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No one could say he "done her wrong" — — including MAE WEST. 
• • Born in Bluff, Utah in the month of March — — on 27 March 1902 — — Charles Bryant Lang, Jr., A.S.C. was an American cinematographer. Early in his career Lang worked with the Akeley camera, a gyroscope-mounted "pancake" camera designed by Carl Akeley for outdoor action shots. During the silent era, he worked under his father, the photographic technician Charles Bryant Lang, Sr., at the small Realart Studio. Then he was hired by Paramount Pictures for "Tom Sawyer" [1930] when he was 28. Lang remained with them for over two decades [1929 — 1952], where he contributed to the studio's well-earned reputation for visual style, though he would occasionally attach himself to other motion picture productions. Lang excelled in the use of chiaroscuro, light and shade, and was adept at creating the right mood for every genre and style, and he was also an innovator in the use of long tracking shots.
• • Lang worked behind the camera on "She Done Him Wrong," starring Mae West.
• • Female stars appreciated Lang's expertise. Like his colleague Karl Struss, Charles Lang took the time to photograph an actress to her best advantage, using subdued lighting and diffusion techniques.
• • One of the outstanding cinematographers of Hollywood's Golden Age, Lang received a Lifetime Achievement Award from the American Society of Cinematographers in 1991 for a career that involved him in more than 100 feature films.
• • Charles Lang died of pneumonia at St. John's Medical Center in Santa Monica, California on 3 April 1998. He was 96.
• • Quote, Unquote • •
• • You can almost hear Mae West saying, “Come up and see me sometime,” when visiting the Paramount Country Club in New City. ...
• • Source: Article: "New name, facelift for former Adolph Zukor farm" written by Kathy Kahn for Westfair Online; posted on 25 March 2011
• • By the Numbers • •
• • The Mae West Blog was started seven years ago in July 2004. You are reading the 1881st blog post. Unlike many blogs, which draw upon reprinted content from a newspaper or a magazine and/ or summaries, links, or photos, the mainstay of this blog is its fresh material focused on the life and career of Mae West, herself an American original.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Mae West
• • Photo: • • Mae West • • being filmed by Charles Lang in 1932 • •
• • Feed — — http://feeds2.feedburner.com/MaeWest
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Mae West.
Born under the sign of Leo the lion, MAE WEST (birthdate: 17 August 1893) felt empowered by her untamed, untranslatable, creative roar — — a leonine desire for stardom, pageantry, and razzing authority. 
• • It seems that the Sun is most radiant when it resides in Leo, an astrological cycle that begins on July 23rd and ends on August 22nd.
• • During the month of August, when the vivacious vaudevillian was even more energized, several motion pictures were in progress.
• • In Hollywood, "Night After Night" began production on 22 August 1932. Mae had been offered a modest and colorless role as an ex-girlfriend of George Raft's character, the upwardly mobile thug and speakeasy owner Joe Anton.
• • The "Maudie Triplett" look was dreamt up by Paramount's costume designer Travis Banton, who was born in August — — on 18 August 1894 — — another Leo with a jones for show stopping.
• • Four summers later, in August 1936, production was in full force for "Go West, Young Man," this time keeping its star centered in the script. The "Mavis Arden" wardrobe was put together by Costume Designer Irene Jones.
• • Shot mostly on a closed set, the cinematographer Karl Struss mediating the chiaroscuro between moon and sun, each 1936 frame was robbed of its Technicolor potential. In reality, however, dazzled electricity eagerly fingered Mae West's colorful attire, fanning circles over detailed Tinseltown gilding, as if to undress the orphaned black-white dark.• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Mae West
• • Photo: • • Mae West • • 1936 • •
• • Feed — — http://feeds2.feedburner.com/MaeWestNYC
Mae West.
MAE WEST played Cleo Borden in "Goin' to Town" — — and Marjorie Gateson played Mrs. Crane Brittony.
