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.
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.
Innocent rodeo cowboy Bo falls in love with cafe singer Cherie in Phoenix. She tries to run away to Los Angeles but he finds her and forces her to board the bus to his home in Montana. When the bus stops at Grace's Diner the passengers learn that the road ahead is blocked. By now everyone knows of the kidnapping, but Bo is determined to have Cherie. Written by
Ed Stephan <firstname.lastname@example.org>
Marilyn Monroe felt that Cherie, although she is a very sexual character, should have a slightly shabby look as a pale and cheaply costumed saloon singer. Working with Milton L. Greene, Joshua Logan and her makeup artist, Allan Snyder, she opted for an almost-white facial and body makeup that made Cherie look washed-out and faintly unhealthy, as if she slept all day and avoided the sun. Hairstylist Helen Turpin changed Monroe's platinum-blonde hair to a subdued honey-blonde that offered more contrast to the white skin. Studio executives thought Marilyn should always be "honey-coloured" all over, but she and Logan stuck to their guns. In subsequent films she would continue to favour a lighter, more luminous makeup even when her hair was once again platinum. See more »
The camera lens that the Life photographer uses at the rodeo is too short a focal length for this sporting event. In addition, a mono-pod or tripod would have typically been used with a long lens for sports photography. See more »
Dumb Story & Murray's Stupid Role Overshadows Marilyn
I recently saw a tribute to Marilyn Monroe and it was mentioned that Marilyn called "Bus Stop" her favorite film in which she acted. She thought she did her best work in that film and it legitimized her as a serious actress. This was one of the few films of hers I had never seen so I was very anxious now to see this, especially on widescreen. Well, it was disappointing: not because of Marilyn - she was fine - but the story was incredibly stupid.
Part of the problem might be the way our society has changed, although I doubt even 50 years ago - when this film came out - a guy could do what "Bo Decker" (Don Murray) did in here and get away with it. Nonetheless, to watch this brainless idiot - in a crowded nightclub - chase a woman down, rip off half of her dress, break into her dressing room, follow her out the window to a bus station, lasso her and kidnap her by dragging her onto the bus.....and have NOBODY even attempt to stop him during all of this (and more) is a real insult to any viewer's intelligence. No police? No security? No harassment, et al?
The story, like Murray's character who has fewer brains than the rodeo animals he's battling, is just plain dumb. Monroe ("Cheri") and friend Eileen Heckart ("Vera") are fine, as is the other main character, "Virgil" (Arthur O'Connell) but Murray is so loud, abrasive and stupid that he ruins the movie. He - not Monroe - dominates the film, unfortunately.
Thankfully, Monroe is.....well, Monroe, so all is not lost watching this movie but this screenplay is so dated and so moronic you'll cringe watching the film.
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