS THE TABLE (1936)...Cary Grant and Myrna Loy are delightful in MR. BLANDINGS BUILDS HIS DREAM HOUSE (1948)...I very much enjoyed revisiting the silent romantic comedy THE DELICIOUS LITTLE DEVIL (1919), starring Mae Murray and Rudolph Valentino...BATTLE HYMN (1957) was a fairly good film starring Rock Hudson and Dan Duryea...What a thrill to see the terrific film noir THEY WON'T BELIEVE ME (1947) with 15 long-missing minutes restored!...QUANTEZ (1957) is a well-done "chamber Western" with Fred MacMurray in the lead...ARSON, INC. (1949) was a very fun "B" (or maybe "C"!) movie from Lippert Pictures, just the kind of film I like to explore...STAGECOACH KID (1949) was an entertaining Tim Holt film with outstanding Lone Pine locations filmed by Nicholas Musuraca...I had mixed feelings about the Jeff Chandler Cavalry film PILLARS OF THE SKY (1956), which was quite violent but had lovely locations and a good performance by Ward Bond...I hadn't seen ANNIE GET YOUR GUN (1950) in many years and enjoyed it more than I expected, thanks to Irving Berlin's score and a spectacularly good Blu-ray print...The Universal Pictures Western HORIZONS WEST (1952), starring Robert Ryan, Rock Hudson, and Julie Adams, was another film which improved on closer acquaintance.

...June kicked off with a very enjoyable "old favorite" MGM musical, the wacky, colorful ATHENA (1954), starring Jane Powell and Debbie Reynolds...THE FINAL COUNTDOWN (1980) was a fun WWII time travel thriller...THE TENDER TRAP (1955), starring Frank Sinatra and Debbie Reynolds, is a film I've been fond of for most of my life...I love the candy-colored ("California coral!") palette of BACHELOR IN PARADISE (1961), starring Bob Hope and Lana Turner...SENSATION SEEKERS (1927) was an interesting silent film directed by Lois Weber...IT HAPPENED TOMORROW (1944) is a favorite comedic fantasy starring Dick Powell and Linda Darnell...I also enjoyed revisiting the delightful team of Ray Milland and Paulette Goddard in THE CRYSTAL BALL (1943)...LIGHTS OF OLD BROADWAY (1925) was a particularly charming silent film starring Marion Davies...I also really liked Lois Weber's A CHAPTER IN HER LIFE (1923)...NIGHT AFTER NIGHT (1932) introduced me to Mae West...West later wowed me in SHE DONE HIM WRONG (1933) with Cary Grant, one of my favorite discoveries of the year...I've always liked the idea of MGM's review musical ZIEGFELD FOLLIES (1946) better than the end result, which is still worthwhile for some excellent dance sequences featuring Fred Astaire and Lucille Bremer...GREEN DOLPHIN STREET (1947) is a top-quality MGM period drama with outstanding special effects, starring Lana Turner, Richard Hart, Donna Reed, and Van Heflin.

...July had a fairly low film tally due to travel, and I also saw some new theatrical films listed higher up in this piece. At home I enjoyed a very good Cavalry Western, ESCAPE FROM FORT BRAVO (1953), starring William Holden and Eleanor Parker, directed by John Sturges...I really love Edmond O'Brien and Ella Raines in THE WEB (1947), which has a snappy script cowritten by the great William Bowers, and am so glad it's come to home viewing at last...STEP BY STEP (1946) is a quite enjoyable "B" film starring Lawrence Tierney and Anne Jeffreys, and it was a particularly nice surprise having a relatively minor film of that type released on Blu-ray by the Warner Archive...Bob Hope's ALIAS JESSE JAMES (1959) is uneven, but it boasts a cute song, a very fun shootout featuring a bunch of TV Western stars, and lovely Rhonda Fleming...I'M NO ANGEL (1933) was another strong Mae West-Cary Grant film which I enjoyed quite well...and I WOULDN'T BE IN YOUR SHOES (1948) was another fun "B" surprise from the Warner Archive, featuring Don Castle and Elyse Knox. I'm hoping there will be more such releases from them in 2022!

...In August I saw Elvis in IT HAPPENED AT THE WORLD'S FAIR (1963), which had great location shooting...I also saw another Fred MacMurray Western, GUN FOR A COWARD (1956), which costarred Dean Stockwell, who passed away later in the year...I'm very fond of the Colbert-MacMurray romantic comedy NO TIME FOR LOVE (1943) and enjoyed revisiting it...I always like a good aviation drama and thus enjoyed CHAIN LIGHTNING (1950), starring Humphrey Bogart and Eleanor Parker...Mae West starred as the BELLE OF THE NINETIES (1934)...There was more Colbert and MacMurray in THE BRIDE COMES HOME (1935)...I saw MGM's THE GREAT CARUSO (1951) for the first time, starring Mario Lanza and Ann Blyth, and enjoyed it...I watched even more Mae West in GOIN' TO TOWN (1935)...THE GILDED LILY (1935) is another good Colbert-MacMurray film, also featuring Ray Milland...Gary Cooper and Clara Bow starred in the silent melodrama CHILDREN OF DIVORCE (1927)...Liam Neeson's THE ICE ROAD (2021), streamed via Netflix, was a lot of improbable fun...I really enjoyed finally catching up with THE FAST AND THE FURIOUS: TOKYO DRIFT (2006)...I also liked MISSION: IMPOSSIBLE II (2000) and MISSION: IMPOSSIBLE III (2006).

