Goin' to Town (1935) User Reviews

Miss West gives her Best

[eddie-83 · 7/10 · 24 November 2003]

I must confess to a little bias here, I just love Mae West so you won't get an objective assessment of Goin' to Town from me.

Mae is pleasingly plump in this one, an unlikely sex goddess though it must be remembered that she was about forty before she made a movie. Still, the suitors crowd around her, especially in the Race Track sequence.

Goin' to Town seems to be a sort of modern-day Western with Mae getting around in a car as well as on a horse but she wears the same elaborate Victorian gowns as she did in Belle of the Nineties.

The plot is well summed up elsewhere; Mae is engaged to Buck Gonzales who is shot while rustling cattle. A lawyer advises her that she is entitled to his estate since she agreed to marry him. `You did consent, didn't you?' Mae: `Certainly did - twice!' Another line capable of a risqué interpretation is when Buck says `I've been thinking about you a lot lately' Mae replies `You must be tired'

Wonderful entertainment, she even warbles agreeably in the Samson and Delilah scenes and how about that walk? The word sashay was invented for her. No wonder there were strong rumours that Mae was a female impersonator. She describes her self as `a good woman for a bad man' and later `I'm a woman of very few words but lots of action' (she learnt Spanish while working in Tijuana!)

Goin' to Town is not her best film (for me - She Done Him Wrong) but I thoroughly enjoy it just the same.

Mae West Does It Again!

[Sylviastel · 7/10 · 30 December 2011]

This film is really a Mae West vehicle and you can see how she inspired today's stars like Madonna and even Lady Gaga with her dazzling outfits and costumes. Mae West had a style like nobody else and was incredibly talented besides her looks. She was a screenwriter who developed her own projects in order to suit her. In this film, she plays a girl from the wrong side of the tracks who ends up from rags to riches. Along the way, she wants high society's acceptance even of her bawdy behavior and attitudes. Her character might be ill-bred, ill-mannered, and raunchy with jokes but she's entertaining and talented with her singing voice. I wonder if it was her real voice. She's going to climb high society even if it means doing it her way. Mae West is one of the great movie stars during the Great Depression and we can see why people flocked to see her films.

"GOIN' TO TOWN" (Alexander Hall, 1935) ***

[Bunuel1976 · 7/10 · 24 November 2007]

This was the first Mae West movie to appear after the introduction of the Production Code the year before and, given the generally held belief that this factor harmed her successive films, I was expecting to be let down by this one; indeed, while rarely scaling the heights of her best work, I found it to be a very engaging and entertaining vehicle with a fair amount of good lines.

Amusingly, this film – with the word “town” in its title – starts out way out West while West’s GO WEST YOUNG MAN (1936) starts out in a rural setting and goes rustic gradually! Interestingly enough, it features a vivid horse-racing sequence and another hilarious vignette in which West dabbles in opera singing: playing Delilah (“the only woman barber who made good”), she is prone to call out to her Samson, “Come ‘ere, Sammy!”; it’s worth mentioning here that The Marx Brothers also lampooned just these very diverse subjects for their first two big-budget MGM extravaganzas!

The plot is quite busy, especially for a 70 minute movie, with a handful of besotted males vying for the hand of wealthy oil tycoon West (who marries – and is subsequently widowed – twice during the course of the film, even if she is clearly chasing after her no-nonsense British employee Paul Cavanagh who is really an aristocrat!). Initially, I thought that Cavanagh was a curious choice for her leading man but, ultimately, he acquits himself rather well under the circumstances, and Gilbert Emery is a welcome familiar face as West’s Pygmalion (once she decides to take on the upper crust of society in her bid to win Cavanagh’s affections); incidentally, this portion of the film bears more than a passing resemblance to George Raft’s predicament in Mae West’s debut feature, NIGHT AFTER NIGHT (1932)!

Mae West's quest for society takes her South, North and East

[SimonJack · 7/10 · 22 March 2021]

"Goin' to Town" is a very good comedy and sort of Western that stars Mae West. It's also labeled as a musical, and Mae's Cleo Borden sings a couple of tunes and then some. The plot unfolds in three separate locales. The opening scenes have Cleo in a Western setting where she is a popular saloon singer. After she promises to marry a rancher who does some rustling on the side, he gets killed on her wedding day, but she inherits his land which has just been dotted with oil wells.

