Mae West as the Outlaw: My Little Chickadee

When asked what outlaw I wanted to feature for the Classic Movie Blog Association’s Outlaws blogathon, I immediately thought of Mae West’s character in My LIttle Chickadee. I know Mae West’s siren ways and bumpy pairing with W.C. Fields are more frequently associated with the film, but it’s hard to miss how West’s Flower Bell Lee flouts the law–not to mention convention–in this 1940s flick. And of course, being co-written by West, the film includes plenty of hilarious one liners and shimmying.

The story begins with Flower Bell (West) traveling by stagecoach to visit (and presumably settle with) her aunt and uncle in a Western town. She’s buffing her nails as the male passengers gawk and an accompanying woman, Mrs. Gideon (played by Margaret Hamilton, of witchy Wizard of Oz Fame), looks on disapprovingly.

Suddenly, a masked robber stops the coach to rob it of its gold. The rest of the passengers race out of the coach with their arms up. Flower Bell just sits there, sure it has nothing to do with her, and more interested in her nails.

The “Masked Bandit” (as he’ll later be called) threatens to kill the others if she doesn’t budge, so she reluctantly does. She doesn’t mind being “held up” she informs the masked bandit, but doesn’t like to be inconvenienced. And thus the delightful double entendres begin.

Of course the bandit notices Flower Bell’s beauty and abducts her. He returns her to her new town outskirts soon after, but clearly, she enjoyed her time away. He comes to visit her in her room at night, Romeo style, and kisses her while still hiding his identity. Unfortunately, her former stagecoach companion, Mrs. Gideon, spies the two in Flower Bell’s bedroom, and informs the town. Flower Bell is forced to defend her actions in court and identify the marauder. She refuses to tell anyone a thing, and gets kicked out of her new town, told she has to stay away till she’s married and respectable. The inflamed Mrs. Gideon also spreads the word to the ladies of the nearby town where Flower Bell is going, Greasewood City, saying Flower Bell won’t even be allowed to get off the train. But Flower Bell doesn’t care, as she makes clear with her parting words to the judge, when he asks if she’s trying to show contempt for his court: “I was doin’ my best to hide it.”

Since this is West, we audience members know she will not only get off the train, but have all of the townsmen in her thrall as well. And that happens. But first she has to fight off Indians attacking the train. Again, she’s buffing her nails, and when arrows almost hit her, she slowly pulls them out of the side of the rail car, rolling her eyes as she does so. Why must these pesky outlaws get in the way of her manicure?

But when a fellow passenger dies, she takes up his two guns, shoots a bunch of Indians with obvious relish, saying she’s dispensed them in a “shower of feathers.” She’s angry because they’ve dared to “intimidate” her (sounds like a typical outlaw response, huh?) Flower Bell’s nonchalance and bravery are hilarious to witness in this strange scene. Even as we viewers flinch at the Indian stereotyping, we know that Flower Bell doesn’t care about race (more on that later). She just doesn’t like any bother, and agrees to be a hero–but only if she must.

Meanwhile, a flirtatious passenger, Twillie (W.C. Fields), has been cozying up to her, and since she sees he has a bag of money, she doesn’t mind, and flirts right back.

He too plays his part in fending off the Indians, but mainly that part is yelling at them for assaulting a private car and bumbling in Fields’s typical physical-comedy way. Twillie has no problem with Indians; his best friend/servant/gambling partner is one (their strange interaction, and the film’s odd combination of racist terms and stereotypes and yet ahead-of-its-time treatment deserves a post of its own).

But even though Twillie doesn’t mind Indians attacking OTHER trains, he does object to being annoyed, much like Flower Bell, though he’s far less accomplished than she in fighting back. Once the danger has passed, the two get closer, as his marriage proposal gives Flower Bell a way to exit the train in peace. She soon ropes another gambling friend on the train into acting as minister. That friend uneasily performs the marital vows. Flower Bell has no intention of sleeping with Twillie, only using him to get a free room and the blameless rep she needs to keep seeing her outlaw and whomever else she pleases. Even Mrs. Gideon, again a fellow passenger, smiles her approval.

Once in Greasewood’s best shady saloon/hotel, a number of antics ensue as Flower Bell keeps Twillie out of her room while helping him with his gambling and lies. When he brags that he saved the train, she lets him take the credit. The town makes him the sheriff, but as the last few have died within months, this honor has more to do with Badger (Joe Calleia), the unscrupulous bar/hotel owner, wanting Flower Bell widowed than any conviction that Twillie has guts. Flower Bell then proceeds to flirt with the muckraking local reporter, even acting as a teacher to help him out in a classic West scene.

Flower Bell enjoys the reporter’s idealism and Badger’s dangerousness, and it’s very unclear which man (if either) will get her in the end. Meanwhile, the Masked Bandit continues his courting, and Twillie, finding out his “wife” likes a man in costume, pretends he’s the bandit himself. Naturally, she discovers the fraud, but can’t save him from the town posse, who is now convinced he’s the villain. Well, she can’t save him at first. Just as she defended him when he lied and cheated gambling, Flower Bell comes to his aid again. She claims he’s no bandit, and after getting put in jail for defending him and her own shady associations, she busts out and saves the day, without giving away her lover.

Of course, we find out who the bandit is, and there are no surprises there. The fact that the bandit’s accent makes it clear he’s Latino (even if the actor isn’t) doesn’t bother West’s Flower Bell. She may be portraying a woman from the last century, but West doesn’t even bother to defend interracial romance in the film, which clearly condones it. The fact that Flower Bell repeatedly breaks the law—in harboring the bandit, in escaping from jail, etc.–never gives the heroine (or her creator) a moment’s worry. In fact, Flower Bell takes the bandit’s gold with pleasure as a reward for her kisses, and encourages the town (when he leaves a bundle of goodies for them) to do the same.

But the transgressive nature of this film goes so much further. The female lead is the hero, the brave town leader and both defender against and abettor of outlaws. W.C. Fields at points seems to be in his own movie (and from what we know of how little the two got along, and how much they wrote their own parts, he basically was). But in all of their interactions, she bests him with no more effort than pushing back a cuticle. Her character’s name highlights her extreme femininity, which clearly doesn’t stop her from having mad skills with guns or enough bravery to face TWO towns full of people eager to attack her. Flower Bell does everything without a trace of fear; in fact, she performs dangerous acts with BOREDOM, proving, lest any males doubt it, that Mae West will always be the biggest, baddest outlaw of them all.

Check out all the fun outlaw entries at the Classic Movie Blog Association’s site.