...One of my favorite Mae West films last year was KLONDIKE ANNIE (1936), seen in September...There was more William Powell and Myrna Loy in September as well, thanks to SHADOW OF THE THIN MAN (1941)...THE DUKE OF WEST POINT (1938) was a moving drama starring Louis Hayward and Joan Fontaine...I also saw Fontaine in THE EMPEROR WALTZ (1948), starring Bing Crosby, which I rewatched for the first time in years...I described DESIRE (1936), starring Marlene Dietrich and Gary Cooper, as "pure movie joy"...Mae West starred again in GO WEST YOUNG MAN (1936)...I caught up with another Clint Eastwood-Don Siegel film in COOGAN'S BLUFF (1968), which was mildly entertaining but could have done more with its concept...Ginger Rogers and Ronald Colman starred in the modestly entertaining LUCKY PARTNERS (1940)...ALIAS NICK BEAL (1948) is an outstanding fantasy noir with Ray Milland leading a top cast...and my final Mae West of 2021 came in EVERY DAY'S A HOLIDAY (1937).

...There are only a few films to list here for October, since the majority of films I saw that month were at film festivals, listed earlier in this post. Among the films seen at home, I really like LARCENY (1948), starring John Payne and Joan Caulfield, which I've seen several times...MARY STEVENS, M.D. (1933) is delicious pre-Code fun starring Kay Francis and Glenda Farrell...and FOUR FRIGHTENED PEOPLE (1934) is an enjoyable, atypical DeMille film with Claudette Colbert, Herbert Marshall, and scene-stealing Mary Boland.

...In November I revisited Ginger Rogers and George Brent in IN PERSON (1935), finding it somewhat more enjoyable than my first viewing years ago...I quite liked the amusing farce YOUNG AND WILLING (1943), with a terrific cast headed by William Holden and Susan Hayward...ARISE, MY LOVE (1940) is a superb film starring Ray Milland and Claudette Colbert which I highly recommend...LADIES THEY TALK ABOUT (1933) is lots of pre-Code goodness with Barbara Stanwyck...There was even more pre-Code fun in TORCH SINGER (1933), starring Claudette Colbert ("Give me liberty or give me love!")...MIDNIGHT (1934) was an interesting Poverty Row drama from a new Flicker Alley set...and I enjoy the sunny comedy COME SEPTEMBER (1961), with Rock Hudson, Gina Lollobrigida, Bobby Darin, and Sandra Dee, plus lovely Italian locations.

...The year wrapped up in December with THE THIN MAN GOES HOME (1944)...HOT SATURDAY (1932) was an interesting pre-Code drama starring Nancy Carroll, Cary Grant, and Randolph Scott...I really appreciate the WWII drama O.S.S. (1946) starring Alan Ladd and Geraldine Fitzgerald...I always wish I'd like SANTA FE TRAIL (1940) more when I return to it, but its pleasures include Errol Flynn and Olivia de Havilland...I thoroughly enjoyed DeMille's UNCONQUERED (1947), with Gary Cooper and Paulette Goddard heading a great cast...MGM's IN THE GOOD OLD SUMMERTIME (1949), starring Judy Garland and Van Johnson, is wonderful Christmastime viewing...I saw DEAD MEN DON'T WEAR PLAID (1982) for the first time since its release, and while I was able to appreciate the gimmicks more thanks to all my film noir viewing of the past four decades, it's kind of a one-joke movie...I loved Fay Wray in WOMAN IN THE DARK (1934)...ARTHUR CHRISTMAS (2011) is a truly marvelous Christmas film which I saw for the first time in years...I loved Doris Day and Gene Nelson in LULLABY OF BROADWAY (1951)...and my viewing year concluded with the surprisingly fun INTERNATIONAL LADY (1941), a WWII spy thrilled with George Brent and Basil Rathbone as spies on the trail of Ilona Massey, whose radio performances include coded information used to sabotage Allied planes.

...A few final notes: I anticipate my annual "year in review" movie poster video will post sometime in January and will include the link here along with featuring the video in a separate post. (Update: Here is the video!)

...This year I was delighted to continue contributing a monthly Westerns column for the terrific Classic Movie Hub site. My Western RoundUp columns may be found here. In addition to articles on a variety of Western-related topics, I wrote longer-form reviews of four films in 2021: RIO BRAVO (1959), WILL PENNY (1967), HOUR OF THE GUN (1967), and CATTLE DRIVE (1951).

I'd like to sincerely thank once more everyone who visits this blog! Your readership, friendship, and support are always very deeply appreciated.

I hope all my readers will have happiness, good health, and many wonderful movies in 2022!

Previously: Tonight's Movie in 2009: The Year in Review; Tonight's Movie in 2010: The Year in Review; Tonight's Movie in 2011: The Year in Review; Tonight's Movie in 2012: The Year in Review; Tonight's Movie in 2013: The Year in Review; Tonight's Movie in 2014: The Year in Review; Tonight's Movie in 2015: The Year in Review; Tonight's Movie in 2016: The Year in Review; Tonight's Movie in 2017: The Year in Review; Tonight's Movie in 2018: The Year in Review; Tonight's Movie in 2019: The Year in Review; Tonight's Movie in 2020: The Year in Review.

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