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>
The story was based on an ocean voyage to Europe that Anita Loos took on the same boat taking the US Olympic Team. Whichever ship she actually took, the liner that is mentioned in this film was the SS Ile de France. The famous liner was actually used in the film The Last Voyage (1960), but it has a more heroic place in history. It was the SS Ile de France that played a major role in the rescue of the passengers from the Italian liner Andrea Dorea in 1956, after the latter ship collided with the Swedish ship Stockholm off the coast of Nantucket, Massachusetts. The SS Ile de France was decommissioned shortly before the filming of The Last Voyage (1960) in which she was partially sunk for several key scenes. When filming was completed, she was towed to the scrap docks. See more »
When Loreli and Dorothy are in New York, it is announced that the ship is bound for Cherbourg. Yet, when they dock, they are in Paris which can't accommodate large ocean liners. See more »
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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