Belle of the Nineties

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.

It is the 1890's St. Louis. Vaudeville star Ruby Carter (Mae West) becomes involved with boxer Tiger Kid. His manager breaks them up and she leaves for New Orleans. Ace Lamont falls for her which drives Molly Brant jealous.

As Mae West transitions into the Code era, she seems to have a couple of different moves. Certainly, the jokes are a little tamer and this one has her singing more songs. I'm not a big fan of her singing. Her uniqueness derives from her bodied sexualized humor. I find myself fading during her singing. I'm not saying that it's bad in any sense. It's just not what I want from her.

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.

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... 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.

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.