Let's Make Love (1960) Poster

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A Sweet Film
marilynm21613 February 2002
Unlike many others who have left comments about this film, I really enjoy it. This is definitely not high on the intellect scale, but it is a sweet romantic comedy. I agree this is not Marilyn's best film, but her performance in the role is better than anyone else could have done it; very cute and believable. Some of the writing really seems to target Marilyn's own personal life (I don't know if they did that on purpose), especially when she talks about going to night school. Also during the song "Incurably Romantic," Marilyn's dress is flying up (a parallel to "The Seven-Year Itch?"). Her performance of the song "My Heart Belongs to Daddy" is just great. It's really a lot of fun. The cameos are awesome, they really make the film into a "time capsule" of the most popular comedian, dancer, and singer of the time. Tony Randall has a nice supporting role throughout the film; he is great in the scene where he sees Jean-Marc Clement's "softer side." Yves Montand and Marilyn Monroe have the strangest relationship in the movie, and you have to feel bad for Jean-Marc! He is not used to NOT getting the girl! Yves plays this very well, I think. They may lack some chemistry, but the two characters are cute and likable and you really want them to get together. So what I'm saying is, this is well worth seeing, especially if you are a fan of Marilyn or Yves, just don't expect it to be intellectually challenging... it is a great rainy day flick. :-)
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All About Charm...
denis-3826 November 2002
This is one of my favorite Marilyn films. No, let me amend that--this is one of my favorite Marilyn performances. She is sweet, natural, sympathetic, adorable. She has no character to play and no script and no director (Cukor was sliding fast at this point) But she and Montand are lovely together; two great charmers surrounded by an overblown 60's confection of "guest stars" and constant costume changes (although some of Marilyn's outfits are so flimsy one wonders why they bothered to dress her at all?!) "My Heart Belongs To Daddy" is classic MM, but I have a perverse fondness for "Specialization" with Monroe hopping around (she really couldn't dance) in this INCREDIBLE gown, belly and backside bulging, a Reubens come to life. It's a very minor film, especially sandwiched between "Some Like It Hot" and "The Misfits" but there is pleasure to be found if you're into Miss M.
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Silly, inconsequential Monroe film with a dull Montand for the leading man...
Neil Doyle29 September 2006
This has got to be one of the dullest films MARILYN MONROE ever did--and equally dull is her leading man, the French accented YVES MONTAND who must have left his heart and his talents in France for the duration of filming.

He's simply bland with a capital B and very unfunny. And when MILTON BERLE, GENE KELLY and BING CROSBY attempt to give him pointers on how to be an entertainer, they're impatience with him is understandable. Whatever magic Montand had in his homeland is obscured here by a witless script and poor direction from George Cukor, who even manages to make Marilyn look less than believable as a wistful showgirl.

The faults extend to the songs to. The only reasonably good one is "My Heart Belongs to Daddy" done in a rather coy and simpering style by Monroe but nevertheless, it's the only high point in the whole show. Everything else is better left unmentioned.

Summing up: A waste of two stars who, incidentally, have no chemistry together, at least on screen. Off is another matter.
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...but is it really that bad?
gnb30 September 2004
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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Not Bad, Not Great
wglenn12 November 2003
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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Marilyn Monroe and Yves Montand in a romantic comedy!
Jessica Carvalho14 February 2006
Warning: Spoilers
Since I am watching all Marilyn's movies, ''Let's Make Love'' was the second one from the collection to be watched. Marilyn is beautiful as usual, and we have Cameos from Gene Kelly,Bing Crosby and Milton Berle as themselves.

The movie starts telling the story of Jean Marc's ancestors, and how his family started to become richer with the time, until his present days as a billionaire. Jean Marc has power,money and also is a 'Casanova', with a new woman to go out everyday. One day, he discovers that he is going to be satirized in an off-Broadway theater, and he goes to see how the play is going to be, until he sees Amanda singing and dancing in a provocative way and the director,who thinks that Jean Marc is an actor trying to take the role of himself,cast him as a member of the show. Decided to go out with Amanda and make her fall for him, he pretends to be someone else,using the identity of Alexander Dumas and acting as a poor actor who wants new lessons from Amanda to improve his acting career. With the time, Jean Marc starts to fall for Amanda, since she is the only woman who was kind to him without expecting money or gifts in return. The problem now is his fake identity.

