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.
Three New York models, Shatze, Pola and Loco set-up in an exclusive appartment with a plan: tired of cheap men and a lack of money they intend to use all their talents to trap and marry three millionaires. The trouble is that's it's not so easy to tell the rich men from the huxters and even when they can, is the money really worth it? Written by
Col Needham <firstname.lastname@example.org>
An over excited critic once wrote that seeing Monroe in Cinemascope was like being smothered in baked Alaska, and seeing this movie, you know exactly what he (I assume he was a he) was on about. The movie opens on the extreme verticals of New York skyscrapers and narrow city streets, then cuts to a wonderfully elongated horizontal Monroe streeeeeeeetched across the scene in an increasingly empty apartment (the girls sell their furniture to be able to pay the rent). This movie is dated and fluffy, but has several interesting elements that make it worth a look for anyone interested in movie history, any of the leads, or in passing a wet Sunday afternoon in a pleasant way. This was Grable's last performance. She knew Monroe was about to usurp her, but the two women both dealt with an uncomfortable situation in a professional way. There is a great narrative twist in the film too - Monroe plays a short sighted girl who finally meets the man to marry her when he tells her he likes her in her glasses. Unlike the usual cliched plot line, it is when Monroe keeps her glasses on that she is revealed to be beautiful. Her acting is this film is among her best, especially her vulnerable scene in the gold aeroplane, and the moment in the powder room when she looks at herself in the mirrors and explodes into five, raspberry satin dress covered Marilyn's is a visual pleasure the film and the viewer revel in (Monroe can't, not wearing her glasses at that point). This film is creamy, smooth, warm - just liked baked Alaska!!
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