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.
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Billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue. He goes to the theatre, where he sees Amanda rehearsing a song, and the director thinks him an actor suited to play himself in the revue. He takes the part in order to see more of Amanda. Written by
Ed Stephan <firstname.lastname@example.org>
Milton Berle placed ads in Hollywood trade papers seeking a Best Supporting Oscar nomination for playing himself. See more »
Amanda and Jean-Marc climb into a cab in full daylight but by time they've reached destination a few miles away it is completely dark. See more »
Now, um... may I speak frankly?
Go right ahead.
Thank you. You know, I've been horse-trading across the desk like this for the last thirty years, and in all that time I don't think I've ever come across anyone quite as bad at it as you. You're just awful.
I beg your pardon.
And let me give you a sample of frankness: Not only AREN'T you fully financed, Mr. Burton, but you're faced with having to get together a year's theater rent in advance. You foolishly... you foolishly mortgaged your home and...
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This is by no means a great film, but I was pleasantly surprised in the end. Montand and Monroe both do good jobs. Tony Randall is always enjoyable, and Milton Berle has a great time teaching Montand how to be funny, the best comic moment of the film. Having just seen Montand in The Wages of Fear, one of the most intense movies ever made, it was interesting to see him goofing off and having a good time. This role takes him back to some of the songs he sang early in his career, not long after Edith Piaf discovered him. I only wish he had been able to sing more in the movie. I'm not a big fan of Monroe - her dumb-blonde routine generally irritates me - but she seems more vulnerable in this film, more pleasant to watch. She particularly impressed me in the musical numbers. Unfortunately, the costume designer did a lousy job - everything seems too big on her, or just tacky. Compare these costumes to those of Bardot in Une Parisenne, made around the same time period. There are ways and then there are ways to show off a body like that of Bardot or Monroe. All in all, this is a light piece of fluff, with some humorous moments, some sappy moments, some good musical numbers, some bad writing, some good cameos by Berle, Bing, and Gene Kelly, a silly storyline, Yves Montand, Monroe, and a good dose of fun.
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