Amazon.com: Customer Reviews: Every Day's a Holiday
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on January 16, 2000
In her final picture for Paramount, Mae stars as a confidence woman named Peaches O'Day, who sells the Brooklyn Bridge and is run out of New York City; she comes back disguised (in a black wig) as French singer Fifi and exposes some crooked cops! The Hays office again came down heavily on Mae's suggestive behaviour, and this left her with little to work with. Mae's rather restricted range of expression and movement was, by 1937, beginning to pall on the public. Purity Leaguers still kept a corset on her screen dialogue, but she had just outraged both the church and press with a bawdy version of the Adam and Eve tale on the radio. This Emanuel Cohen production was actually one of her better vehicles, colourfully set in New York City of the 1890's. Mae sells the Brooklyn Bridge to easy mark Herman Bing, who's run out of town by cop Edmund Lowe and is brought back to trap a corrupt police chief (Lloyd Nolan). The lively Jo Swerling plot was scripted by West as usual, and director Edward Sutherland got laughs via pros like Charles Winninger, Chester Conklin, Charles Butterworth and Louis Armstrong. West's curves were adorned - for the only time - by the famed designer Schiaparelli. Mae made four more pictures and many stage tours before she died in 1980 at 87.
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on December 2, 1999
Celebrate New Year's Eve 1999 with this classic comedy set on New Year's Eve 1899! Legendary sexpot Mae West, super sexy at age 44 here, plays a bad girl who climbs into politics wrong by wrong (don't they all! ) She promotes husky hunk Edmund Lowe - no doubt she loves his platform. Mae is the only woman in the picture except for a few bit part character actresses - needlessly to say it was HER favorite of her own films.
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on December 19, 2012
This was Mae West's final film with Paramount Pictures. The film is slightly less controversial as West's previous films, like "I'm No Angel" and "Belle of the Nineties". This somewhat unfunny, meaningless little comedy couldn't even be saved by Miss West herself. The film's failure critically and finanically caused West to be labeled "Box Office Poison" in May 1938. Others on the list included: Joan Crawford, Greta Garbo, Fred Astaire, Kay Francis, Marlene Dietrich, Dolores del Rio, Norma Shearer, James Cagney, and Katharine Hepburn.

Order the film if you think it is worth the shot and price. I personally do not think so... save your time and money! Order Mae's previous films that are way better!
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on February 26, 2012
When are we going to get this rarely-seen Mae West picture on DVD? It's looong overdue, and I've heard it's arguably West's last great movie. I'd like to see for myself!
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on February 18, 2013
Good comedy that Mae West enlivens. She always made each film her own.Different as Mae was a brunette instead of her usual blonde. Mae West will NEVER be forgotten.
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on January 22, 2013
I love Mae West but this film stinks. She looks GREAT. She's slimmer, trimmer, and actually looks lovely. The sets are pretty terrific, the costumes grand, etc., but the censors have scrubbed her so clean that one wonders why she bothered to make this film.

I heard perhaps two or three (very mild) sexual double entendres throughout the entire length of this dull dud. Mae West is in this movie but the Mae West character is absent. Instead we have actors (other than Miss West the film is 99% male) playing up their not-so-funny scenes to the point of hysterical convulsions (Charles Winninger is the most guilty culprit -- he is so over the top that he makes Jerry Lewis look like a Benedictine monk). There's nothing funny about an unfunny script being desperately played like it's a screwball comedy.

The plot? Ugh. Why would a talented, glamorous, and successful stage star give up her career to become a crook, selling the Brooklyn Bridge to morons and stealing firs and gowns from department store windows? I have no idea, but that's the premise we're asked to swallow. And how is it that as soon as someone suggests to this crook that she give up her lengthy crime spree and resume her stage career, she's back to entertaining crowds in a flash, wowing tons of aggressively cheering fans? Don't ask me, I can't figure it out. And I HATE films that use this old tired ploy: somehow when Mae puts on a dark wig and speaks with a French accent NO ONE recognizes her. HUH? Does everyone in this film have stupid written on their foreheads??

In most of Mae West's films there is character development for all the essential roles. In "Everyday's Not a Holiday" this crucial element is missing. The result is I never found myself never caring a lick about anyone in the film, especially Mae West's Peaches O'Day. "Every Day's a Holiday" is a far cry from her earlier films. Remember rooting for Tira, the lion tamer, in "I'm No Angel"? And how about Mae's religious insights in her one true drama "Klondike Annie"? And it was sure fun to see her spoof her own sexy persona in "Go West, Young Man."

If you buy the entertainer-becomes-a-crook-becomes-an-entertainer premise, and you don't mind Mae West with very few funny or sexy things to say, and you don't mind a dull script being played like it's the Marx Brothers, then you may be able to stomach "Every Day's a Holiday."
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on August 4, 2016
Wonderful movie starring an amazing icon.
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on August 7, 2015
As described. very fast delivery.
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on February 22, 2015
Mae West, May West, Mae West!
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on June 15, 2015
Love Mae West
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