• • Born in Brooklyn, New York (like Mae), Marjorie Gateson came into this world in the cold month of January — — on 17 January 1891.
• • Miss Gateson made her film debut in 1931 after a career on the stage of more than two decades, playing secondary character roles — — usually as females of wealth and breeding, who were often haughty and aloof. She is perhaps best known for her roles as the society matron who attempts to thwart Mae West's plans for social climbing in the 1935 film "Goin' To Town" and for a kinder, gentler socialite who learns to box through the efforts of Harold Lloyd in "The Milky Way" [1934].
• • The character actress died of pneumonia in 1977.
• • In honor of her January birthday, we are reprinting this motion picture's critique from Variety Magazine. However, Abel's caustic opinion probably gave no one any cause for celebration.
• • According to Abel: Mae West's poorest. Exhibs and exploiteers will have to go to town to sell "Goin' to Town." Peppered with the usual Westian pepigrams, paprika, and pertness, it's punchy enough on the dialog, but deficient on story. Miss West as scriptist as well as star has seen to it that her nifties are up to the usual quota, but no amount of epigrammatic hypoing can offset the silly story.
• • It may insure action, for "Goin' to Town" goes all over the map to take in lots of geography. Starts in cattle-rustlin' rancho territory; thence to Buenos Aires for cosmopolitan swank; from there to ultra Southampton, L.I., for a sample of La West giving the 400 the acey-duecy, and the fadeout is an off-to-Lunnon with an earl, no less. This cues for the "Now I'm a Lady" song, also the tag first ascribed to this flicker.
• • Secret of Miss West's previous pix has been that they stayed in character. The studio probably decided it's time to get her out of the mauve decade, and while it's a commendable attempt, it's gone awry.
• • Lines are crisp and unsubtle. Since that's expected of her, she's selling it, generously and well. But after the prelims are over, it's something else again.
• • The yen for Paul Cavanagh, who's an oil-driller on her property, chases him off to South America and she tags after him. A desire to acquire social standing buys her a broke, socialite husband (Monroe Owsley), which makes possible the Southampton stuff. There an operatic gala, staged at the family manse, becomes one of those things, although Miss West warbles "My Heart at Thy Still Voice," the aria from "Samson and Delilah," in almost a legit fashion (why wasn't it 100% kidded?) and is the background for a murder implicating Ivan Lebedeff, cast as an impossible gigolo.
• • Marjorie Gateson is the femme menace, likewise a farcical version.
• • Gilbert Emery as Winslow, financial accountant of her properties, and Fred Kohler, Sr., as the heavy, alone have some semblance of realism.
• • "He's a Wicked Man But He Loves So Good" and "Now I'm a Lady" are two numbers, done more or less incidentally, and distinguished principally by the brass work in the orchestrations.
• • Star endeavors to square the general script inanites by a tongue-in-cheek treatment, but it's done too McCoy to impart any other impression. Role gives her ample opportunity to strut a flock of glad rags.
• • • • Abel. Variety, originally published on 15 May 1935
• • • • Paramount production and release. Stars Mae West. Directed by Alexander Hall. Produced by William LeBaron. Original by Marlon Morgan and George B. Dowell; screen play and dialog. Miss West. Songs, Sammy Fain, Irving Kahal; camera, Karl Struss. At the Paramount N.Y., week of May 10, 1935. Running time, 75 minutes.
• • Cleo Borden . . . Mae West
• • Edward Barrington . . . Paul Cavanagh
• • Ivan Veladov . . . Ivan Lebedeff
• • Taho . . . Tito Coral
• • Mrs. Crane Brittony . . . Marjorie Gateson
• • Buck Gonzales . . . Fred Kohler, Sr.
