Amazon.com: Customer Reviews: She Done Him Wrong [VHS] She Done Him Wrong [VHS] 4.6 out of 5 stars 94 Price:$9.95+ Free shipping with Amazon Prime Your rating( Clear )Rate this item 50 people found this helpful 5.0 out of 5 starsGood News or Bad? Time Will Tell ByJames Morrison January 18, 2008 I greet the release of She Done Him Wrong on DVD with mixed emotions. First, my review of the film - She Done Him Wrong was Mae West's personal favorite among her 12 movies, and 75 years after its release, it is still considered a classic by most critics and many fans. The film is often credited with saving Paramount Studios from bankruptcy, and made Mae West the box-office sensation of 1933. Thanks to this film, the phrase, "Come up and see me sometime" entered the language and immortalized a woman now long-revered for her comic timing and salty double-entendres (although her most famous phrase was something of a misquote; her actual line to Cary Grant was, "Why don't `cha come up sometime, see me?

Don't be afraid, I won't tell. Come up, I'll tell your fortune. Ooohh, you can be had!"). Based on her notorious Broadway smash Diamond Lil, Miss West was forced to change the lead character's name (if not the basic plot) to appease the censors, and Diamond Lil became Lady Lou, "One of the finest women ever walked the streets". Peppered with hilarious bons mots such as, "When women go wrong, men go right after them", the script, which she wrote herself, contains more wit in each scene than some modern so-called comedies have in a whole movie. For a film that runs a mere 62 minutes, it's packed with fun, drama, wonderful period atmosphere and great performances from an ensemble cast, many of whom appeared in the stage version. Mae's sultry singing of the song, "A Guy What Takes His Time" was so suggestive that the censors removed all but one verse of it from her filmed rendition, although she managed somehow to simultaneously release it on a 78 record that contained verse after verse of uncensored, ribald, raw sexuality.

While I am thrilled to finally have this movie available on DVD, it dashes my hopes that some of Mae West's more obscure films will ever find a digital release. Universal Studios (who owns the rights to all Paramount titles) previously released on individual DVD's only three Mae West classic titles: I'm No Angel (1933), Belle of the Nineties (1934), and Klondike Annie (1937). Each of these early DVD releases has been long out of print. Early in 2005, My Little Chickadee (1940) was released as part of the W. C. Fields collection, and later that year, Universal released five titles in the "Mae West Glamour Collection", Night After Night (1932), Go West, Young Man (1935), Goin' To Town (1936) and the previously mentioned I'm No Angel and My Little Chickadee.

I was hoping that a "Mae West Glamour Collection, Volume Two" would eventually contain the out-of-print Belle of the Nineties and Klondike Annie, along with She Done Him Wrong, and her remaining two classic films, Every Day's A Holiday (1937) and the rarely seen, The Heat's On (1943), both of which have never been on DVD at all. Curiously enough, the UK version of the Mae West Classic Collection included The Heat's On, although it was originally released by Columbia; I guess this means that Universal does have the rights. BUT, the release of She Done Him Wrong as a single DVD has now dashed my hopes that the other classic titles will ever be released. This is a pity. Some critics - and I concur - consider Klondike Annie (more of a drama than a comedy) to be Mae's finest effort, and Every Day's A Holiday is one of her more hilarious outings on celluloid. I am hoping against hope that this release signals the forthcoming issue of the few of Mae West's classics that have not been seen in a digital format, but only time will tell.

She Done Him Wrong (1933) Pages: ( 1 ) ( 2 ) Background She Done Him Wrong (1933), from director Lowell Sherman, is Mae West's star-making, most famous film role as a liberated, racy woman who enjoys her sexuality - as a character named Lady 'Diamond' Lou. The Naughty/Gay Nineties character was a recreation of her 1928 Diamond Lil Broadway stage play (and its bejeweled title character). Credits for its screenplay are given to Harvey Thew, John Bright and Mae West herself. The box-office smash film for Paramount Pictures, given a different title than Diamond Lil to disassociate itself from the toured, scandalous play during part of 1929, was shot in approximately three weeks (including rehearsal time). Its single Academy Award nomination was for Best Picture, but it lost to Cavalcade.

(It was the only Mae West film ever to be nominated.) The famous film, featuring West's first starring role (she had appeared in a supporting cameo role in Night After Night (1932) with George Raft), is filled with lots of clever innuendo, witty one-liners, and bold carnality, as she spouts irreverent one-liners (the oft-misquoted 'Why don't you come up sometime 'n see me?'), seduces a unspecified mission worker/undercover cop (Cary Grant), and sings bawdy songs (including Frankie and Johnny, I Like A Guy What Takes His Time, and Easy Rider). It has been generally claimed that this film and West's other 1933 picture, I'm No Angel (1933) , both helped to spur the coming of stricter enforcement by the Hays Production Code one year later, and the development of the Catholic Legion of Decency. The film's criminal subplot about white slavery and counterfeiting was confusing due to the Hays Office's demands to rid the film of references to white slavery, although odd fragments remain.

