Mae West

Who Was Mae West?

Mae West, a Hollywood icon, gained widespread fame in her late 30s, an age when many actresses were considered past their prime for portraying seductive characters. However, West defied the odds with her undeniable charisma, striking beauty, and bold, unapologetic sexuality. While her provocative films sparked moral outrage and controversy, it is precisely this fearless display of sensuality that has solidified her legacy in the entertainment industry.

Early Life

Born as Mary Jane West on August 17, 1893, in Brooklyn, New York, Mae was the eldest of three children. Her parents, Matilda “Tillie” and John “Battlin’ Jack” West, played significant roles in shaping her early life. Tillie, a German immigrant with dreams of becoming an actress, faced disapproval from her family, which led her to work as a garment worker. Despite societal pressures, she pursued modeling and never abandoned her aspirations for the stage, nurturing a creative environment at home. Jack, a prizefighter known more for his street brawls than formal boxing matches, later worked as a private detective. Together, they created a unique family dynamic that supported Mae’s early ambitions.

From a young age, Mae exhibited a natural talent for performing. By age 3, she was entertaining her family with impressions, quickly realizing the power of holding an audience’s attention. Her mother, recognizing Mae’s potential, introduced her to the world of theater and vaudeville, where she became captivated by performers like African American entertainer Bert Williams, whose mastery of innuendo and double entendre deeply influenced her own comedic style.

Mae’s first public performance came at the age of 5 during a church social. Though her father initially hesitated to encourage her stage ambitions, her mother enrolled her in dance school at age 7. Under the stage name “Baby May,” she soon gained recognition in local burlesque theaters, winning prizes for her performances. With each triumph, her father’s pride grew, and he became her staunchest supporter, accompanying her to performances and cheering her on from the audience.

Mae West’s early experiences laid the foundation for a career marked by her daring approach to entertainment, which would ultimately redefine Hollywood’s depiction of female sexuality.

Professional Vaudeville Career

In 1907, at the age of 14, Mae West began her professional career in vaudeville with the Hal Claredon Stock Company. Her mother, Tillie, was her costume designer, rehearsal coach, and manager, ensuring that Mae’s bookings and contracts were well managed. West’s early act was a nuanced satire of Victorian innocence and sentimentality. Dressed in a pink and green satin dress, a large white hat, and pink ribbons, she cleverly impersonated adult vaudeville and burlesque performers, using sexual innuendo in her songs and dance routines.

West continued performing on the vaudeville circuit, often teaming up with William Hogan, a family friend and small-time performer. She played the role of Hogan’s young girlfriend in a spoof of Tom Sawyer, though it is likely that the headstrong West influenced the portrayal of her character, transforming her into a more assertive and spunky counterpart to Hogan’s role. During lean periods in vaudeville, West also performed on the burlesque circuit, often in front of a working-class male audience. Despite the social conventions of the time, which generally prohibited young women from being part of such environments, West thrived in the burlesque scene, further honing her performance skills.

In 1909 or 1910, West met Frank Wallace, a rising vaudeville star, introduced by her mother. After weeks of intense rehearsals, they formed an act and toured the Midwest. Despite Wallace’s multiple marriage proposals, West refused, engaging in affairs with other performers. Eventually, under the influence of an older cast member, Etta Wood, who advised her to marry for protection, West reconsidered. On April 11, 1911, at the age of 17, she secretly married Wallace, lying about her age on the marriage certificate. The marriage remained undisclosed until 1935 when a publicity staffer discovered the certificate.

In 1911, West began her Broadway career with a role in A La Broadway, a comedy revue, which folded after only eight performances. However, she caught the attention of Broadway impresarios Lee and J.J. Shubert, who cast her in Vera Violetta, a production featuring Al Jolson. Her tenure in the show was brief due to conflicts with the star, Gaby Deslys, but West’s reputation continued to grow. During this period, she met Guido Deiro, another vaudeville performer. Their passionate relationship involved joint bookings, public declarations of love, and frequent quarrels. Though Deiro proposed marriage, West’s mother disapproved, and she ultimately ended the relationship after her mother’s persistent objections.

West’s big break came in 1918 when she starred in the Shubert Brothers’ revue Sometime opposite Ed Wynn. Her character, Mayme, danced the shimmy, a provocative move that shocked audiences. This performance marked the beginning of West’s creative evolution, as she began rewriting dialogue and characters to better suit her unique persona. Eventually, she started writing her own plays under the pen name Jane Mast.

Playwriting and Controversy

In 1926, West wrote, produced, and starred in Sex, a Broadway play that became a box-office hit but sparked controversy due to its explicit sexual content. The production was raided by authorities, and West, along with several cast members, was arrested and charged with morals violations. She served eight days in jail, an experience that only fueled her career.

Undeterred, West continued pushing boundaries with her next play, Drag, which explored homosexuality. While it was successful in Connecticut and Paterson, New Jersey, the Society for the Prevention of Vice intervened when West announced plans to bring it to Broadway. Fearing further censorship, she chose not to challenge the moral watchdogs and kept the play out of New York.

Over the next few years, West continued writing provocative plays such as The Wicked Age, Pleasure Man, and The Constant Sinner, tackling adult themes, including infidelity and sexual innuendos. These plays were known for their controversial content, and their performances often included two versions of the script: one for general audiences and one for when vice agents were suspected to be in the theater. Despite the constant threat of censorship, the plays’ notoriety ensured packed houses and heightened public attention.

Hollywood and Icon Status

By 1932, West had caught Hollywood’s attention and signed a contract with Paramount Pictures. At 38, she was considered somewhat mature for the roles of sultry women, yet her unique style and beauty overcame any doubts. Her first film, Night After Night, offered her a small role, which she quickly revised to align with her own performance style. In 1933, she starred in She Done Him Wrong, introducing her “Lady Lou” character, famously delivering the line, “Why don’t you come up sometime and see me?” The film was a box-office smash, helping to save Paramount Pictures from financial collapse.

West’s next film, I’m No Angel, was another success, cementing her status as one of the top box-office stars of the time. By 1935, she was the second-highest-paid person in the U.S., behind only publisher William Randolph Hearst.

However, West’s overt sexuality and provocative dialogue drew the ire of moralists and the Motion Picture Production Code, which began to enforce strict guidelines on her films starting in 1934. West, known for her quick wit, responded by increasing the number of sexual innuendos in her scripts, much to the confusion of the censors.

In 1936, her film Klondike Annie faced opposition from Hearst, who disagreed with its portrayal of religion and hypocrisy. Despite the controversy, the film was a box-office success and is considered one of the high points of her film career. As the 1930s ended, West’s film career began to lose momentum, due in part to increasingly stringent censorship and declining box-office returns.

Late Career

In 1954, West revived her career with a nightclub act that incorporated her past work. The show ran for three years and was a success. In 1959, she published her autobiography, Goodness Had Nothing to Do With It, which became a bestseller. Throughout the 1960s, West made occasional television appearances, including on The Red Skelton Show and Mister Ed, and recorded albums in various genres, including rock and roll and a Christmas album.

West’s final film appearances came in the 1970s. She appeared in Myra Breckenridge (1970), a critical and box-office failure, though it gained a cult following. Her last film, Sextette (1978), was plagued by creative issues, including constant script revisions and conflicts on set, but was completed. Despite scathing reviews, the film also developed a cult following.

Death

In August 1980, West suffered a severe fall, signaling the decline of her health. She passed away shortly after, leaving behind a legacy as a trailblazer in both vaudeville and Hollywood, whose career continually defied societal norms and redefined the boundaries of sexuality in entertainment.