Every Day's a Holiday

This movie is too disjointed to be good. In my view, the only thing going for it is Lloyd Nolan, the classic Hollywood MD. How many real doctors dreamed of imitating Lloyd Nolan's probity? So, it's a scream to see Nolan play a high-strung, wheeler-dealer, police chief.

True, Louis Armstrong does a cameo. He plays a trumpet, wears a marching costume and says nothing.

Mae West "wrote" the script and so there are basically no other women in the movie. Her double-entendres were too tired by the time this movie was made. But Mae West certainly knows how to wear a hat, and fill out her extravagant costumes.

Well it's safe to say that "McCarey" (Edmund Lowe) isn't much of a cop as he has to apprehend con artist "Peaches" (Mae West) but befriends her instead and let's her go. His deductive skills aren't great either as she returns bedecked in French frills and speaking like ziss, now purporting to be the celebrated Parisian star "Mmme. Fifi" and he's none the wiser. Naturally, she becomes a roaring success and quickly attracts the attention of local bigwig "Quade" (Lloyd Nolan). He's a budding candidate for mayor, is as dodgy as the day is long and takes a shine to her. When she declines his kind advances, he determines to drive her out of town. Luckily, "McCarey" is having none of this malarkey so steps in to challenge him for elected office, and soon has the shrewd and savvy "Fifi" pulling strings to help him, and her, to be shot of their scheming nemesis. This plot is really nothing new and this is all really a vehicle for (screenplay writer) West to glamourise the role with some grand frocks and a few stage routines that she carries off effortlessly. Nolan seems to enjoying himself but Lowe adds little even as the writing gives us a few pithy one-liners and a little fun as this all builds to a fairly predictable conclusion. The film does look good, the story doesn't hang about and if you're a fan of a woman who knew exactly which buttons to press with an audience, then it's perfectly watchable.

EVERY DAY'S A HOLIDAY (Paramount, 1937), directed by A. Edward Sutherland, stars Mae West (who also wrote the screenplay), making her eighth and final screen appearance for Paramount. In spite of its most lavish scale production, with costumes designed by Schiaparelli, a fine assortment of veteran character actors, including Charles Butterworth, Charles Winninger, Walter Catlett and Herman Bing (do take notice that Mae West is the only female listed in the cast), and a good but not entirely memorable score, EVERY DAY'S A HOLIDAY reportedly did poorly at the box office when released in theaters during the Christmas season of 1937. Whether or not goodness of the story had anything to do with it, EVERY DAY'S A HOLIDAY ranks as Mae West's "cleanest" movie to date. Returning to the her favorite turn-of-the-century setting, it does provide some added bonuses, the most noted being having West masquerading as the dark-haired French entertainer named Mademoiselle Fifi.

The opening cast and credits features a festive background of fireworks before the story gets underway. The setting: New York City. The time: New Year's Eve, December 31, 1899. The central character: Peaches O'Day (Mae West), a confidence woman with a whole lot of confidence working on the wrong side of the law with 25 arrests to her record and no convictions. After the initial five minutes consisting of production number and the discussion involving Peaches between the corrupt Inspector "Honest John" Quade (Lloyd Nolan), ("he's so crooked he uses a cork-screw for a ruler"), and the honest law abiding Captain Jim McCarey (Edmund Lowe), Peaches makes her introduction riding on her horse and buggy cab across the Brooklyn Bridge presenting herself to the droll Larmadou Graves (Charles Butterworth), riding on his "horseless carriage," with her calling card: "Peaches O'Day, RSVP." Next scene finds her selling the Brooklyn Bridge to a Fritz Krausmeyer (Herman Bing) for $200, with bill of sale reading "One bridge in good condition." Aside from landing herself in trouble with the law ("I may crack a law, but I ain't never broke one") by cheating suckers, Peaches is admired by both Quade and McCarey. She prefers McCarey because he arrests her only to dismiss her case after he refunds the money to those she had cheated, particularly the latest buyer of the Brooklyn Bridge. Through Graves, Peaches later wins her friendship with his employer, Van Reighle Van Pelton Van Doon (Charles Winninger), an aristocrat who hasn't loved nor trusted a woman in 25 years, yet after seeing Peaches, becomes interested in her within 25 seconds. Later, Peaches is offered the leading role in an upcoming variety show, with Van Doon as her backer. Because she is ordered to leave town by Quade, "Nifty" Bailey (Walter Catlett), the show's producer, comes up with an idea by having Peaches leave New York and return later, reportedly from Boston, wearing a black wig disguised as a French entertainer, Mademoiselle Fifi. The amusement of the story picks up when Fifi becomes the toast of New York, with both John Quade (who fails to recognize her) and Jim McCarey (who sees through her disguise) not only trying to win her affections, but later to win an upcoming 1900 election as mayor of New York City.

