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.
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.
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.
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 ship model shown is the one used previously in Titanic (1953) and was refurbished to resemble the SS Ile de France, which is clearly named in the film. The model (2009) resides in a Marine Museum in Fall River, Massachusetts. Some of the ocean liner sets used were also left over from "Titanic". See more »
When Lorelei is seeing Mr. Esmond off at the ship, she says "Bye, lover!" but her lips do not move. See more »
Diamonds Are a Girl's Best Friend
Music by Jule Styne
Lyrics by Leo Robin
Played during the opening credits and often in the score
Performed by Marilyn Monroe with Chorus
Also performed by Jane Russell
Also sung at the wedding
Sung by a chorus at the end 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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