The tagline of one of the film's posters confirmed the film's dangerous sentiment: "Mae West gives a 'HOT TIME' to the Nation." The Story A title card describes the Gay Nineties and the turn-of-the-century setting of New York City's Bowery: When they did such things and they said such things on the Bowery. A lusty, brawling, florid decade when there were handlebars on lip and wheel - and legs were confidential! Bejeweled chanteuse and brash entertainer Lady Lou (Mae West) works in the 1890s Bowery bar-room saloon of her boss and benefactor Gus Jordan (Noah Beery, Sr.), who has given her many diamonds (hence her nickname Diamond Lil). There is a large nude painting of her over the bar. Unbeknownst to her, Gus traffics in white slavery (prostitution) and runs a counterfeiting ring (to help finance Lou's expensive diamonds). He also sends young women to San Francisco to be pickpockets.

Gus works with two other crooked entertainer-assistants, Russian Rita (Rafaela Ottiano) and Rita's lover, the suave Serge Stanieff (Gilbert Roland). A city mission (a thinly-disguised Salvation Army) is located next door to the bar. Its young missionary director, Captain Cummings (Cary Grant) is, in reality, an undercover agent working to infiltrate and expose the illegal activities in the bar. Gus is unaware, only worried that Captain Cummings will reform the place and scare away the bar's customers. Lady Lou first appears riding in her carriage with a parasol, encouraging nasty looks from a group of women. She descends and affectionately pats a child's head. His mother remarks what a fine gal and woman she is. Lou announces herself as ...one of the finest women who ever walked the streets. When introduced to Lady Lou, male admirer Serge kisses her hand gallantly: "I am delighted. I have heard so much about you." She answers: "Yeah, but you can't prove it." She shows the group a recent set of pictures she has had taken with her "rocks." One of them she prefaces by describing: "For the bedroom.

A little bit spicy, but not too raw - you know what I mean?" Upstairs, her black maid Pearl (Louise Beavers) is impressed by her riches: "You're so rich." Lou explains: "Yes. I wasn't always rich. No, there was a time I didn't know where my next husband was coming from." Lady Lou admits she has known harder times: "The wolf at my door? Why, I remember when he came right into my room and had pups!" One day in the Jordan's barroom, a depressed young girl named Sally Glynn (Rochelle Hudson) enters with torn clothes. In silhouette, she attempts suicide but is prevented, and brought to Lou's upstairs room to recover. Lou perceptively knows it is a romantic problem with a man. Sally wonders how she knows a man is involved. Lou replies: You know, it takes two to get one in trouble. Lou asks: "What was he? Married?" Sally replies: "Yes, but I didn't know." Lou offers more advice: Men's all alike - married or single. It's their game. I happen to be smart enough to play it their way. You'll come to it.

Lou suggests that Sally get some new clothes, and continues to encourage her: "Always remember to smile. You'll never have anything to worry about. Forget about this guy. See that you get a good one the next time." Sally is convinced that no one will ever want her after what she's done ("Who'd want me after what I've done?"). Lou replies, with a famous line: Listen, when women go wrong, men go right after them. Lou explains to Gus, Serge and Rita what the commotion was about: "Some guy done her wrong. The story's so old it should have been set to music long ago." Rita is interested in the innocent but wronged girl, thinking she might be useful to them (possibly as part of their corrupt racket as a prostitute on the "Barbary Coast"): What a sweet, innocent face?...Can you sing and dance, perhaps?...Well, but you'd be willing to learn...Then I think I can find you a very nice position. Have you heard perhaps of the Barbary Coast? Gus and Rita tell Lou that they will help the girl, but obviously they have their own intentions.

As Serge leaves, Lou delivers a suggestive double-entendre line to him: Lou: Come up again, anytime. Serge: I shall. And I hope you will be alone. Lou: So do I. (He graciously kisses her extended hand) Warm, dark, and handsome. Lou postpones her activities if there are more important things to attend to, mostly male admirers. Pearl announces: "Your bath is ready, Miss Lou." Lady Lou replies: "You take it. I'm indisposed." Pearl and Lou have both noticed the man from the mission, Captain Cummings. Her maid notes that he is different from other admirers: "He ain't like the other men you done made history of." Lou has forgotten former boyfriend Chick Clark (Owen Moore) who was convicted for robbery and went to prison for trying to steal diamonds for her. She is more attracted to the young handsome, psalm-singing Captain Cummings. Lou meets him and compliments him: Lou (seductively): I always did like a man in a uniform. That one fits you grand. Why don't you come up sometime 'n see me? I'm home every evenin'. Captain: Yeah, but I'm busy every evening.

