Curvas y balas

No need to recap the plot.

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

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

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