I'm No Angel (1933)

In statuesque blonde Mae West's second starring feature film comedy, by director Wesley Ruggles - a bawdy comedy classic:

• the film's opening - one-ring circus and sideshow carnival barker's (Russell Hopton) tempting of a crowded audience, and his introduction of carnival queen and dazzling international small-time, vamp circus star performer Tira (Mae West) in a sequined, tight-fitting gown: ("Over there, Tira, the beautiful Tira, dancing, singing, marvel of the age, supreme flower of feminine pulchritude, the girl who discovered you don't have to have feet to be a dancer")
• Tira's sauntering entrance on the catwalk and her purring to spectators to follow her behind the curtain: ("A penny for your thoughts....Get the idea, boys....Ya follow me?")
• in an early scene, Tira's shake-down of an admiring, visiting suitor in his hotel room, a Chump named Ernest Brown (Wm. B. Davidson); after learning he was from Dallas, she played a record with the song: "No One Loves Me Like That Dallas Man" (originally titled "No One Does It Like That Dallas Man") (pictured), choosing the appropriate city title from among similar records for Frisco and Memphis Men; she sang and danced seductively in front of him as he warmed up to her: "You're certainly givin' me the time of my life, baby" with her quick reply: "Don't say givin'. I don't like that word givin'" - she then gave him a long kiss
• while on the phone with millionaire leading man Jack Clayton (Cary Grant, reuniting with West in their second film together), she advised him, coyly (in one of the film's oft-misquoted lines), to join her in her bedroom: "Hey, you'd better come up and see me"
• the final courtroom scene (Tira was wearing a floor-length black gown and fur wrap), when she sued lover Jack Clayton (Cary Grant) for breach of promise; she flirted with the judge, and asserted her right to have lots of male acquaintances to her own lawyer: "Why shouldn't I know guys? I've been around. I travel from coast to coast. A dame like me can't make trips like that without meetin' some of the male population"
• her self-defense when she acted as her own lawyer, and at one point quipped: ("How'm I doin'?"); with her hands on her hips, she sashayed in front of the male jury, and cross-examined many male witnesses before having the case dismissed

Defending Herself in Court

• the courtroom scene ended with a risque one-liner and memorable quip when she was asked why she knew so many men in her life: "Well, it's not the men in your life that counts, it's the life in your men"