Edmund Lowe, a fine actor with a distinctive voice, performs his task well as Mae West's leading man, either in the romancing department as well as using his fists on abductors trying to prevent him from attending his election by midnight, and on the corrupt Quade himself. Lloyd Nolan, a resident actor of numerous Paramount programmers during the late 1930s where his divers ability ranged from playing good guys or gangsters, is perfectly cast in a rare comedic role as the corrupt police inspector.

The musical numbers presented in the completed print includes: "Flutter By, Little Butterfly" (by Sam Coslow/performed by Irving Bacon, John "Skins" Miller, Allan Rogers and Otto Fries as the quartet, with chorus girls dressed as butterflies flying over the stage); "Mademoiselle Fifi" (by Sam Coslow/ sung by Mae West and all-male chorus); "Vote for McCarey," "Jubilee" (by Stanley Adams and Hoagy Carmichael/ sung by Louis Armstrong); and "Vote for McCarey" (reprise). Although the title song, "Every Day's a Holiday" is listed in the opening credits (by Sam Coslow and Barry Trivers), it is only heard as instrumental background music, with another "Along the Broadway Trail" which ended up on the cutting room floor. The legendary Louis Armstrong, seen briefly as a street cleaner, introduces the song "Jubilee" while parading down the street along with other street cleaners during the election rally. Mae West participates in this number with her sexy method of drum playing.

EVERY DAY'S A HOLIDAY was distributed on video cassette in 1992-93 by MCA Home Video to commemorate the centennial birth of Mae West, with an added bonus of a theatrical trailer preceding the feature presentation. Out of circulation on the television markets since the 1970s, it did get cable TV exposure in the early 1990s on the Comedy Channel.

While there's no such holiday as "Mae Day" honoring the legend of Mae West, EVERY DAY'S A HOLIDAY, which may not be high art, does include enough bright spots that make this one enjoyable. It may have marked the end of an era along with the closing chapter to West's association with Paramount, but not the end of the Mae West legacy. (**1/2)

Once again in her favorite era, the Gay Nineties (that is, the end of it: New Year's Eve, 1899), Mae West looks perfectly comfortable and swell - and in her element: as a small-time crook, 'selling' the Brooklyn Bridge to strangers... Police Chief 'Honest John Quade', who's also running for mayor, is obsessed by the idea of getting her arrested at last - because she had the 'impudence' to turn the crooked politician down. But the 'flatfoot' (as Mae alias 'Peaches O'Day' calls her 'special friends' from the New York police force) McCarey, who's assigned to the case, just 'isn't able' to get her - because he's in love with her and always lets her get away...

But finally, he HAS to do his duty: he tells her unmistakeably that she's got to leave town. 'Peaches', though, has other plans which she works out at a crazy New Year's Eve party in the famous, renowned old 'Rector's Restaurant' with a new acquaintance of hers - a butler and his rich master, who 'hates women'... until he sees Peaches, of course! So, together with her 'manager', they decide that she'll actually leave for Boston - and return, with a black wig and a French accent, as a famous French singer for whom they'll put up a big show...

Although, of course, by 1937 the Production Code showed no mercy anymore ESPECIALLY with Mae West's well-known 'dubious' scripts, and "Every Day's a Holiday" looks a lot tamer than her pre-Code movies, it's still a VERY enjoyable piece of entertainment, with an exceptionally good cast, a quite nice and clever story, nostalgic song numbers (Mae sings not only with a lovely French accent, but also in perfect French!), and generally a lively, inventive comedy you can just watch over and over again - Hollywood nostalgia at its very best!

My husband purchased the DVD of this movie, as well as an original movie poster for my birthday. I am a huge Mae West fan, and have been all my life I suppose. She was a wonderfully talented woman, strong minded and strong willed, and not ashamed of who she was. It was a wonderful movie, and I suggest it to all who are able to get the opportunity to watch it. It has a wonderful cast, wonderful writing, direction is done well, and Ms. West is at her finest. She is absolutely stunning to say the least. This is one of those movies that will give you a belly laugh. Hope you all go down and try to find some of her wonderful work. She was a great writer, and actress, and did so much for women writers in her day and today.