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.
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>
Marilyn Monroe disliked the script for this movie; she only signed on to end her contract with 20th Century Fox. See more »
Amanda's hands during her dinner with Jean-Mark. See more »
Listen. There used to be an actor. He played Abraham Lincoln for so many years - this is true - he grew his own beard. He went around in a shawl and you know what they used to say? 'He looks like Lincoln. He talks like Lincoln. But he won't be satisfied till he gets shot!'
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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!
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