PS: I only have to complain about the ending of this movie, which, in my opinion, was far from good: I don't think that Amanda should stay with Jean-Marc, since she always refused and hated rich guys like him, calling him arrogant and liar,among other things. I think she changed her idea too quickly about him,after knowing Alexander Dumas' original identity was Jean Marc, but anyway, no movie is perfect.

aka "Adorável Pecadora" - Brazil
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Stony, Dismal Love Affair - No Romantic Chemistry between Montand and Monroe and Weak Script Leaves Audience Yearning for Actual Love
sashank_kini-131 May 2012
There is a singular Marilyn moment which defines her timeless relevance and popularity in American history. Before experiencing Marilyn on screen, I often encountered her photos/ references about her in magazines, encyclopedia, compilation and archives. I also read a Life in Pictures biography about her. How I visualized her gait, her voice and her gestures were quite contrary to her actual performance in cinemas. I expected this woman to possess extraordinary acting capabilities along with natural stage charm and sex-appeal and a deeper, mellower voice that showed class and refinement. Never did I think Marilyn to be so bubbly, fluffy, and erratic with a chirpy, girlish timbre- the typical coquette whom men would swoon over to in an instant. She wasn't like Greta Garbo; the magic couldn't be discovered immediately in Monroe (Garbo could make everyone around her, the actors, the cameras and the audience, fall in love with her in an instant). The disappointment in me after enduring Prince and the Showgirl and Bus Stop cast a negative perception about Monroe. I found her syrupy and panicky, as though she is constantly thinking of ways to keep her audiences (her male fans) happy while not giving up the unpredictable method acting. I preferred 7 year itch – Marilyn didn't experiment but only let her naive face, clueless eyes, admirable figure and the witty dialogs do the work. Sometimes, I felt the method acting ruined her performances, though she has a few shiny moments on her last released film 'The Misfits'. After four films, the true reason for her massive success still eluded me, but in Let's Make Love (a lackluster film overall) I realized why she was adored.

It was the scene where her character Amanda Dell, a small-time actress and a stage performer, began jogging on the footpath and encouraged Jean-Marc Clement (played somewhat sullenly by Yves Montand) to join her. An embarrassed Clement looks around as men seem to ogle Amanda; she isn't dressed inappropriately, but she smiles and her face is beaming. Marilyn seemed to draw everyone's attention not by acting stupendously or exposing her body here- she was carefree and spirited, probably aware that men were eying her but not minding. She knew she was a siren, but she also made it clear that she wasn't a bimbo. She has this coy charm about her, a sense of self-awareness that makes her so amicable with men and women. It is similar to what Meryl Streep said in a speech '… to be appealing to boys and being accepted by girls… a tricky situation (which she mastered). Marilyn doesn't explicitly try to draw attention; she does it cleverly, discreetly.

Unfortunately, she was stuck with a patchy script that was deficient in several aspects. A Paul Thomas Anderson start (Magnolia style) which montages the fate of six/seven Jean Marc Clement is middlingly amusing but unnecessary because there isn't any reference to it later. I did get what it was supposed to mean but there need not be narrations of so many Clements. Then the camera lingers on a group of elite gentlemen smoking cigars as a debonair Jean Marc of Modern Times tells them a joke. These men may have heard it several times, but they flatteringly laugh at his inane joke – he is a billionaire, keep in mind. Some scenes later, when he pretends to be a nascent actor and impersonator, Jean Marc reiterates the same joke to a bunch of actors and is given a damp response. The billionaire, with a keen esthetic interest and a notorious womanizing reputation, is informed that he is going to be satirized in an off-Broadway Revue. He does not react at first but then shows displeasure in such an idea- therefore he checks out a rehearsal of the performance. This seems far-fetched as the theater itself seems so unremarkable and lowly with bawdy, unfunny and tired acts that no one but a local goon would take objection of being satirized. We instead get this wealthy man treading such common places.

There Jean is struck by the glamorous Amanda Dell, who is tailed by hungry boys in an unimpressive number that lacks naughtiness. Marilyn's voice sounds affected, and she fails to bring the oomph. There are a couple of well acted scenes after this between Montand and Monroe where the former seems shy and out-of-place in the theater while the latter can adapt to any surrounding. The third person in the love triangle is Frankie Vaughan, who shares a better chemistry with Marilyn. Montand takes his initial defeats too seriously and seems so dull at times that it is impossible to feel sorry for him or consider Marilyn the right lady for him. She seems like a good friend and adviser, not a lover in any way, till the end of the story. Here is where more than Montand, the script fails in providing more crucial scenes between Montand and Monroe. 'Let's Make Love' isn't something the movie sets out to make- it is rather 'let me buy your love', which is crude. Also, in a desperate bid to raise laughs, Milton Berle, Bing Crosby and Gene Kelly were roped in and I was thinking, "If Gene were younger he would've made a charming Jean Clement". Berle is funny but has to feign laughter at Jean Clements's drab performance on stage, for which he should've demanded for additional fees.