• • Fletcher Colton . . . Monroe Owsley
• • Winslow . . . Gilbert Emery
• • Young Fellow . . . Grant Withers
• • Annette . . . Adrienne D'Ambricourt
• • Signor Vitola . . . Luis Alberni
• • Senor Ricardo Lopez . . . Lucio Villegas
• • Dolores Lopez . . . Mona Rico
• • Donovan . . . Paul Hervey
• • Sheriff . . . Francis Ford
• • Ranch Foreman . . . Wade Boteler• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Mae West
• • Photo: • • Mae West • • 1935 • •
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Mae West.
Alexander Hall directed "Goin' to Town" [1935], starring MAE WEST. We are thinking of him on his January birthday.
• • Born in Boston on 11 January 1894, Alexander Hall made his stage debut at 4 years old in 1898. By 1914, Hall was working in silent films as an actor.
• • Leaving the motion picture sector to serve in the American Army in World War I, Hall returned from military service in 1917 and re-entered the business — — except he had then decided to become an editor and assistant director.
• • He made his directorial debut in 1932, specializing in comedies. In Hollywood, Hall turned out a number of sophisticated, light-hearted movies.
• • The director lived to be 74. On 30 July 1968, Alexander Hall died in San Francisco, having suffered a stroke.
• • "Goin' to Town" re-cap — —• • After an exclusive engagement at their own theatres, Paramount released this title to hundreds of American movie houses on 17 May 1935. However, no amount of fanfare could have persuaded the critics of its merits.
• • According to the 1935 review published in Variety, this motion picture was "Mae West's poorest." Film critic Abel predicted: Exhibs and exploiteers will have to go to town to sell "Goin' to Town." Uh-oh.• • Paramount production and release. Stars Mae West. Directed by Alexander Hall. Produced by William LeBaron. Original by Marion Morgan and George B. Dowell; screenplay and dialog. Miss West. Songs, Sammy Fain, Irving Kahal; camera, Karl Struss. At the Paramount N.Y. — — week of 10 May 1935. Running time, 75 mins. • • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Mae West
• • Photo: • • Mae West • • "Goin' to Town" • • 1935 • •
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Mae West.
MAE WEST said her favorite cinematographer was Karl Struss because he made her look more beautiful onscreen than anyone else. Like her, he was of German descent.
• • The son of a wire manufacturer, cinematographer Karl Struss was born in New York City on 30 November 1886 and studied photography at Columbia University. 
Hal Mohr — — a fellow film cameraman — — called Struss one of the greatest still photographers who ever lived.
• • In 1914, he took over the portrait studio of Clarence White [1871 — 1925] at 5 West 31st Street, which was then the heart of the photography district. Struss maintained a flourishing business there until 1918, when (at the outset of the war) he voiced a pro-German sentiment. The damning information given to the authorities came from other members of the PPA [Pictorialist Photographers of America]. In 1918 he was asked to resign from the PPA and was struck from their membership. Though he vigorously defended his patriotism and even spent time at Fort Leavenworth as a guard, his studio closed, clients vanished, and his reputation was damaged. Disillusioned with New York, Struss realized that it would be difficult to re-establish himself as a photographer. Therefore, he decided to go straight to Los Angeles in 1919 as soon as he was discharged from the Army.
• • In 1919, Karl Struss was first hired as a still photographer by Cecil B. DeMille. Climbing to the top in relatively short order, Struss worked most often in collaboration with Charles Rosher; he and Rosher shared the first-ever Best Photography Academy Award for their eye-popping work on F.W. Murnau's Sunrise [1927].
• • Many of Struss' own innovations were often mistakenly credited by film historians to directors. For instance, it was Struss and not director Rouben Mamoulian who came up with the idea of using infrared filters for the transformation scenes in 1931's Dr. Jekyll and Mr. Hyde. During his many years at Paramount Pictures, Struss helped train some of the best cameramen of the 1950s.
• • When film historians cite his best work, Goin' to Town starring Mae West is, alas, not one of the motion pictures referenced.
