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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.
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 <email@example.com>
Marilyn Monroe's badly needed champion on the film was her director. Joshua Logan, who had studied with Stanislavsky in Russia, understood the needs of actors using "the Method" and had come to adore Marilyn's talent and to respect her native intelligence. "She made directing worthwhile," he said later. "She had such fascinating things happen to her face and skin and hair and body as she read lines, that she was... inspiring." Logan involved his star in script discussions and supported her efforts to "find" Cherie through experiments with makeup, costuming, hairstyles and - above all - intense identification with her character. By allowing the cameras to continue rolling, he gave Monroe every opportunity to find continuity in her role, and listened carefully when she made suggestions about her blocking and camera angles on this, her 24th film. As a friend of the Strasbergs who had directed their daughter, Susan, in _Picnic_, he was tolerant of Paula Strasberg's presence and constant influence on Monroe's performance. He did, however, insist that she not be on the sets during actual rehearsals or filming. See more »
When Bo gets on the horse for the Bronc riding event, you see him wrap Cheri's green scarf around his neck, and tie it once. In the reverse shot from the stands, you see him wrap it around and tie it again. 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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