The musicals are ghastly, the production is weak and the plot is sketchy; only the performances try to save 'Let's Make Love's' face. I would say the best actor in the movie would be Wilfred Hyde White, who mouths the line "You made a terrible/risky decision by mortgaging your house for this (to save his theater)" to the theater owner. I would add that George Cukor made a terrible decision of getting big actors such as Monroe and choosing such a script for them".

My Rating: 3.4 out of 10
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I have changed my opinion about this film!
emhughley11 January 2007
Warning: Spoilers
Not regarded as one of MM's best films by her legion of fans. "Lets make Love" isn't as bad as one might think. Gregory Peck and Carey Grant were originally asked to be her co-star, but after reading the script I guess they soon declined. Neither were game to play 2nd fiddle to a screen sensation.

Plot line reads as follows: Rich man (Yves Montand) wants poor girl.(M.M.) Rich man pretends to be poor. Rich man gets poor girl then looses her after he tries to tell her the truth. Rich man eventually woos and gets the girl.

With Marilyns clout at 20th Century Fox studios one wonders why she chose to take the role as Amanda Dell. She's not altogether bad as the character. The script simply had little to offer her. But I have to say after repeated viewings, the film has grown on me. I am a huge fan of MM and to be fair Monroes first appearance singing "My heart belongs to Daddy" is a clever and exciting opening performance. What an entrance, she is on fire in this 3 minute masterpiece. I love the kiss and wink and staging of this classic piece. That scene is the best musical number in the picture. This sequence might have been filmed and added at the last minute after 20th Century Fox exec's saw a rough cut of the film.

Marilyn does look very comfortable and relaxed on the screen. But, at times she appears distracted.(Probably George Cukors uneven direction) There is something a little charming about the whole production. The musical score will grow on you and "Incurably Romantic" is very well done. This film was nominated for an Oscar for best musical score. I also loved the fantasy sequence with Yves and MM in the board room on the table where she is knitting with gold yarn. She even makes that chore look sexy!

Marilyn and Yves are finally given a chance to show some real spark in the final scene of the movie when the whole charade comes to a close. Trapped in an elevator (and looking her best in the film) with a starry eyed Yves, Marilyn finally succumbs to his musical rendition of the title of this movie. They kiss passionately and we finally see AND hear what all the gossip was about. Her very heavy breathing during the kiss is caught on film, just turn up the volume... there is nothing "Method acting" about that! Aside from her sensitivity, intellect, and training with the Strasbergs this is what Monroe the movie star sex goddess was about.A fine line between acting and reality was beautifully blurred in "Lets make love"s final 2 minute scene. Released in 1960 The audience when asked "Lets make love" apparently said no thanks. The film was a box office failure.
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Yves Montand and Marily: an affair that HAD to happen
alicecbr20 August 2003
Without what we know about her now, this movie wouldn't be worth the time it took to watch it. However, now we know about what was going on while the movie was being shot, you can see the attraction between her and Msieu Montand, whose wife took him back afterwards. It's funny, since I've seen him in a French movie, where HIS wife was unfaithful and how he copes with that. What goes around comes around, I suppose.

Montand has to act silly, which must have been as painful for him as it was for his character, a multi-billionaire trying to win Miss Musical Star, Marilyn. Watching the male singer in this movie was funny, as it reminds you of the 40s and the Dean Martin style crooners. Watching Bing Crosby and Milton Berl teach Yves how to sing and be funny was a hoot!!! "Don't 'bubba-boo-boo', or you'll get arrested," Bing suggests. Watching Milton berl walk on his ankles wasn't all that funny, but this was the 60s after all.

I liked the musical numbers, and watching Yves' face do all its rubbery wrinkling numbers. He may have been a great actor because he could put on so many different expressions, but his best movie was the one where he's trying to run for office in a crooked Banana Republic (sorta like our present government), a Cost-Grava film.