Lou: Busy? So, what are you tryin' to do, insult me? Captain: Why no, no, not at all. I'm just busy, that's all... Lou: You ain't kiddin' me any. You know, I met your kind before. Why don't you come up sometime, huh? Captain: Well, I... Amazon.com: Customer Reviews: She Done Him Wrong [VHS] She Done Him Wrong [VHS] 4.6 out of 5 stars 94 Price:$9.95+ Free shipping with Amazon Prime Your rating( Clear )Rate this item 50 people found this helpful 5.0 out of 5 starsGood News or Bad? Time Will Tell ByJames Morrison January 18, 2008 I greet the release of She Done Him Wrong on DVD with mixed emotions. First, my review of the film - She Done Him Wrong was Mae West's personal favorite among her 12 movies, and 75 years after its release, it is still considered a classic by most critics and many fans. The film is often credited with saving Paramount Studios from bankruptcy, and made Mae West the box-office sensation of 1933.

Thanks to this film, the phrase, "Come up and see me sometime" entered the language and immortalized a woman now long-revered for her comic timing and salty double-entendres (although her most famous phrase was something of a misquote; her actual line to Cary Grant was, "Why don't `cha come up sometime, see me? Don't be afraid, I won't tell. Come up, I'll tell your fortune. Ooohh, you can be had!"). Based on her notorious Broadway smash Diamond Lil, Miss West was forced to change the lead character's name (if not the basic plot) to appease the censors, and Diamond Lil became Lady Lou, "One of the finest women ever walked the streets". Peppered with hilarious bons mots such as, "When women go wrong, men go right after them", the script, which she wrote herself, contains more wit in each scene than some modern so-called comedies have in a whole movie. For a film that runs a mere 62 minutes, it's packed with fun, drama, wonderful period atmosphere and great performances from an ensemble cast, many of whom appeared in the stage version.

Mae's sultry singing of the song, "A Guy What Takes His Time" was so suggestive that the censors removed all but one verse of it from her filmed rendition, although she managed somehow to simultaneously release it on a 78 record that contained verse after verse of uncensored, ribald, raw sexuality. While I am thrilled to finally have this movie available on DVD, it dashes my hopes that some of Mae West's more obscure films will ever find a digital release. Universal Studios (who owns the rights to all Paramount titles) previously released on individual DVD's only three Mae West classic titles: I'm No Angel (1933), Belle of the Nineties (1934), and Klondike Annie (1937). Each of these early DVD releases has been long out of print. Early in 2005, My Little Chickadee (1940) was released as part of the W. C.

Fields collection, and later that year, Universal released five titles in the "Mae West Glamour Collection", Night After Night (1932), Go West, Young Man (1935), Goin' To Town (1936) and the previously mentioned I'm No Angel and My Little Chickadee. I was hoping that a "Mae West Glamour Collection, Volume Two" would eventually contain the out-of-print Belle of the Nineties and Klondike Annie, along with She Done Him Wrong, and her remaining two classic films, Every Day's A Holiday (1937) and the rarely seen, The Heat's On (1943), both of which have never been on DVD at all. Curiously enough, the UK version of the Mae West Classic Collection included The Heat's On, although it was originally released by Columbia; I guess this means that Universal does have the rights. BUT, the release of She Done Him Wrong as a single DVD has now dashed my hopes that the other classic titles will ever be released. This is a pity.

Some critics - and I concur - consider Klondike Annie (more of a drama than a comedy) to be Mae's finest effort, and Every Day's A Holiday is one of her more hilarious outings on celluloid. I am hoping against hope that this release signals the forthcoming issue of the few of Mae West's classics that have not been seen in a digital format, but only time will tell. Mae West: Mae West: Buffalo Boost Mae West. . . Mae West. . . Mae West. . . This site is all about the actress MAE WEST [1893-1980] - - and the ANNUAL MAE WEST GALA. More than just a movie star was MAE WEST. Come up and see her! Saturday, June 27, 2009 Mae West: Buffalo Boost The first major motion picture starring (and written by) MAE WEST got a fresh look in a Buffalo, New York newspaper. • • Before turning to that northern exposure, however, it's interesting to note that there are tyros at the typewriter who know little about some of Mae's one-liners.

Example: Texas Guinan's snappy comeback "Goodness had nothing to do with it!" was borrowed by her friend Mae to end a scene in "Night After Night" [1932]. • • And when writing her play "The Drag" in 1926, Mae West gave the drag queen Winnie this line: "So glad to have you meet me. Come up sometime and I'll bake you a pan of biscuits." Naturally, that was Mae's intentional echo of the very well-known quip of the late great female impersonator Bert Savoy, who used to say, "Oh, Margie! You must come over!" • • "The Drag" can be seen onstage this very weekend in Iowa City, Iowa, by the way. • • Jennifer Garlen — — who may discover more about the Brooklyn bombshell eventually — — inclined her pen WEST-ward in "Classic films in focus: She Done Him Wrong (1933)" and this is how she viewed it. • • Jennifer Garlen writes: Everyone knows who Mae West is, but it's hard to imagine that very many of those people have actually seen a Mae West film.