Cleo takes a fancy to the chief engineer of the oil project, Edward Carrington (played by Paul Cavanagh). But he doesn't seem to take a hankering to her. So, when he heads off for a social outing at the races in Argentina, Cleo enters her own high-spirited horse in the races in Bueno Aires. After the glamorous setting there, she heads for the high class New England area - still pursuing Carrington and trying to break into high society where she has been snubbed by a couple of flighty wealthy matrons.

The story has some extravagant and very funny developments there. The movie has some shenanigans with others trying to foil Cleo's quest for social standing. There's some more rough stuff and she tries some very unusual ways to establish herself. She's on the up and up but some of the high society patrons are not. They will "get theirs" in the end, and the film has a nice surprise ending for all - Cleo and the audience. This is a somewhat crazy and frenzied story with a sizable cast and light comedy. But it's Mae West at her best - whether singing in a saloon, a high class casino, or an opera in her own mansion.

Despite the constant changes in locale, Mae West's Going' to Town still has plenty of her ample charms to compensate

[tavm · 7/10 · 30 May 2013]

This is the third of the Mae West movies on the 5-film, 2-disc collection I just watched and I just found out, the first made after the Production Code became a bit more strict. It's a bit of a mess, to tell the truth what with the change in locales from the Wild West to South America to Southampton. And some of the plot points confused me. But as long as Ms. West manages to keep her zingers at the ready and get some good songs in, to boot, this is still a pretty enjoyable outing for her. And it's always fun to see her give it to the snobbish society ladies, that's for sure! The men, for the most part, are pretty interchangeable but really, there's still plenty to enjoy in Going' to Town.

The Cattle Queen of Society

[lugonian · 7/10 · 29 July 2004]

Going' TO TOWN (Paramount, 1935), directed by Alexander Hall, from the story by Marion Morgan and George B. Dowell, with screenplay and dialog by MAE WEST, in her only theatrical release of 1935, repeats the formula of sorts from her hit comedy, I'M NO ANGEL (1933), but not as successfully. Once more, she plays a woman who wants to crash into and be accepted amongst the swells of high society, only to get snubbed by the grand dames but admired by the millionaire gents.

Mae West plays a saloon singer named Cleo Borden ("A woman of very few words and lots of action"). She is first seen kissing a young cowboy (Grant Withers) behind a semi- closed curtain, then serenades him on the dance floor with a song before Buck Gonzalez (Fred Kohler Sr.), a wealthy rancher by day and cattle rustler by night, enters the scene. So much in love with her, he proposes marriage. Instead of giving him an answer, Cleo decides to gamble on her decision through a crap game. Losing, she consents on becoming his wife, on the condition that he'd wait two weeks to prepare herself. During those two weeks, Buck is caught cattle rustling (a profession very few people had known), and shot and killed in the process by the sheriff (Francis Ford), who had his suspicions on him. On her wedding day, Cleo arrives at Buck's ranch to learn of her future husband's death. Because she was willing to keep her part of the bargain, she learns from Winslow (Gilbert Emery), Buck's financial accountant, that he had awarded Cleo his entire fortune, making her the wealthiest woman in the state. While inspecting an oil field, which has become part of her inheritance, Cleo takes notice on a geological engineer named Edward Carrington (Paul Cavanaugh). She tries to become the object of his affection, but the no-nonsense Englishman appears to have a strong will and ignores her. After Carrington transfers to Buenos Aires, South America, Cleo reads an article on Mrs. Crane Brittony (Marjorie Gateson), a wealthy matron, in a society magazine. Taking Winslow's advice by winning the heart of Carrington is to become refined and cultured, Cleo heads for Buenos Aires. While there, Cleo enters her horse, Cactus, in the big race, beating the horse owned by Mrs. Brittony, who takes an immediate dislike towards the "cattle baron's widow." Unable to nab Carrington, who defends her honor against malicious gossip, Cleo acquires the affections of Fletcher Colton (Monroe Owsley), Mrs. Brittony's nephew, whose main weakness is gambling. When Colton loses his entire fortune, Winslow talks him into a marriage of convenience with Cleo. Now husband and wife, the couple settle in Southampton, New York. Mrs. Brittony schemes on hiring Ivan Veladov (Ivan Lebedeff), a handsome gigolo, to discredit her and a private detective (Paul Harvey) to expose her low morals standpoints, later leading Cleo as a murder suspect.

