Please don't spend money on this.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

With "My Little Chickadee" now being 76 years old - I certainly did take into consideration that attitudes and opinions towards everything (including that of comedy) changes over time - But, all the same - This flick really should've been a whole lot more comical than it actually was. In fact - The teaming up of W.C. Fields and Mae West should've made this picture an absolute laugh-riot. It's true.What I found ironic was that this film's script was actually a "team-of-two" collaboration between Fields and West, exclusively.... And, with that in mind - I found that the scenes in the story where Fields and West were placed together, conversing with one another, were always the moments when things were the least amusing.From closely observing Fields' and West's interaction with one another - I'm dead-certain that I actually detected a subtle hint of genuine animosity going on between these 2 entertainers. I could be mistaken about this, but I don't think I am.Anyway - That about wraps up my review of "My Little Chickadee". Even from a purely nostalgic point of view this film wasn't very good comedy-entertainment. Nope. It sure wasn't.

The selling point for this movie is Mae West meets W.C. Fields but I'm not a fan of the latter. The only other movie of his I've seen is The Bank Dick, which I apparently thought was okay but I don't recall a thing about now. Fields was probably more famous back then for his vaudeville work and I don't think he created any movies for the ages like his fellow vaudevillians The Marx Brothers did.But this movie is still very much a Mae West movie and I enjoyed it like I do all her work. There are plenty of one-liners delivered by both West and Fields but no one can zing like the former can. Ergo, my main criticism about this movie is that she had to share too much screen time with Fields!

I'm not a Mae West fan so I can only report that I was underwhelmed by the script put together by West and Fields. To be sure, he gets off some good one-liners and she has a more restrained role than usual as the voluptuous female that she imagined herself to be, but it's all very silly and predictable.West seems bored with her part, tossing off her lines that have no particular wit or sting to them, in her familiar monotone. Fields, on the other hand, has an amusing scene with a goat that somehow got past the censors. He also wrote some very dry humor for himself, sounding at times like Mr. Micawber of "David Copperfield." MARGARET HAMILTON stands out in the supporting cast as the spinsterish woman looking out for Mae's morals and DICK FORAN has a stock role as a handsome eligible male interested in Mae. Joseph CALLEIA is the masked bandit, the villain of the piece, whose identity is no great surprise to anyone when revealed.Summing up: Should have been much funnier considering the talent involved, but Mae's fans apparently consider it one of her most enjoyable. At least Fields treats himself to some good lines.

I believe that, some time in the 1970's, more than thirty years after MY LITTLE CHICKADEE was made, the term "high concept" was coined. So, starting in the seventies, a lot of movies with sure-fire ideas became the trend. ("What?", someone, circa 1990 might say, "Arnold Schwarzenegger is being teamed with Danny DeVito? Why, that must be hilarious!") So, clearly, somebody thought the idea of W.C. Fields and Mae West sharing the silver screen would work, and MY LITTLE CHICKADEE remains the ultimate example of both the pitfalls and the merits of High Concept movie-making. Fields and West, both iconic figures, were actually so similar that the audience's loyalties are torn. We watch a West picture to observe Mae West turn the tables on men and we watch a Fields picture to watch Fields flout authority. When Fields and West meet and appear to like each other (he wanting sex and she wanting money) we love them both. Fields gets off one of his most memorable lines as he holds her fingers up to his lips and says, "What symmetrical digits.") She, in turn, throws her false submission at him, letting us know between the lines that she's a woman of steel. So far, so good. Their romance is viewed suspiciously by a character actress who is the perfect foil for both of them: Margaret Hamilton, who, of course, played the Wicked Witch of the West the year before in THE WIZARD OF OZ. Fields and West are married aboard the train by West's con-man friend -- hence, they are not really being married -- and this actor is also the sort of figure who belongs in a movie with either Fields or West. But let's cut to the chase. Both Fields and West have separate moments for the rest of the movie and each of these moments is somewhat minimal. West's scene teaching a classroom of overgrown adolescents seems to be a whitewashing of a bawdy routine from her stage days. It almost makes it. Fields's various encounters with gamblers and a female drunk (who HAS to be Celeste Holm, uncredited, as someone else on this board has noted) are promising, but somehow never really engaging. Thinking about this movie, nevertheless, brings a smile to the face. There are so many little things which, popping into the memory, are funny, that it has to be acknowledged that MY LITTLE CHICKADEE achieved its goal: driving into our minds the idea of the harmony of two comics who'd made audiences howl with laughter in live performance twenty years earlier. It should also be said that the ideal audience for MY LITTLE CHICKADEE is an audience in a darkened movie theatre. Ideally, the year should be the year it was made and the audience should be made up of people who've been anticipating this pairing and would be more than willing to hoot throughout. Has anybody got a time machine?