Her famous hourglass figure and loaded one liners made her a household name, and it's fascinating to watch the lady put those assets into action. She Done Him Wrong is a good Mae West film for an introduction because it shows off some of West's finest lines (both literally and figuratively), gives us a look at a very young Cary Grant, and even garnered an Oscar nomination for Best Picture back in 1934. • • This is not to say that the film doesn't show its age. The plot is thin and confusing, largely because of the swarm of conspiring criminal admirers who crowd around music hall diva Lady Lou (Mae West). Lady Lou is technically employed as a singer in the music hall, but that's just a euphemistic cover for her real occupation, which is good because West isn't much of a singer. Her best musical performance in the film is "Frankie and Johnny," the old songbook standard whose lines inspired the title of this film.

West can be forgiven for her indifferent singing, though, since it is almost a tradition for music hall vamps in the movies, if one thinks of Marlene Dietrich as Frenchie in Destry Rides Again (1939) or the parody of Dietrich offered by Madeline Kahn in Blazing Saddles (1974). The ending of the film is rather less forgivable; it comes out of the blue without any effort at logic or expectation. It would be a deus ex machina if engagement rings were gods, which, in Mae West's case at least, they probably are. • • Despite the dated quality of the narrative structure, the film offers real entertainment in the person of West, who also wrote the play from which the picture was developed. She is not beautiful by modern standards, not even conventionally pretty, but she radiates sexuality like the Venus of Willendorf, and every man around her falls helpless at her feet. She has a delightful, wolfish way of looking the men over, rolling her eyes and pursing her lips as she delivers endless zingers and innuendos. You just know she might eat every one of them up, and they would enjoy the experience.

She Done Him Wrong is the source [sic] of the famous West line, "Why don't you come up some time and see me?" The way that she emphasizes the word "see" suggests an awful lot about just how much of her might be on display. Best of all, the character to whom she delivers this quip is none other than Cary Grant. • • I wouldn't call She Done Him Wrong a film that people absolutely must see, but it's a fun picture, and it offers a very good sense of why West was famous and what she brought to cinema. West constantly pushed the edge of what could be shown or said in Hollywood at that time; you can see why outraged prudes felt the need to form the National Legion of Decency in 1933, at least partly in reaction to West and this film. We can't thank goodness for Mae West; as she herself famously said, "Goodness had nothing to do with it," but we can be thankful that she was there to add a little spice back when Hollywood was young. • • Note: Jennifer Garlen is an Examiner from Huntsville.

— — Source: — — Greatest Film Misquotes Greatest Film Misquotes Greatest Movie Misquotes (Part 1) Greatest Movie Mis-Quotes: Some of the most classic film lines or scenes are really only legendary and/or apocryphal, or they are merely movie misquotes, but after many years of repetition and being misquoted in subsequent films, they have become part of the filmgoing public's consciousness. Many of these examples are film quotes that were either commonly attributed wrongly, or in fact were never actually spoken. The top 10 most misquoted film lines are marked with an icon In The Virginian (1929) , one of the earliest Western talkies, Gary Cooper (as the Virginian) gave a famous taunting line to bad guy Trampas (Walter Huston) at the saloon's bar.

At the start of the heated exchange, Trampas challenged the Virginian: Trampas (Walter Huston): "When I wanna know anything from you, I'll tell ya, you long-legged son of a ..." Virginian: (Gary Cooper): "If you wanna call me that, smile." (He quick-drew his gun pressed against Trampas' abdomen) Trampas: (long pause, then grinning) "With a gun against my belly I... I always smile." Play clip from The Virginian (1929) : It was not: "Smile when you call me that!", "Smile when you say that," or "When ya call me that, smile!" Note however that Owen Wister's 1902 Western novel The Virginian actually used the phrase: "When ya call me that, smile!" A second version of the novel was filmed 17 years later, also titled The Virginian (1946), starring Joel McCrea as the title character.

In the remake, the Virginian used the same "smile" line as in the novel when he confronted Trampas at a card table for lying: Virginian (Joel McCrea): "When you call me that, smile!" Trampas (Brian Donlevy): "With a gun against my belly, I always smile." Play clip from The Virginian (1946): In the Marx Brothers comedy film Animal Crackers (1930) , Groucho Marx (as African jungle explorer Captain Geoffrey T. Spaulding) delivered the following line: "One morning, I shot an elephant in my pajamas. How he got in my pajamas, I don't know." Play clip from Animal Crackers (1930) : It has often been misquoted as: "...How he got in my pajamas I'll never know." In the Universal horror classic, Dracula (1931) , the legendary blood-sucking Count Dracula (Hungarian-born actor Bela Lugosi) never said: "I want to suck your blood." However, the line was spoken in director Tim Burton's Ed Wood (1994). It was used in a humorous context by Dr.

