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 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 <email@example.com>
During a story conference for this film with Darryl F. Zanuck, director Howard Hawks suggested to Zanuck that the studio change Marilyn's look and screen persona a bit, so that Marilyn would be more of an actress and less of a blonde bombshell type. The results in Gentlemen Prefer Blondes made Marilyn a massively huge film star in the 1950s and early 1960s. See more »
As Dorothy and Lorelei walk to their dressing room after the opening number, Lorelei removes her hat with her right hand. When they enter the dressing room, the hat is in Lorelei's left hand. See more »
Don't you know that a man being rich is like a girl being pretty? You wouldn't marry a girl just because she's pretty, but my goodness, doesn't it help?
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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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