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Mae West: Glamour Collection

4.2 out of 5 stars 10 customer reviews

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Frequently Bought Together

  • Mae West: Glamour Collection
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  • Marlene Dietrich: The Glamour Collection (Morocco/ Blonde Venus/ The Devil Is a Woman/ Flame of New Orleans/ Golden Earrings) (1935)
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  • Carole Lombard: The Glamour Collection (6 movies)
Total price: CDN$ 76.11
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Product Details

  • Actors: Mae West, Cary Grant, Gregory Ratoff, Edward Arnold, Ralf Harolde
  • Directors: Alexander Hall, Archie Mayo, Edward F. Cline, Henry Hathaway, Wesley Ruggles
  • Writers: George B. Dowell, Joseph L. Mankiewicz, Kathryn Scola
  • Format: Box set, Color, Dolby, DVD-Video, Full Screen, Subtitled, NTSC
  • Language: English
  • Subtitles: English, Spanish, French
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 2
  • MPAA Rating: NR
  • Studio: Universal Studios Home Entertainment
  • Release Date: Aug. 3 2010
  • Run Time: 397 minutes
  • Average Customer Review: 4.2 out of 5 stars 10 customer reviews
  • ASIN: B000E6ESX0
  • Amazon Bestsellers Rank: #23,596 in DVD (See Top 100 in DVD)
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Product Description

Product Description

Smart, seductive and undeniably funny, Mae West is one of cinema's most enduring comedy legends. Now this larger-than-life buxom beauty charms fans all over again in an amazing 5-movie collection of some of her most wildly popular films.Revel in Mae's breakout performance in Night After Night; join her as a bewitching lion (and man) tamer in I'm No Angel; lasso up some fun with the wealthy and the wicked in the rags-to-riches tale of Goin' To Town; delight in a comic country romance in Go West Young Man; and see how wild the West can really get in My Little Chickadee. It's a must-own salute to one of Hollywood's most outrageous and hilarious leading ladies.

The triumph of personality is beautifully demonstrated in Mae West: The Glamour Collection, a bundle of five comedies featuring the never duplicated (if often imitated) Ms. West. Never altering her insouciant, sexed-up persona, Mae West sashays through these films like a tour guide in a well-lit bordello, cheerfully cracking herself up with a series of perfectly-timed one-liners. Since she wrote her own material, there was no separation between the lady (what a feeble word) and her scandalous dialogue.

If you doubt this, check out Night After Night, her film debut. The first half of the picture is an unremarkable gangster comedy: George Raft in his usual inert form, Constance Cummings the good girl, capable comic support from Roscoe Karns and Alison Skipworth. Then West blowses in, and it's all over. Within a minute she's tossed off an eternal signature line (hatcheck girl: "Goodness, what beautiful diamonds." West: "Goodness had nothin' to do with it, dearie") and disrupted the high-class aims of gangster Raft. The other actors look agog at this unapologetic force of libido. Watching this, you might recall the first time you ever saw Groucho Marx or Bill Murray on film--the movie itself disappears, replaced by gratitude that someone like this exists.

I'm No Angel followed her first starring vehicle (She Done Him Wrong, not included here), and its lunatic plot--Mae as a lion tamer taken up by New York society--does nothing to slow the barrage of sexual innuendo. West hums her way through the film with the kind of confidence that must have inspired countless fans to try something disreputable. Cary Grant is the bemused recipient of West's attention. Goin' to Town is nearly as good, as dance-hall gal Mae inherits an oil fortune, then sets her cap for the haughty Englishman working on her, uh, wells. West's style is undiminished (she was in her mid-forties already), although by this time the Production Code--concocted in part as a horrified response to her first films--was trimming her entendres.

Tamer still is the tongue-in-cheek Go West Young Man, although the spectacle of West (playing a "temperamental" movie star) leering after hunky Randolph Scott is pleasant. My Little Chickadee, made at Universal after her run at Paramount ended, is the legendary pairing with W.C. Fields. It's full of great bon mots from both drawlers, even if the sum is less than its parts. Disapproving Margaret Hamilton tells Fields of West, "I'm afraid I can't say anything good about her." Fields replies, "I can see what's good, tell me the rest." These five films are a good introduction to the rest. Beulah, peel me a grape. --Robert Horton

Customer Reviews

4.2 out of 5 stars
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Top Customer Reviews

