Singers Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the disapproving father of Lorelei's fiancé to keep an eye on her, as well as a rich, enamored old man and many other doting admirers.
When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell.
The title river unites a farmer recently released from prison, his young son, and an ambitious saloon singer. In order to survive, each must be purged of anger, and each must learn to understand and care for the others.
Lorelei and Dorothy are just "Two Little Girls from Little Rock", lounge singers on a transatlantic cruise, working their way to Paris, and enjoying the company of any eligible men they might meet along the way, even though "Diamonds are a Girl's Best Friend." Based on the Broadway musical based on the novel. Written by
Stewart M. Clamen <firstname.lastname@example.org>
Marilyn Monroe kept insisting on retakes despite approval of takes by director Howard Hawks. When Fox asked Hawks how production could be sped up he retorted: "three wonderful ideas: Replace Marilyn, rewrite the script and make it shorter, and get a new director." See more »
During her confrontation with Lady Beekman, Lorelei calls Piggy "Lord Beekman". Later in the courtroom, Pritchard addresses Piggy as "Your Lordship". Piggy holds a knighthood, not a peerage, and would never be addressed in person as anything but "Sir Francis". See more »
Listen, either you hock some of that stuff or get the price of a diamond tiara out of him.
How much do you think a diamond tiara will cost?
Fifteen thousand at least.
Let's see, that'll take an hour and 45 minutes.
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Howard Hawks tackles a Broadway show and Marilyn Monroe.
As a demonstration of Hawks' versatility, this picture stands out. It's anything but a faithful adaptation of the Anita Loos story, but in Hawks skilled hands, it's as delightful and silly as his best screwball comedies, and an evocative example of the sexpot exploitation prominent in it's day. Monroe and Russell complement each other nicely as glamour babes beyond belief. The flamboyant musical numbers are deliriously fetishistic and there are some particularly hilarious bits involving a hoarse-voiced little boy and a dirty old man. Sensationally staged and provocatively primitive.
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