Whether or not the Code had anything to do with it, this film tells a different kind of story from the enjoyment of sexual power in many of Mae West's other films. It's a story of moral redemption - very old-fashioned, and sincere.
Mae's character can deploy her sexuality to use men, but she then becomes trapped by their jealousy - first Chan Lo, then Bull Brackett, whose closing declaration that he would kill her rather than lose her echoes the threats of Chan Lo at the start of the film. But the story doesn't just cycle round to the same point - the Doll's character has traversed a very large arc in the meantime. The real Sister Annie, whose identity the Doll assumes after her death, has succeeded in awakening the Doll's conscience, and this brings the realisation that she must face up to her past. So when she surrenders to Bull in the end, it's not just to get what she needs from him - conveyance back to San Francisco to face trial for the murder of Chan Lo - but also a great sacrifice, as she is giving up the handsome lawman who would have sacrificed his career for her.
Another thing that's different is that the genuine relationships are between Mae and women. There is mutual trust and affection between the Doll and her maid Fah Wong. When the Doll uses Bull first it's on Fah Wong's behalf. But the pivotal relationship is between the Doll and the real Annie, which turns the course of the Doll's life completely around.
The Doll was a good sort from the beginning - a tart with a heart of gold - as we see from her relationships with her Chinese servants, who are all willing to take great risks for her. The measure of her rapport is that she speaks Chinese with them (but of course the dialogue is in English when the audience needs to know what is being said). Since she killed Chan Lo in self defence, and since the servants will no doubt vouch for her, she has a good chance of a happy ending - if she can escape the clutches of Bull, which can hardly be beyond our resourceful heroine.
Taken on its own terms, this is a very watchable film, with scenes of comedy and jeopardy, great musical numbers, convincing acting from Mae West as the Doll goes through her emotional and spiritual trials, and terrific support from Victor McLagan as Bull.
Mae's character can deploy her sexuality to use men, but she then becomes trapped by their jealousy - first Chan Lo, then Bull Brackett, whose closing declaration that he would kill her rather than lose her echoes the threats of Chan Lo at the start of the film. But the story doesn't just cycle round to the same point - the Doll's character has traversed a very large arc in the meantime. The real Sister Annie, whose identity the Doll assumes after her death, has succeeded in awakening the Doll's conscience, and this brings the realisation that she must face up to her past. So when she surrenders to Bull in the end, it's not just to get what she needs from him - conveyance back to San Francisco to face trial for the murder of Chan Lo - but also a great sacrifice, as she is giving up the handsome lawman who would have sacrificed his career for her.
Another thing that's different is that the genuine relationships are between Mae and women. There is mutual trust and affection between the Doll and her maid Fah Wong. When the Doll uses Bull first it's on Fah Wong's behalf. But the pivotal relationship is between the Doll and the real Annie, which turns the course of the Doll's life completely around.
The Doll was a good sort from the beginning - a tart with a heart of gold - as we see from her relationships with her Chinese servants, who are all willing to take great risks for her. The measure of her rapport is that she speaks Chinese with them (but of course the dialogue is in English when the audience needs to know what is being said). Since she killed Chan Lo in self defence, and since the servants will no doubt vouch for her, she has a good chance of a happy ending - if she can escape the clutches of Bull, which can hardly be beyond our resourceful heroine.
Taken on its own terms, this is a very watchable film, with scenes of comedy and jeopardy, great musical numbers, convincing acting from Mae West as the Doll goes through her emotional and spiritual trials, and terrific support from Victor McLagan as Bull.