Tom Mason (Ned Bellamy) practicing his Bela Lugosi (Martin Landau) impersonation: "I want to suck your blood." Play clip from Ed Wood (1994): Often misquoted is Dr. Henry Frankenstein (Colin Clive) - yes, Frankenstein was the name of the mad scientist - and his famous shout in Frankenstein (1931) , with the stirring of life within his non-human Monster (Boris Karloff): "It's alive!" Play clip from Frankenstein (1931) : Frankenstein has often been quoted as saying instead: "He's alive! Alive!" Mel Brooks' irreverent spoof Young Frankenstein (1974) featured grandson Frederick Frankenstein (Gene Wilder) resuming his late grandfather's experiments, and his loud exclamation to bug-eyed Igor (Marty Feldman) and voluptuous lab assistant Inga (Teri Garr): "Alive. It's alive!

IT'S ALIVE!" Play clip from Young Frankenstein (1974) : The mobster refrain: "You dirty rat!" - was never said verbatim by James Cagney, although he did say something similar in two films: Blonde Crazy (1931) (aka Larceny Lane): "Oh, that dirty, double-crossin' rat. I'd like to get my own hooks on him. I'd tear him to pieces." Play clip from Blonde Crazy (1931): Taxi! (1932): "Come out and take it, ya dirty, yellow-bellied rat, or I'll give it to ya through the door!" Play clip from Taxi! (1932): It was misquoted in Cole Porter's Broadway stage classic Anything Goes (1934). It was also misquoted in Teenage Mutant Ninja Turtles (1990) when Michelangelo imitated James Cagney: "You dirty rat. You killed my brudda.

You dirty rat." Play clip from Teenage Mutant Ninja Turtles (1990): [In Home Alone (1990), Macauley Culkin watched a scene from a fictional B/W gangster film videotape titled, "Angels With Filthy Souls" (a take-off on the Cagney film Angels With Dirty Faces (1938) ), in which gangster Johnny shoots a rival gangster named Snakes, while saying, "Keep the change, ya filthy animal!"] Greta Garbo's most famous quote of all prominently appeared, with her famous accent spoken by the character Grusinskaya, in Grand Hotel (1932) : "I want to be alone." Play clip from Grand Hotel (1932) : Garbo also stated a similar line, including her partner-lover Leon (Melvyn Douglas) in her solitude, in Ninotchka (1939) : "We want to be alone." Play clip from Ninotchka (1939) : It has often thought that statements about Garbo wanting to be alone were non-existent or merely a comment on her reclusive nature in private life.

"Me Tarzan, you Jane" - was a catch-phrase inaccurately-quoted from Tarzan, the Ape Man (1932) . In a 1932 interview, Johnny Weissmuller (as Tarzan) actually claimed: "I didn't have to act in Tarzan, the Ape Man, just said: 'Me Tarzan, You Jane." Jane: "Thank you. Thank you for protecting me." Tarzan: "Me?" Jane: (repeating herself, and pointing to herself to teach him his mistake) "I said: 'Thank you for protecting me.'" Tarzan: (poking at Jane) "Me?" Jane: "No." (she points to herself) "I'm only 'Me' for me." Tarzan: (wrongly again poking at Jane) "Me." Jane: (correcting him and pointing at him) "No. To you, I'm 'You'." Tarzan: (wrongly pointing at himself) "You." Jane: "No. I'm Jane Parker. Understand? Jane. Jane." Tarzan: (pointing at her) "Jane...Jane. Jane." Jane: "Yes, Jane.

(she points at him) And you? (she points at herself and gives her own name) Jane." Tarzan: (he points at her) "Jane." Jane: "And you? (she points at him) You?" Tarzan: (stabbing himself proudly in the chest) "Tarzan, Tarzan." Jane: (emphasizing his correct response) "Tarzan!" Tarzan: (pointing excitedly toward her and back to himself) "Jane. Tarzan." (then more rapidly, poking at her each time he repeats her name, going faster and faster) "Jane. Tarzan. Jane. Tarzan. Jane. Tarzan. Jane. Tarzan. Jane. Tarzan. Jane..." Jane: (exasperated) "Oh, please stop! Let me go! I can't bear this!..." In the short two-reel W.C. Fields comedy The Fatal Glass of Beer (1933), the comedian often stated the following line (with the famous gag of a handful of fake snow being thrown in his face from an opened cabin door).

"And it ain't a fit night out for man or beast." Play clip from The Fatal Glass of Beer (1933): Later, W.C. Fields would reprise the gag during the "play-within-the-play" in The Old-Fashioned Way (1934). "It ain't a fit night out for man or beast." Play clip from The Old Fashioned Way (1934): The phrase became popularized as an easy way to describe awful weather.

