Very well executed

Boring, over-political, tech fuzed mess

While it doesn't offer any answers, it both thrills and makes you think.

By the time the dramatic fireworks start popping off, each one feels earned.

Delightful slice of western slapstick from Columbia Studios. The humor is pretty broad, the musical numbers frequent, and the cast especially appealing. It's a really young Glenn Ford showing why a big, versatile career lay ahead; a tomboyish Penny Singleton showing why she was more than just Blondie; and bad girl Ann Miller (!) still tap dancing her way into our hearts. And mustn't overlook an outstanding supporting cast, e.g. Ruggles, Jenkins, Waffles. I especially like that Miller-Jenkins tap dancing number with her in cowboy boots and him tripping the light fantastic. Oh yeah, the plot's something about a masked bad guy terrorizing the town. Turns out it's a town bigwig, just like in a kid's western. But who cares since that's just a way of stringing together the other, better elements. I'm not sure who the intended audience was since the result is neither a kid's matinée nor an A-production (the guys ride around greater LA). I doubt that the audience was ever found since the release date was right before Pearl Harbor! Anyway, for me the 70-minutes came as a pleasant surprise, though that opening stagecoach chase seems an unnecessary body-count. Nonetheless, the music's delightful and the acting appealing, so there's a lot to like in this unheralded Columbia production.

This Columbia B puts a ballsier (at least gun totin') Blondie Dagwood out west being woo'ed by a really young Glenn Ford, already into his 11th picture here. This is part-melodrama, part musical (complete with an anachronistic swing number in the dance hall), part comedy. It's got Ann Miller as the bad guy's dancin' moll, Lola (this isn't a spoiler!)--- all wrapped up into a weird western with Charlie Ruggles doing a Foghorn Leghorn-meets-Colonel Sanders schtick. Very, very weird, but well produced. And you should see Allen Jenkins dance. He's no Fred Astaire, but he can cut a rug better than anyone might expect. Glenn Ford had to be disappointed in the direction of his career at this point, but to be fair there's worse ways to waste time than watching Go West, Young Lady (try watching a Bob Custer talkie and see what I mean).

This is yet another movie that is not on video and few have heard of that's well worth the viewing if you can catch it on cable. It's enough of western and musical to hold the interest of fans of both, plus good comedy thrown in. It's not too much of either western or musical to make the other seem out of place. Good numbers, good acting, funny lines all in 70 minutes and a chance for those not familiar with Western Swing to catch what that is. Ironically, the two best fight scenes include women. I gave it a 7, it's well worth the watch, much better than some 7's, well deserving and fun.

A pleasant, diverting, fast-paced, unpretentious musical Western. Shown frequently on commercial TV in the late '50s and '60s, it seems to have disappeared. Will someone at Columbia Pictures please stop promoting their 2001 mega-budget stinkers and instead preserve and re-release their past glorious unsung treasures (such as "Go West, Young Lady") and make them available on cable-TV and videotape.This "B"-unit film is an unalloyed delight. A precursor of such later films as "Calamity Jane" & "7 Brides for 7 Brothers". Penny Singleton is adorably ditzy as the heroine, Glenn Ford honed his comic skills as "the tenderfoot" and sparkling Ann Miller as the tart-tongued saloon-singer steals the show. The Sammy Cahn score is a treat, and Annie's tip-tapping with Allen Jenkins singing "I Wish That I could Be a Singing Cowboy" is one of the many highlights of this unique lark of a film.Good, rousing, old-fashioned fun--packed into a tight 70 minutes!