Going' TO TOWN is the kind of movie in which the contributors to the screenplay couldn't make up their minds which direction the story is heading. Is it western, comedy or social drama? By the looks of it, all three combined. It starts off promisingly as a full- fledged modern-day western, consisting of shoot-em-up cowboys riding horses, gathering in a local saloon where they indulge themselves with either drinking beer or being around Cleo (West), where the story should have remained throughout. However, after twenty minutes or so, the locale shifts to Buenos Aires where horses continue to take part of the stock, this time at the races, and finally to Southampton, New York. According to the theatrical trailer that precedes the movie in the 1992-93 video release, Mae West has not ONE, but SEVEN male co-stars. With Cavanaugh as her British co-star, West might have selected better known debonairs as Herbert Marshall or Melvyn Douglas, for example, for stronger box-office appeal.

Unlike her previous screen efforts, Going' TO TOWN has its limitations when it comes to song numbers. West first sings "He's a Bad Man" while on the dance floor with Grant Withers, with his profile looking directly at her while the camera catches West's face is full view. Later on in the story while trying to be accepted to high society, she sings "My Heart at Thy Sweet Voice" in the SAMSON AND DELILAH opera. Interestingly, she doesn't spoof opera, as one might expect, but plays it straight. Before the fade-out, she sings, "I'm a Lady" (with part of her lyrics being her catch phrase of "Come up and see me sometime") as she walks downstairs with her new husband by her side. The camera this time ignores her male co-star and takes full focus on West while singing her closing number. There were a couple of times in the story where West did appear to be preparing herself for another moment of vocalization, one at a social function and another where she puts on the radio playing instrumental music. Expecting her to go into a song, this scene soon goes into a fade-out.

In spite of mixed reactions towards Going' TO TOWN, this fifth Mae West feature has become a rare find these days. Unseen in the television markets since the 1970s, it was distributed on video cassette in 1992 and cable television's Retroplex (Premiere: November 12, 2016). Credited at 74 minutes, video presentation runs at 70. West's one liners still makes the movie (WEST: "For a long time I was ashamed of the way I lived." GRANT WITHERS: "You mean you reformed?" WEST: "No, I got over being ashamed"; or her reference to Ivan Lebedeff: "We're intellectual opposites. I'm intellectual and you're opposite."). Mae West certainly has her moments on screen, but from the basis of the script, is passable entertainment. (***)

Sassy Mae as Cattle Rancher

[iquine · 7/10 · 18 November 2022]

This was my first time seeing a Mae West picture. I've always heard her name. Man, she can fling the sass! Mae marries a rancher who dies just before their wedding day, yet she still is gifted his large cattle ranch with acers of land and various animals in additional to oil wells. Thus, she becomes very wealthy and the talk of the town. Although, she does most of the talking. Being a sassy woman, she makes an amusing effort to be more lady-like as she sets her eyes on an English gentleman operating in her new high-class sphere. This is some genuinely funny '30s fun. Mae has oodles of good dialog zingers mixed with amusing physical comedy.

"I'm A Good Woman For A Bad Man"

[bkoganbing · 8/10 · 6 June 2014]

In Going' To Town Mae West enacts her own version of the Horatio Alger story. She rises from dance hall queen, to millionaire, to high society, and finally to a title. Mae starts this rise by being a 'good woman to a bad man'.

The bad man is Fred Kohler who mixed cattle rustling with a lot of legitimate money and pays the ultimate price. He leaves everything to his fiancé Mae West. It's the beginning of her rise.

All the time she's got her eye fixed on Englishman Paul Cavanaugh who she knows as the engineer drilling for oil on Kohler's and now her property. She doesn't know at first he's an heir to a title, but she finds out soon enough.

Mae really comes into her own in this film. In previous films she had George Raft and Cary Grant twice as leading men. Going' To Town is a film she carries all by herself.

Cavanaugh is the film's weakness. Not a strong enough personality to be a lead, one can't figure out why Mae's so set on him. Someone like Leslie Howard would have really given that part some character. And what a team that would have been.

Still this film is all Mae West. And that's all you need.

Once again, Mae plays an irresistible dame.

[planktonrules · 6/10 · 14 May 2011]

"Goin' to Town" begins with Mae West in the rootin', tootin' West. A local rich rancher asks her to marry him and she agrees. However, he's killed and she inherits his fortune. Now what would any girl do in a situation like this? Yep, run to Buenos Aires to hang with the rich set in order to hook an Englishman she met in the West(?). In the process, she naturally has trouble fitting in and it's thanks to a particularly snooty lady...and the fact that Mae is a tacky dame.