Format: DVD
Avec sa dégaine de loubarde, ses oeillades appuyées et sa silhouette à l'opposé des canons actuels (mais qui avait fait d'elle un sex-symbole de son temps) Mae West peut paraître démodée. Cependant, intelligente, rouée, à la répartie qui fait mouche, sympathique, Mae symbolise la revanche du petit peuple américain sur les aristocrates anglais d'abord et ceux qui, américains, se prétendent plus ou moins en descendre, celle aussi du vrai bon sens contre les conventions et les "bonnes" manières, enfin l'affirmation de la liberté (de ton, d'allure, de conduite dans la vie) par rapport aux standards figés des années 30.Si on les replace dans leur contexte, la plupart de ses films - dont elle écrit la plupart du temps le scénario et les dialogues - ont extrêmement bien vieilli et apparaissent même si décapants, si originaux qu'ils en deviennent "jouissifs". Ce coffret regroupe cinq de ses films les plus célèbres et permet dans de bonnes conditions techniques (excellents transferts, belle présentation, VO sous titrée français) de se familiariser avec une des figures les plus populaires et les plus originales de l'avant guerre américaine.
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Format: DVD Verified Purchase
"Mae West - The Glamour Collection" is a good addition to the film library of fans of the legendary blonde and for the general Hollywood collector.

The set includes 5 movies ranging from mediocre to great, "Night After Night" (1932)- in my opinion is the worst film of the bunch, "I'm No Angel" (1933) - is the funniest, "Goin' to Town" (1935) - is the most enjoyable, ""Go West, Young Man" (1936) - is mediocre West and "My Little Chickadee" (1940) - pairs West with the legendary W.C Fields.

"Night After Night" ** 1/2. This almost forgotten little film is a curiosity item because it is Mae West's screen debut. The film stars George Raft, who plays Joe, a former boxer and owner of a speakeasy who is interested in romancing an attractive and mysterious socialite, Miss Jerry Healy (Constance Cummings). Whatever one thinks of the film (I am not too enamoured with it as I find it a bit tedious to get through) there is no denying once West's Maudie Triplett enters the scene, she steals the show and despite her brief appearance here, delivers some of her classic dialogues ("Goodness had nothing to do with it, dearie.") The scene in the hotel bedroom with West and Alison Skipworth dealing with a hangover and an innocent misunderstanding is a hoot. This film may have been a star vehicle for the other actors but Mae West managed to steal the spotlight off them and several decades later, this film is remembered mostly for her presence.

"I'm No Angel" ****. This film is one of West's best features and it contains some of her wittiest dialogue. West plays Tira, a circus performer who hits the big time as a lion tamer.
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Format: VHS Tape
MY LITTLE CHICKADEE was originally released to mixed reviews, but by the 1970s a revival of interest in both W.C. Fields and Mae West sparked renewed attention to the film--and while it is somewhat uneven and does not give us either actor at their best, this single pairing of two of Hollywood's most legendary comics offers enough amusement to keep us watching right through to the end.
By every account available, Fields and West absolutely loathed each other. After Field's death West went to considerable effort to belittle both Fields and his contribution to this film, insisting that she herself wrote the story and the script and Fields was responsible for his personal material only. Ironically, her claims re this are hardly flattering to her talent, for the great weakness of CHICKADEE is the actual story itself, which is remarkable for its lack of imagination: Flower Belle becomes mixed up with an outlaw and is run out of town--and told she can't return until she can prove she is respectably married. The opportunity to do precisely that arrives in the form Cuthbert J. Twillie, an inept con-man who becomes her dupe.
Although uninspired, the plot does have the benefit of allowing both West and Fields to do their own thing both separately and occasionally together--and when it works, it goes off with a bang. Their meeting on the train, their wedding night, and West's unlikely stint as a schoolmarm (teaching the young about figures, of course) are all hilarious bits, and Margaret Hamilton gets in some good moments in the supporting cast. The film only sinks whenever it returns to the storyline of West and her bandit lover--so all in all, although not the best, it is well worth a watch, particularly for Fields and West fans. Recommended, but don't expect too much.
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By A Customer on Aug. 8 2001
Format: VHS Tape
This well-known film is corny but fun. The off-beat casting of the leads make MY LITTLE CHICKADEE a unique movie experience (which should have been better!) Contrary to popular belief, this is the one and ONLY film Fields and West ever made together; the result is a classic among corny movies! At the mellow age of 47, buxom Mae plays (in her ornate velvet finery) Flower Belle Lee, a vixen who, while traveling on a train, meets J. Cuthbert Twillie who's into "novelties and notions". Flower Belle eyes a doctor's bag full of dough and purrs "ummmmmm, what kinda notions ya got?". Scenes on the train are funny and one cannot deny that West and Fields each had "star quality". Hatchet-faced busy-body Margaret Hamilton plays Miss Gideon with her usual expertise (Mae took her aside one day on the set and commented "I liiike y'ur woik!" in her inimitable style which tickled the previous years' Almira Gulch to no end). Few mediocre films have received so much attention; the public was enthralled with the idea of watching these two legends playing opposite each other. The chemistry between Fields and West is good but many feel the lines and situations should have been funnier and I agree. Critics of the day were tolerant but not overly generous; Flower Belle was really a parody of Mae's sultry image and it was obvious that her glory days at Paramount were clearly over. The satire never really gets off the ground but it's such an honest mix of corn and manure that, at times, it's fairly aromatic!
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