Ramona Curry maps out the negotiation process between MPPDA and the producers of "Klondike Ann" in her article "Mae West as Censored Commodity: The case of "Klondike Annie", Cinema Journal 31, No. 1, Fall 1991.
" ...The initial screening of "Klondike Annie" elicited rigorous monitoring from the PCA (Production Code Administration) for its implications of interracial sex, representations of torture and unpunished murder (which undermined the codes principle of 'compensating moral values'), and for casting West as a prostitute...
" ...Concern about the sexual behavior of West's character emerges as a prime issue from the earliest correspondence. A letter at the outset of production to Paramount liaison John Hammell to Will Hays, then visiting in California promised, 'The ending of our story will be a romance between West and one of the characters in our picture, and it will indicate for the future a normal life and nothing that will bring condemnation from the most scrupulous.'(June 29, 1935)
" ...Hay's response a week later expressed concern about the sexual morality of West's character: 'We assume that there will be no suspicion of loose or illicit sex relationships between Miss West and the Chinese gambler or any of the characters in your story; rather as is suggested in the discussion here, it will definitely be indicated that the woman whom Miss West represents is basically good.' (July 2, 1935)
" ...In memos written between September and October 1935 (the film's production went from June to December 1935), Joseph Breen required a number of changes in the script and in song lyrics and repeatedly cautioned the studio about maintaining decency in costuming and camera framing and especially in West's style delivery in "Klondike Annie"... For example, West was prohibited from saying, 'I'm sorry I can't see you in private,' while looking the young detective (Phillip Reed) up and down; other West lines that Breen marked for deletion included 'Men are at their best when women are at their worst'...
" ...Upon viewing the film, Breen called for several cuts in scenes implying sexual desire or activity between Brackett and Doll, but granted a PCA certificate of approval on 31 December 1935."
Source: Ramona Curry, "Mae West as Censored Commodity: The Case of "Klondike Annie," Cinema Journal 31, No.1, Fall '91 Pg.57-85