Later, Mae marries the snooty lady's nephew--a very odd thing considering she's doing all this to win the English man's heart. When the new husband is murdered during a plot orchestrated by the snooty lady, Mae is accused of the crime. Can she extricate herself from all this and STILL win the man of her dream? Well, it's all very quickly and conveniently wrapped up in the last two minutes--that's for sure!

This is an enjoyable film thanks to Mae's dialog. Otherwise, the plot often makes little sense. Not only do you wonder what man would be desperate enough to want her, but it's a confusing film. Why did she go to such elaborate lengths to get the English guy? Why did she marry another man in the process? Why would the audience care, as it's supposed to be a comedy--and a lot of this isn't super funny. Still, it's agreeable enough and a decent time-passer...but not a lot more.

By the way, one of the things that REALLY made no sense was Mae's producing and starring in an opera for her new society friends! Huh?!

Mae West inherits an oil fortune, then takes on high society.

[maksquibs · 3/10 · 10 May 2007]

Shortly after the release of Mae West's BELLE OF THE NINETIES, the Hollywood Production Code started to get tough, which put the Queen of double entendre in a tighter spot than her hardworking corsets. So why would Paramount dump her into this lusterless Grade 'B' item with its faceless supporting cast? West's script hardly helps as she pitches a veritable yard's sale of story lines at us: Mae takes over the ranch when her fiancé is murdered; Mae & her horse win the Derby; Mae the commoner crashes high society; Mae gets caught in a divorce/robbery/murder scam. Oh, she still gets off an occasional eyebrow raising quip and there's something irresistible in seeing her do a bit of Saint-Saens SAMSON & DELILAH (in the original keys, natch), but it's all a bit depressing to see her brought so low.

A First-Class Trip in a Star Vehicle

[mikhail080 · 9/10 · 1 July 2010]

Reviewing the iconic Mae West feels like an exercise in futility. Today's audiences either "buy into" her supremely confident premise and enjoy her oeuvre, or reject her entire egotistic supposition and persona in general.

Going' to Town is the first West vehicle made under the Production Code, and it does somewhat pale in comparison to her earlier films. But still, what we find here contains a great deal to enjoy, even with the buxom star now somewhat muzzled and constrained. Here she is Cleo Borden (I love her character names every time!), an "on-the-level" saloon hall girl who inherits a windfall and attempts to go legit in high society in the Hamptons. Jealous and snooty Marjorie Gateson does everything in her power to stand in her way -- a plot contrivance familiar to West fans.

Firstly, Mae West always seemed to consider the guys in her audience, and here the film starts with an exciting action sequence featuring a chase on horseback with guns blazing. It plays more like something from a George O'Brien oater -- a neat and surprising way to open the proceedings actually. Before long the scene has shifted to Buenos Aires, where the story treats us to an actual horse race that's very nicely filmed in an extremely fast pace.

But the movie's plotting seems a tad overwrought, with perhaps a few too many admirers competing for both West's attentions and meager screen time. But then, fans of outrageous Hollywood fashion can feast their eyes on the haute couture that clothes the corseted blond star. And it certainly does add to the humor having a full-figured actress dominating the proceedings, and Mae West expertly keeps all eyes focused on her abundant charms -- if only to ascertain the reasons behind her supreme confidence.

So, everyone, get a load of Mae West as she rolls her eyes, smokes cigarettes, sings a few songs, steamrolls over her entire supporting cast, and flirts with every man around. That makes some outlandish entertainment that's not to be underestimated even today.