• • In the month of December — — on 15 December 1981 — — 95-year-old Karl Struss died in Los Angeles.
• • Goin' to Town — — Paramount production and release. Stars Mae West. Directed by Alexander Hall. Produced by William LeBaron. Original by Marion Morgan and George B. Dowell; screenplay and dialog. Miss West. Songs, Sammy Fain, Irving Kahal; camera, Karl Struss. At the Paramount N.Y. — — week of 10 May 1935. Running time, 75 mins.
• • Cast:
• • Cleo Borden . . . Mae West
• • Edward Barrington . . . Paul Cavanagh
• • Ivan Veladov . . . Ivan Lebedeff
• • Taho . . . Tito Coral
• • Mrs. Crane Brittony . . . Marjorie Gateson
• • Buck Gonzales . . . Fred Kohler, Sr.
• • Fletcher Colton . . . Monroe Owsley
• • Winslow . . . Gilbert Emery
• • Young Fellow . . . Grant Withers
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Mae West
• • Photo: • • Mae West's cameraman • • Karl Struss in 1937 • •
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Mae West.
Mae West rarely appeared on radio. When she did, the sole purpose was to promote one of her films. 
• • For instance, Mae West had guest-starred on "The Shell Chateau" with Al Jolson in 1936. And she also appeared on Louella Parsons’ blackmailing program "Hollywood Hotel" on 26 April 1935, with featured guest Paul Cavanagh in an adaptation of her screen gem "Goin’ to Town." The picture was released by Paramount on 17 May 1935 and no amount of fanfare could have persuaded the critics of its merits.
• • According to the 1935 review published in Variety, this motion picture was "Mae West's poorest." Film critic Abel predicted: Exhibs and exploiteers will have to go to town to sell "Goin' to Town." Peppered with the usual Westian pepigrams, paprika and pertness, it's punchy enough on the dialog, but deficient on story. Miss West as scriptist as well as star has seen to it that her nifties are up to the usual quota, but no amount of epigrammatic hypoing can offset the silly story.
• • It may insure action, for "Goin' to Town" goes all over the map to take in lots of geography. Starts in cattle-rustlin' rancho territory; thence to Buenos Aires for cosmopolitan swank; from there to ultra Southampton, L.I., for a sample of La West giving the 400 the acey-duecy, and the fadeout is an off-to-Lunnon with an earl, no less. This cues for the "Now I'm a Lady" song, also the tag first ascribed to this flicker.
• • Secret of Miss West's previous pix has been that they stayed in character. The studio probably decided it's time to get her out of the mauve decade, and while it's a commendable attempt, it's gone awry.
• • Lines are crisp and unsubtle. Since that's expected of her, she's selling it, generously and well. But after the prelims are over, it's something else again.
• • The yen for Paul Cavanagh, who is an oil-driller on her property, chases him off to South America and she tags after him. A desire to acquire social standing buys her a broke, socialite husband (Monroe Owsley), which makes possible the Southampton stuff. There an operatic gala, staged at the family manse, becomes one of those things, although Miss West warbles "My Heart Opens at Thy Still Voice," the aria from "Samson and Delilah," in almost a legit fashion (why wasn't it 100% kidded?) and is the background for a murder implicating Ivan Lebedeff, cast as an impossible gigolo. Marjorie Gateson is the femme menace, likewise a farcical version. Gilbert Emery as Winslow, financial accountant of her properties, and Fred Kohler, Sr., as the heavy, alone have some semblance of realism.
• • "He's a Wicked Man But He Loves So Good" and "Now I'm a Lady" are two numbers, done more or less incidentally, and distinguished principally by the brass work in the orchestrations.
• • Star endeavors to square the general script inanites by a tongue-in-cheek treatment, but it's done too McCoy to impart any other impression. Role gives her ample opportunity to strut a flock of glad rags.
