Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, 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 titular 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 <email@example.com>
The opening number ends with Dorothy near stage right and Lorelei near stage left. As the curtain closes, Dorothy is near stage left and Lorelei is near stage right. See more »
A kiss on the hand may be quite continental, / But diamonds are a girl's best friend. / A kiss may be grand, but it won't pay the rental on your humble flat. / Or help you at the automat. / Men grow cold as girls grow old, and we all lose our charm in the end. / But square-cut or pear-shaped, these rocks won't lost their shape. / Diamonds are a girl's best friend.
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Liebestraum nach dem Balle, Intermezzo Op.356
Written by Alphons Czibulka
It is heard in the dining room scene when Dorothy and Lorelei come in to dinner. The band actually messes-up the song because they are too busy looking at the girls. 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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