It has often been misquoted as: "And it ain't a fit night out for man nor beast." "You're going out (there) a youngster, but you're coming back a star!", "You're going out (on that stage) a nobody, (kid), but you're coming back a star!", or "You're going out a chorus girl, but you're coming back a star!" - all misquotes of the original line in 42nd Street (1933) : "But you keep your feet on the ground and your head on those shoulders of yours and go out, and, Sawyer, you're going out a youngster, but you've got to come back a star!" Play clip from 42nd Street (1933) : The following line, a classic double entendre, was not spoken by Mae West in She Done Him Wrong (1933) : "Is that a gun [or pistol] in your pocket, or are you just glad to see me?" She did restate the line in her final film, an outrageous comedy titled Sextette (1978). As aging movie-star Marlo Manners, she was speaking to Vance Morton (co-star George Hamilton).

Reportedly, she also spoke the line to an escorting LA police officer who met her at the LA railway station in February, 1936. Note: The line was parodied in at least three other films: In Mel Brooks' Blazing Saddles (1974), Madeline Kahn as Lili Von Schtupp quipped: "Is that a ten gallon hat, or are you just enjoying the show?" Play clip from Blazing Saddles (1974) : In Who Framed Roger Rabbit (1988) , Dolores (Joanna Cassidy) asked Eddie Valiant (Bob Hoskins) - with Roger Rabbit concealed in his pants pocket: "Is that a rabbit in your pocket or are you just happy to see me?" Play clip from Who Framed Roger Rabbit (1988) : And in the romantic comedy America's Sweethearts (2001), in a revenge fantasy sequence, the line was parodied in a scene between two movie stars who were at odds with each other after a break-up: Gwen Harrison (Catherine Zeta-Jones): "Oh, Eddie, I'm sorry, I'm so sorry.

I know you'll never forgive me, but please, please take me back. Oh... you've got a gun in your pocket or just happy to see me?" Eddie Thomas (John Cusack): "Actually, it's a gun." (Bang, bang, bang...) Play clip from America's Sweethearts (2001): Bawdy actress Mae West has often been misquoted, especially with this mis-stated line: "Why, don't you come up and see me sometime, (big boy)?" or "Come up and see me sometime." In fact, the line was stated differently in the 1933 film She Done Him Wrong (1933) . Mae West (as Lady Lou) propositioned her co-star Cary Grant (as Captain Cummings) thusly: Lady Lou: "I always did like a man in a uniform. That one fits you grand. Why don't you come up sometime 'n see me? I'm home every evenin'." Captain: "Yeah, but I'm busy every evening." Lou: "Busy? So, what are you tryin' to do, insult me?" Captain: "Why no, no, not at all.

I'm just busy, that's all..." Lou: "I heard ya, but you ain't kiddin' me any. You know, I met your kind before. Why don't you come up sometime, huh?" Captain: "Well, I..." Later in the film, she again offered her services to Captain Cummings, with a modified invitation: Lou: "Come up again, anytime." Captain: "Thanks, I will." Play clip from She Done Him Wrong (1933) : (variation) Much earlier in the film, she had already invited suave Serge Stanieff (Gilbert Roland) with the same words: Lou: "Come up again, anytime." Serge: "I shall. And I hope you will be alone." Lou: "So do I.

(He graciously kissed her extended hand) Warm, dark, and handsome." Play clip from She Done Him Wrong (1933) : (variation) Toward the end of another Mae West film in the same year, I'm No Angel (1933) , the actress (as lion tamer Tira) also thanked (on the telephone) Juror # 4 for her acquittal and some "beautiful flowers," with her own, self-referential oft-misquoted line: "And don't forget. Come up and see me sometime." In the Laurel and Hardy classic comedy, Sons of the Desert (1933) , Oliver Hardy exclaimed to partner Stan Laurel: "Well, here's another nice mess you've gotten me into!" Play clip from Sons of the Desert (1933) : He did NOT say: "Well, here's another fine mess you've gotten us into" or "Here's another fine mess you've gotten me into." At the conclusion of the classic adventure film King Kong (1933) , Robert Armstrong (as Carl Denham) uttered the famous closing line: "Oh, no, it wasn't the airplanes.

It was Beauty killed the Beast." Play clip from King Kong (1933) : Some have heard it to say: "...'Twas Beauty killed the Beast," although there's little doubt. In The Lives of a Bengal Lancer (1935) , Douglass Dumbrille (as treacherous and sinister Mohammed Khan) said as a taunting threat to Bengal Lancers. In his delivery, he paused after "Well, gentlemen" to give a smile and then a scowl: "Well, gentlemen. We have ways to make men talk." Play clip from The Lives of a Bengal Lancer (1935) : He did NOT say: "We have ways of making you talk," "We have ways of making men talk," or "We have ways to make you (men) talk." The movie was reportedly Adolph Hitler's favorite. The torture method to get them to talk involved sharp slivers of bamboo inserted under fingernails that were set on fire. At the end of the film Poppy (1936), conniving patent-medicine salesman Prof. Eustace P. McGargle (W.C.

