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.
Blake Washburn blames manufacturer MacFarland for his defeat in the race for re-election to the state legislature. He takes over his uncle's newspaper to take on big business as an enemy of... See full summary »
Jim and Connie's postwar New York building troubles keep Jim from working on his novel. Ex-WAC from Jim's army days Roberta moves in, further upsetting Connie but pleasing Jim's friend Ed. ... See full summary »
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.
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 <email@example.com>
Although revue is supposed to be taking place in a theater-in-the-round, most of action actually takes place on a thrust stage with no rear seating and is staged for traditional theater where audience sits in front. See more »
I got a father to support, a mother to support, a lazy loafin' good for nothin' brother to support.
See more »
Released in 1960 after Marilyn's super turn in the fantastic 'Some Like It Hot', LML has often been cited as Monroe's worst movie.
There is plenty to work against the film: Cukor's almost non-existent direction, the rather dreadful musical numbers, Yves Montand's irritating performance and the wasted opportunities of the star cameos.
However, Let's Make Love is a reasonably inoffensive way to waste an afternoon. The plot is slight and therefore doesn't require too much brain power to follow and Monroe is, as usual, cinema gold. Despite the fact that she is slightly overweight here and nothing much has been done with her in terms of make-up, hair or wardrobe she is eminently watchable. She gives a convincing, assured performance in her role turning the simple character of Amanda into a sweet, likable woman.
As I have mentioned before in Monroe reviews, I always find it interesting to see Monroe in films in the 1960s, being very much an icon of the 1950s.
So, is LML really that bad? Well, to be honest no, it isn't. It's lightweight fluff that doesn't really mean anything but is watchable non the less. It is unfortunately placed between the sublime 'Some Like It Hot' and Monroe's bravura performance in the following year's 'The Misfits' but don't hold that against it. Make up your own minds!
26 of 39 people found this review helpful.
Was this review helpful to you?