See this one just to remind you of how beautiful, how vulnerable, Marilyn was: 2 years from her suicide????!!!! She really had some nice moves, and a great figure when a tummy wasn't considered obscene (in our day of anorexic sexy?? stars).
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Just Not That Great.
Trey Mercartne6 May 2005
I was pretty unimpressed with this movie, to be frank. There was something about every aspect of it that didn't quite add up and you're left with an essentially dull film, which you're not really too concerned about by the end. I am a huge fan of Marilyn but I don't feel she was at all her best in this picture, and I don't think that's entirely her fault - the film around her is incredibly flimsy. The dialogue is often wooden and unconvincing, and Montand's character and his storyline are just totally unbelievable - nothing of what he says or what he does was convincing to me and this really brought the film down very hard and very quickly. The musical numbers are pretty standard fair and were nothing Marilyn hadn't done before. The film didn't make me laugh and I didn't care what happened to the characters. If anything I was only sad the talented Marilyn Monroe was a part of the film - as her portfolio shows she was deserving of far higher quality films than this. I can't recommend the film as it's not really worth your time and you probably won't enjoy it - if you just want to see all of Monroe's film's than see it, but otherwise don't bother.
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Marilyn Monroe began to change her role
sinatra-1118 May 2006
I saw this movie in Aug 4,2005. And I saw it again yesterday. Yes. this is one of the most hilarious movies I've ever seen. Marilyn's acting role, as Amanda Dell, was great. Here in this movie, Marilyn Monroe was not the Marilyn Monroe we know.

In Niagara(1953) and The seven year itch(1955), both of these movies, she portrays as sexy-starlet. But in this movie, she is a very pure and fragile theater-actress Amanda Dell. Well, we know her platinum blonde hair attracts a lot of men, but her character,in this movie, is very friendly to girls. May be many girls lost their feeling of inferiority after watching this movie.

And I saw Marilyn Monroe, Yves Montand, Tony Randall, Frankie Vaughan and Wilfrid Hyde-White plus Milton Berle(40 million Americans call him as a Uncle Milky?) Bing Crosby(i love his song 'White Christmas')and Gene Kelly. These luxurious casting combination is very fantastic.

I never expected Crosby and Kelly to appear. I saw a preview version of Let's Make Love, in there, no cameo appearances of in the preview. But Kelly and Crosby's cameo appearing made my eyes happy.

I think Marilyn's acting career is more valuable in her 30's than 20's.Because in her 20's, she portrayed us her physical attraction. Sometimes she enticed a man(Niagara), Sometimes vivacious(How to marry a millionaire), and sometimes valiant(River of No Return).

But in her 30's her character showed fragile, pure and vulnerable. I found out these phenomenon in this movie,Let's Make Love. So I can figure it out her acting was changed.
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All About Yves
writers_reign16 August 2006
Warning: Spoilers
This movie is based on a breathtaking conceit: That Yves Montand, the greatest singer-actor of the twentieth century and rivalled only in both departments by Frank Sinatra - had to be 'taught' to sing. As if that weren't enough they manage to top this by having Montand, a lifelong politically active supporter or the Left - his father's Communits activities forced him to flee his native Italy, where Yves was actually born, for France and his elder brother was a high-ranking official in the Communist party, and with his wife, Simone Signoret, Montand signed dozens of left-wing petitions - play a billionaire. In a film studded with bad jokes the biggest joke of all is Frankie Vaughan, a pathetic non-singer,non-actor, non-dancer who was, unnacountably, very popular in England, where they love the second-rate and to add insult to injury Vaughan gets to mangle the best new song in the score by a mile, the standout ballad Incurably Romantic, in which Sammy Cahn turned in a lyric reminiscent of Jimmy Van Heusen's previous collaborator Johnny Burke. It's clear from all the comments I've read here - though, to be fair, I haven't read all of them - that most of the posters are completely unaware of Montand and his track record in his adoptive France where he could sell out any venue in which he chose to appear with his unbeatable parlay of singing, dancing and charm. It was in fact his left-wing sympathies which left him visa-less and prevented him from appearing in the US until impresario Norman Granz finally obtained a visa for him in 1959 when, despite performing his one-man show totally in French, he blew the critics away and did SRO business for months instead of the two weeks he was contracted for and it was on the strength of this, and not, as one poster has assumed, his performance in the film version of The Crucible - which he had also played on the Paris stage with Signoret - in 1957. With the benefit of singing in English Sinatra left many more memorable records than Montand but against this Montand far outclassed Sinatra in dramatic performances on film, mostly post-Let's Make Love. For some reason none of the several films Montand made in England were wholly satisfactory including this one but, in its favor, we DO get to hear Montand perform, albeit incompletely, the gorgeous ballad Incurably Romantic and we DO get a glimpse of how gracefully he could dance, again, in an all-too-brief sequence when he imagines himself replacing the inept Vaughan in a number with Monroe, a clear case of a Bentley replacing a Skoda. Inevitably the film is still being marketed as a Monroe vehicle with everybody else just along for the ride but for Montand devotees it is a must in spite of its shortcomings.
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She Specializes
bkoganbing6 September 2005
Let's Make Love, the next to last film of Marilyn Monroe is a harmless piece of fluff, rather lazily directed by George Cukor. Marilyn was her usual temperamental self during the filming and I think Cukor decided to just let it slide.