• • Byline: Abel — — Variety, originally published May 15, 1935
• • Paramount production and release. Stars Mae West. Directed by Alexander Hall. Produced by William LeBaron. Original by Marion Morgan and George B. Dowell; screen play and dialog. Miss West. Songs, Sammy Fain, Irving Kahal; camera, Karl Struss. At the Paramount N.Y., week of May 10, 1935. Running time, 75 mins.
• • Cast:
• • Cleo Borden . . . Mae West
• • Edward Barrington . . . Paul Cavanagh
• • Ivan Veladov . . . Ivan Lebodeff
• • Taho . . . Tito Coral
• • Mrs. Crane Brittony . . . Marjorie Gateson
• • Buck Gonzales . . . Fred Kohler, Sr.
• • Fletcher Colton . . . Monroe Owsley
• • Winslow . . . Gilbert Emery
• • Young Fellow . . . Grant Withers
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Mae West
• • Photo: • • Mae West • • and Paul Cavanagh • • 1935 • •
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Mae West.
In May, Dothan will honor one of Alabama's biggest football heroes and film stars — — who was in a black and white classic with MAE WEST. 
• • Anyone who knows westerns knows Johnny Mack Brown, who first made his name on the field in Tuscaloosa. A few years later, movie goers would know him as a character actor featured in more than 160 films with Mae West, John Wayne, and Greta Garbo.
• • Born on 1 September 1904 in Alabama, Johnny Mack Brown died at age 70 in Los Angeles (on 14 November 1974) of a cardiac condition.
• • Mae-mavens became acquainted with the six-foot-one actor when he played the role of Brooks Claybourne, a good time Charlie, in "Belle of the Nineties" [1934].
• • An All-American halfback while attending the University of Alabama, Johnny Mack Brown would choose the silver screen over the green grass of the football field when he graduated. Signed to a contract with MGM in 1926, Brown debuted in Slide, Kelly, Slide (1927) with William Haines in a film about an all-American sport — — baseball.
• • The city of Dothan is holding its annual film festival May 9th — 10th, 2008, featuring many of his best movies.
• • To attend, call the organizers at 334-794-3452.
• • Here's hoping the film organizers show "Belle of the 90s" — — a Paramount Pictures production. Stars Mae West. Directed by Leo McCarey from story and scenario by Miss West. Songs, Arthur Johnston and Sam Coslow; Photography Karl Struss. At Paramount, New York, week Sept. 21, 1934. Running time, 73 minutes.
• • Ruby Carter . . . Mae West
• • Tiger Kid . . . Roger Pryor
• • Brooks Claybourne . . . John Mack Brown
— — Source for a portion of this information: — —
• • Publisher: WSFA 12 News — — www.wsfa.com
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Mae West
• • Photo: • • Mae West • • 1934 • •
NYC
Mae West.
When a St. Louis woman comes down to New Orleans, it doesn't matter if Mardi Gras has passed because a new party is in town: Ruby Carter - - played by MAE WEST.• • Originally, the male lead for "It Ain't No Sin" [re-titled "Belle of the Nineties" and released in September 1934] was to be George Raft. However, 33-year-old Roger Pryor [1901-1974] - - dubbed "the poor man's Clark Gable" - - got the role of the boxer called the Tiger Kid.
• • Though Karl Struss was the cinematographer who worked on "Belle of the Nineties," this photograph of Mae West at ringside was taken by a master portraitist who shot many Hollywood stars and other celebrities: George Hoyningen-Huené.
• • Baron George Hoyningen-Huené, who segued into the darkroom when he met his lover Horst, was born on 4 September 1900 in Russia to a nobleman.
• • Hoyningen-Huené, behind a camera before anything resembling contemporary flash photography was known, achieved wonderful effects in black and white. • • George Hoyningen-Huené died, age 68, in Los Angeles on 12 September 1968.• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Source:http://maewest.blogspot.com/atom.xmlMae West
• • Photo: • • Mae West • • 1934 • •
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Mae West.