Fields) bid farewell to heiress Poppy (Rochelle Hudson), who always thought he was her father. He told her: "That's marvelous. And if we should ever separate, my little plum, I want to give you one little bit of fatherly advice." - "Yes, Pop." - "Never give a sucker an even break." The proverb meant that one should not give a fair chance to a fool (or one easily deceived). It became the title of Fields' later film: Never Give a Sucker an Even Break (1941) . It has been misquoted, often written as: "And remember, Dearie, never give a sucker an even break." In Disney's animated film Snow White and the Seven Dwarfs (1937) , the wicked Queen asked her Magic Mirror: "Magic Mirror on the Wall, who is the Fairest one of all?" The misquote (such as: "Mirror, mirror on the wall, who is the fairest of them all?") has been heard in a number of films, including: Elvira: Mistress of the Dark (1988) "Mirror, mirror on the wall.

Who's the most drop-dead gorgeous one of all?" Play clip from Elvira: Mistress of the Dark (1988): 101 Dalmatians (1996) Play clip from Shrek (2001) : "Come with me to the Casbah," followed by "we'll make beautiful music together" - was never said by Charles Boyer to co-star Hedy Lamarr in Algiers (1938). Boyer claimed it was invented by his press agent. It was voiced by cartoon character Pepe LePew in subsequent Looney Tunes cartoons, among others. In fact, animator Chuck Jones based the Warner Brothers cartoon character Pepe LePew, a French skunk, on Charles Boyer's Pepe Le Moko. "You do not have to come with me to the Casbah." Play clip from cartoon "For Scent-imental Reasons" (1949): "Elementary, my dear Watson!" - was a phrase never spoken by the lead character in the many Sherlock Holmes novels from Sir Arthur Conan Doyle. This mis-quote was found in a film review in the New York Times on October 19, 1929.

The closest phrases in Doyle's writings were in: The Crooked Man ("'Excellent!' I cried. 'Elementary!', said he.") The Adventure of the Cardboard Box ("It was very superficial, my dear Watson, I assure you"). The misquoted catchphrase became popularized only after its trademark use in two films: (1) This was the dialogue in The Return of Sherlock Holmes (1929) (the first Holmes film with sound), with Clive Brook (as Holmes) and H. Reeves-Smith (as Dr. Watson). Watson: "Amazing, Holmes." Holmes: "Elementary, my dear Watson. Elementary." (2) It was also stated twice by Basil Rathbone's Sherlock Holmes character in Twentieth Century Fox's The Adventures of Sherlock Holmes (1939). Watson: "Amazing." She Done Him Wrong: Amazon.ca: Cary Grant, Mae West, Owen Moore, Sr. Noah Beery, Gilbert Roland, David Landau, Rafaela Ottiano, Dewey Robinson, Lowell Sherman, William LeBaron, Harvey Thew, John Bright: DVD She Done Him Wrong CDN$ 14.99 & FREE Shipping on orders over CDN$ 35.

Details Only 1 left in stock (more on the way). Want it Monday, January 23? Order it in the next and choose One-Day Shipping at checkout. Ships from and sold by Amazon.ca. Gift-wrap available. 16 new from CDN$ 11.04 5 used from CDN$ 9.28 Special Offers and Product Promotions Format: Color, Dolby, DVD-Video, Full Screen, NTSC, Subtitled Language: English Subtitles: English, 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 Canadian Home Video Rating : General Audience (G) Studio: Universal Studios Home Entertainment Release Date: April 22 2008 Run Time: 65 minutes Product Description Product Description "Why don't you come up sometime and see me?" Screen legends Mae West and Cary Grant heat up the screen in the racy comedy She Done Him Wrong!

Nominated for the Best Picture Academy Award, this classic from the pre-code Hollywood era follows a brash saloon singer (West) with a penchant for troubled men - especially the mission director (Grant) who wants to reform her. The unabashed queen of the double-entendre shines in her first starring role, in what has been called "Mae West's best film" (Leonard Maltin's Classic Movie Guide). Special Features Exclusive Introduction by Turner Classic Movies Host and Film Historian Robert Osborne Bonus Cartoon "She Done Him Right" Customers Who Bought This Item Also Bought Page 1 of 1 Start over Page 1 of 1 This shopping feature will continue to load items. In order to navigate out of this carousel, please use your heading shortcut key to navigate to the next or previous heading. By E. Valero TOP 1000 REVIEWER on Jan. 21 2014 Format: DVD Verified Purchase Who hasn't heard of Mae West? Even those of you who haven't, you must of heard some of her witty "West-isms". West plays Lady Lou, a saloon singer who wears low cut, form-fitting gowns and drips with glittering diamonds.