*** out of *****

"I'm a good woman for a bad man"

[weezeralfalfa · 7/10 · 7 February 2017]

Has it's pluses and minuses. Relatively few witticisms, relatively few songs, and a rather unbelievable plot. The point of the story is Mae's quest to transform from a Wild West dancehall floozy into a high society matron, without giving up too much of her traditional personality. Since it's very difficult for her to accomplish a sufficient make over of her personality, she plans to accomplish her goal largely by buying into high society so that she will be deemed a suitable mate for British petroleum geologist Edward Carrington. But first, she has to say yes to a local cattle and oil baron by day, but cattle rustler by night(a strange combination!). His name is Buck Gonzales, and Mae rolls the dice to decide whether to marry him or not. It comes up go ahead, as long as Buck signs a prenuptial agreement that Mae gets his entire wealth should he die. Just before her wedding day, Mae learns that Buck was shot dead during a rustling excursion. The judge agrees that her prenuptial agreement is valid despite the fact that she didn't wed Buck. For some reason, she takes a liking to petroleum geologist and engineer Carrington, who fails to reciprocate. To show she means business and is a competent cowgirl, she shoots his hat off when he ignores her summons. Then, when he turns around prematurely for her, she lassos him. He's not impressed by these antics, saying he's not interested in her in a romantic way, because she's clearly not of his social class.

Carrington is reassigned by his company to Buenos Aires. So, Mae takes her race horse, Cactus, and her manager, Winslow, with her on a ship to Buenos Aires. Soon, Cactus wins an important race, making Mae a national celebrity. However, she's still looked down by high society women, if not all men, as still being a crude hillbilly. She meets Carrington at the horse race and discovers he is a boyfriend of her arch-enemy, Mrs. Brittony, but still has some fondness for Mae. Later, they argue about whether it's possible for Mae to acquire sufficient culture to satisfy Carrington as a wife, or whether her personality is fixed.

Winslow brokers a deal where Colton, a bankrupt nephew of Mrs. Britton, and Mae will form a marriage of convenience, Colton providing Mae with a measure of high society aurora, and Mae picking up some of his gambling debts. He's a poor compulsive gambler and threatens to dissipate Mae's fortune.

Mae and Colton reestablish themselves in Colton Manor, in Southampton, N.Y.. However, Mrs. Brittony and her friends come visiting with an evil motive: to discredit Mae by providing her with a gigolo from Buenos Ares: the Russian Ivan. However, instead, Ivan kills Colton in a fight over some of Mae's cash. But, it appears he has accomplished his goal, as Mae is initially blamed for the murder, since it was her pistol that was the murder weapon. However, Ivan eventually confesses after a fight with Mae's friend, pointing the finger at Mrs. Brittony as his employer. Presumably, Ivan and Mrs. Brittony are hauled off to jail. Now, Mae is free to try to again romance Carrington, who has since become an earl, and (strangely),has come to visit her(with Mrs. Brittony?).

Mae sings several songs. Early in the film, when associated with the rustler Buck, she sings "He's a Bad Man". and remarks "I'm a good woman for a bad man". Then during her opera, near the end, she sings "Mon Coeur S'oeuvre a ta Voix". At the very end, as Mae is walking down her long spiral staircase, arm in arm with Carrington, she sings triumphantly "Now, I'm a Lady". I didn't detect the listed song "Love is Love".

It seems incredulous that Mae and Carrington kept pursuing each other in the moves from the southern West to Argentina to Southampton, N.Y., with Carrington's apparent attitude that Mae was born to be low class, and could not remake herself to suit him. Her organization of and participation in her private opera seems to have swayed his opinion of her. Apparently, now that he was an earl, he didn't have to work as a geologist, and could travel where he wished. Seems like things would have been much simpler if Mae had married her assistant, Winslow, who went everywhere with her, and had upper crust speech and bearing. Presumably, once Mae settled down to live in luxury with Carrington, Winslow went back to manage her empire.

Wild, Wild Mae West

[HarlowMGM · 10/10 · 24 August 2023]

GOIN' TO TOWN was Mae West's fifth film and even if the Hays Office was now trying their best to clamp down her sexy persona, Mae was still very much a red-hot firecracker in this 1935 release getting some surprising saucy lines and actions past the censors. Set in rural Texas, Mae is quite the uninhibited prairie playgirl. The movie was even publicized with the tag "Variety is the Spice of Life" and the fact that Mae has seven lovers in the film (actually, it's "just" five - two of the men are merely devoted and platonic associates). As Mae notes in the picture, "Where there's a man concerned, I always do my best." And best she does, GOIN' TO TOWN is easily one of her top five pictures.

