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 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.
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.
A faded burlesque queen passes on a chance to return to the spotlight so her chorus-girl daughter can have a shot at the headliner spot. But she grows concerned when her daughter's new fame attracts the attention of a wealthy society man.
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, who had seen and loved Kim Stanley's performance in the Broadway production of Bus Stop, patterned her accent on Stanley's, as well as those accents she had heard during her own time in the South. She worked diligently on the "hillbilly" twang, speaking quite differently than in other films, and subverted her natural singing talent to make it painfully clear that Cherie was not gifted in that department. 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 »
...is the "corn" factor in this at times embarrassingly bad Marilyn Monroe feature. I like to cut Norma Jean a fair bit of slack on the subject of her acting ability and will go a little out of my way to watch some of her lesser-known movies when they air on the schedules but I found this country bumpkin nonsense almost toe-curlingly unwatchable.
I'm struggling really hard to think of any redeeming features but I find I can't. The story is lighter-than-fluff fluff and one you'd more likely see fleshed out from near-nothingness in a musical of the era. Unfortunately some of the hokiest hillbilly music you'll ever hear does make something of an intrusion into the story and I'm sorry but I find old-style country and western music as harmonious as a nail-scratched blackboard.
Monroe looks fine if a little shop-worn at times, gives us a variety of accents from most of the mid-western states and is required at various times to dress herself in a mildly prurient way in a way that no other major Hollywood star of the era would or should have to. However her co-star, "introducing" Don Murray (how I wish he'd been introduced to oblivion!) gives the most lunk-headedly irritating performance I think I've ever seen as a hayseed country boy who gets the hots for Monroe's down-at-heel showgirl with plenty, in fact, far too much a-whooping and a-hollering for normal patience to bear. I see to my horror that Murray inexplicably got an Oscar nomination for his I hesitate to call it acting which must surely have given hope to every non-actor of the day!
The direction is almost as dumb and the dialogue dumber again, - I defy anyone to not laugh out loud at Murray and Monroe's big "at long last love" scene where their faces fill the screen and unfortunately the world's worst dialogue simultaneously fills your ears.
I guess the producer and director were seeking to cash in on Marilyn's ascending star with a light-hearted country-style romantic comedy but really do yourself a favour and give this particular bus the widest possible berth and wait for the next one, no matter how long it takes
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