A woman who becomes the object of desire for every person of the opposite sex. A gold-digger with a shady past and a heart of gold. Mae was almost 40 when she made this film and it's apparent in some (if not most) of her scenes. But despite all of her physical shortcomings, she still manages to convince some of us of her sexual expertise. It's all in her mannerisms, her "purr" and her stroll. The woman just oozes sex and her over-sized, hour glass figure in some scenes is spectacular. As one critic stated she is "the BIG BEN of hour glass figures". This beloved classic offer's some of her best one-liners ever and some of the smartest dialoge to ever grace the silver screen. A scene that comes to mind is when Lady Lou comes to the aid of a young lady who tried to kill herself, West asks: "What's wrong...commited murder?" GIRL: "No and I never will." LADY LOU: "Well you've got nothing to worry about. At least the guys alive." GIRL: "How did you know there was a man?" LADY LOU: "There always is.

You know it takes two to get one in trouble." GIRL: "You know everything about me." LADY LOU: "I wouldn't say that but I am observant..... what was he, married?." GIRL: "Yes but I didn't know... I didn't know." LADY LOU: "It makes no difference to me whether you did or not. It's their game. I just happen to be smart enough to play it their way. You'll come to it." A bit later on the young girl asks: "Who'd want me after what I've done?". Read more › Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By Michael Mathena on March 17 2001 Format: VHS Tape A True Mae West Gem! This is Ms West's first feature film, and it certainly has her "signature" come-back lines throughout. For the first time her most famous line "come up and see me sometime" was taken in by cinema goers, and for years to come it was America's favorite "quote". -- The plot centers around New York's bowery ca.

1900. Mae West is "Diamond Lil", the mistress of a big-time gangster, who two times her man because she can't resist tall, dark and handsome Cary Grant. The heat is on, but soon the story takes a twist (nothing that could take away any "cool confidence" from Diamond Lil, of course; she laughs it all off with more clever come-back lines). -- This movie is a classic Hollywood gem. It was a smash hit when it opened, and since then it has lost none of its appeal. Mae West remains one of my favorite true movie stars, and she was never given proper credit for her screen writing genious! You're gonna like this picture! Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By Gary F. Taylor on April 16 2002 Format: VHS Tape Mae West had a Broadway smash when she penned the bawdy tale of DIAMOND LIL for herself--and with a few tweaks here and there the story came to the screen as SHE DONE HIM WRONG.

The film was an immediate hit and the role of Lady Lou remains one of West's best remembered performances. The script is jam-packed with some of West's most famous lines, including the memorable "Come up'n see me sometime. I'm home every evenin'" and "You can be had." West throws her lines with style, aplomb, enough innuendo to make a censor cringe, and considerable humor--but, somewhat surprisingly, the movie is not really a comedy. SHE DONE HIM WRONG is a hard-knocks tale of Bowery bruisers who dance attendance upon the 'Lady Lou' and often resort to crime to keep her dripping in the diamonds she prizes above all else. But although she has one lover already locked up in jail, another one mixed up in the white slavery rackets, and still a third waiting to step into the gap, the Lady Lou is more interested in seducing missionary Cary Grant...

only to find him less interested in her body than her soul, a circumstance that prompts West to utter one of the most how-did-that-get-past-the-censors lines in 1930s cinema: "Maybe I ain't got no soul." This is a surprisingly tough little movie, and in addition to West's zinging lines and occasional musical numbers SHE DONE HIM WRONG also offers a glimpse at a very young (and still slightly wooden) Cary Grant; it also has an ensemble cast that plays in a very enjoyable grand manner, truly first rate production values all the way, and A surprisingly brisk running time. West did funnier films than this, but the mix of her sharp wit and the rough story is particularly memorable. This is where the fire started really started, and I recommend it very strongly. Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again. By A Customer on Nov. 30 1999 Format: VHS Tape Here is a pre-code delight.

When LaWest sings A GUY WHAT TAKES HIS TIME and I WONDER WHERE MY EASY RIDER'S GONE, your Moon would have to be in Uranus - astrologically speaking - not to catch the double meanings in these songs and in the dialogue which infuriated blue-noses and sent most of the rest of the population rushing to the box-office. Lowell Sherman directed this little gem in 18 days at a cost of $200,000; it returned a whopping 3 MILLION and saved Paramount Pictures from impending bankruptcy. Adapted and somewhat laundered by Harvey Thew and John Bright from Mae's Broadway hit play DIAMOND LIL, it's a fast and funny melodrama centered on an 1890's saloon owned by a crooked politician and dominated by his mistress, who desires the rescue mission man next door......... Mae West always considered this her personal favorite.It's an atmospheric, well-made 66 minute film in which 40 -year- old Mae gets to play Lady Lou, who is her movie version of Diamond Lil. Russian Rita is well-played by Rafaela Ottiano. If you expect hilarity look at I'M NO ANGEL.

It's a riot! Was this review helpful to you? Yes No Sending feedback... Thank you for your feedback. Sorry, we failed to record your vote. Please try again.

Question: In what film did Mae West as Lady Lou (starring with Cary Grant) first say "why'n'cha come up and see me sometime?"?
Answer: She Done Him Wrong