Mae stars as Cleo Borden, goodtime gal in a Texas saloon who states "I'm a good woman for a bad man." She is particularly pursued by Buck Gonzales, a wealthy rancher who nevertheless engages in stealing cattle. The sheriff is on to Gonzales and warns him, which both he and Cleo dismiss. "Buck ain't got nothing bad on his mind but me," says Cleo. Cleo is not exactly a one man woman though, romancing another cowboy (Grant Withers) on the side. Buck is determined to have her for himself and proposes marriage which intrigues but not necessarily thrills Cleo, who decides to play a game of dice with him to decide whether she will marry him or not. Buck wins and in his eagerness to claim her as his wife, makes a will declaring her his sole heir and they plan to marry within two weeks. On the eve of their wedding though, Buck is caught cattle rustling and is shot to death by the law. Cleo learns of his death as she arrives to be married and is soon informed she has now inherited his estate.

It doesn't take Cleo long to pursue her next man, a British geological engineer Edward Carrington (Paul Cavanaugh) working Buck's property with whom she engages in a cat and mouse routine. She tries her best to vamp him and almost suceeds but is aware she is not the typical woman such a well-bred gentleman pursues. Oil is discovered on the estate and Cleo is wealthier than ever but Carrington's work is now done and he leaves. With the help of the ranch's bookkeeper Winslow (Gilbert Emery), also British, who has stayed on to help her "with the cattle and the men" who work there (Cleo immediately replying, "Just the cattle, I'll take care of the men'), Cleo decides to polish herself up and upon learning Carrington is currently in Buenos Aires to attend the horse races, she decides to enter Buck's racing-trained stallion Cactus in the race and goes down there herself to deliberately bump into Paul again. The blonde bombshell is a hit with the international males in Argentina and Carrington seems happy to see her again but there's trouble brewing when she clashes with a wealthy socialite (Marjorie Gateson) and Paul is appalled by her flirting with a sleazy gigolo (Ivan Lebedeff).

This comedy is packed with lots of Mae's delicious wisecracks and sass and has one of greatest ever slams, directed at the Russian gigolo whom she's now sized up, "We're intellectual opposites...I'm intellectual and you're opposite." Cleo and Paul have a classic love-hate burgeoning romance in then brand-new IT HAPPENED ONE NIGHT fashion but is there any doubt Mae West will get what she wants? Mae is wonderful and looks great dolled up in minks and high fashion and vamping her way through three songs as well as an aria from the opera "Samson and Delilah".

Leading man Paul Cavanaugh is quite good in one of his more notable movie roles, but I do agree with another reviewer that Leslie Howard would have been better cast in the part as Cavanaugh doesn't quite have the sex appeal of a man a woman would chase around the world. Standing out in the cast are three classic 1930's supporting players. Marjorie Gateson was perhaps the most formidable advisory Mae ever had on the screen. Elegant and middle-aged (three years Mae's senior), Ms. Gateson specialized playing frosty socialites and here was at her most malevolent. When Monroe Owsley was in a movie, you knew there was going to be trouble for the leading lady with this untrustworthy beau and he serves that purpose here for Mae as he did for Barbara Stanwyck, Claudette Colbert, Loretta Young, and scores of other movie queens (sadly, he passed away two years after this film's release at age 36.) Owsley was such a good actor at times he fooled the audience as much as the female star. There was no such shading in sinister Ivan Lebedeff, the international equivalent to Owsley, playing sleazy bad guys the likes of Greta Garbo and Marlene Dietrich were sorry they had crossed his path, though here Lebedeff is more of a birdbrain than his stock character yet just as predatory.

There's some pretty racy and controversial stuff here for a post-code; Cleo's blithe attitude toward marriage, her later marrying society figure Owsley just to crash society and the circles Carrington socializes in with the intent to divorce once she's achieved her goal. There's even a couple of derriere jokes (riding a horse for an extended period for the first time, Mae cracks "Usually it's my feet that hurt" and later looking over a map opened up on a table by Paul she coos, "You can find some amazing things on a map," and proceeds to sit on the edge of it.) The raciest line though doesn't go to Mae but to young character actor Jack Pennick, a regular supporting actor in John Ford films, playing a tongue-tied cowboy who has a hard time getting his words out right. Informing the other cowboys who wonder what's going on behind closed doors with Cleo and Mae at the saloon (which Jack learns by peeping through the keyhole!), he tries to say"She's got him tied, roped, and ready for branding" but it comes out, "She's Got him tope (sic) rided (sic) umm ride toped (sic) umm tied roped and betty for randing (sic) umm randy for bedding umm she's got him ready!" GOIN' TO TOWN is a fabulous showcase for one of the cinema's most delightful stars, Miss Mae West.