Think mega-rich, a 1960s Donald Trump who speaks French and you have the character Yves Montand plays. Publicity agent Tony Randall calls it to Montand's attention that an off Broadway theater review is going to be satirizing him among other celebrities in the review. Montand decides to check things out for himself. And the star of the review is none other than Marilyn Monroe who Montand starts raising his blood pressure over. Who wouldn't.

20th Century Fox used this same plot device in 1937 in On the Avenue. That time it was rich débutante Madeleine Carroll and her choleric father George Barbier are being satirized in a show being directed by Dick Powell who stars in it as well. It was much better done there. Of course they also had an original Irving Berlin score to help. And Barbier was always playing those kind of roles. It fit him naturally.

Montand is cool and unflappable. I can believe he wants Marilyn, but I can't believe that this is how he would meet her.

Unless one is an egomaniac like Donald Trump, I don't think most people would care about what some off Broadway show that few will ever see, says in some satirical sketch.

A lot of talented people were involved in the making of this and it seems a colossal waste of time. Marilyn and Montand and British pop star Frankie Vaughan had some nice numbers to sing.

And we can't forget the three unbilled cameos of Milton Berle, Bing Crosby, and Gene Kelly who Montand enlists in his quest to win Marilyn. Their scenes with Montand are the best thing about the film.

One other thing though. I can believe Berle and Kelly would come if summoned by Montand. But Crosby, you're talking about a guy who was as rich the character Montand played.
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A French gentlemen and an actress, who is teaching him
Andreas Jacke30 August 2002
Okay, many people think is is not a good film with Monroe - they don't like him. But I think it's a funny film.

Mountand is they only men Monroe played with, who has so much fear like her, because this is his first Hollywoodfilm. They play nice together because he is a friendly French person. In the film she is teaching him to be a good actor. Her father is a priest.

It is an important film, because here she is an enemy of millionäres - it is a part of her new image, to be the opposition of Lorelei Lee in "Gentlemen prefer blond". To have other ideals as money!!!

The first scene with Monroe in this film is very famous and very nice to - where she sings: "My heart belong to my Daddy" (This had nothing to do with her privat point of view... I think but thats another theme.)

An interesting Movie - an e-motionpicture - with a nice Monroe.
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Only of interest due to Monroe
smatysia19 December 2000
I read the comments in Imdb, and was prepared to dislike this film. And, parts of it were not very good. However, ... Marilyn Monroe had such magic. It wasn't that she was the best actress around, or the best singer, because she wasn't. But, ... Wow, she just electrifies the screen. So much more than a pretty face. Okay, enough slobbering over Marilyn. The rest of the film is quite forgettable. Yves Montand was adequate. Tony Randall did just fine. The cameos by Milton Berle, Bing Crosby, and Gene Kelly were OK. But Marilyn...
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Blueghost13 May 2004
I have a hard time understanding why a slim minority heaped praises on this film. The film goes absolutely no where, and as far as French males go Yves Montand is one of the least attractive Europeans I've ever seen (and that's putting it too mildly). Surely Monroe's character has better taste than this?

No one's funny in this movie. Comic legend Milton Berle can't hope to save this film with his small part, ditto with dancing legend Gene Kelly's cameo, nor any of the other cast. Monroe herself, as appealing as she is, can't salvage a blase script like this turkey.

There're so many things wrong with this film. Drab costumes, uninspired numbers, miscued performances, wandering story and just overall poor direction that it's a wonder it was ever released at all. Though I suppose the studio had to recoup its losses somehow.

I'd heard a lot about this film since I was a boy, but had never had a chance to see it, probably because it was deemed to racy at the time for younger audiences. Well, now I've seen it, and not only do I wish I hadn't, I wish it had never been preserved. Then again we need poor films in this world to remind us good films are good in the first place. Too bad Marilyn had to be in this one.

Do yourself a favor and pass on this film.
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Not Marilyn's Finest
twisty_treat22 April 2003
Okay, I'm one of the biggest and most loyal Marilyn fans, but this movie sucks. Her character is at times cute but not nearly as cute/lovable as her other "dumb blonde" roles such as The Girl in "The Seven Year Itch." I do not like Yves Montand or his character - sorry to go with stereotypes, but he is the "Dirty Frenchman," spying on her, finding out her address and personal information, twisting things to get her affection, being cloyingly (and not convincingly) sweet to "win" her...And as far as theplay that was going on...okay, though I loved the number, what does "My Heart Belongs to Daddy" have to do with the play's supposed point? And if you'll notice, Yves is not very good at anything, even after all those people try to help him sing, but funny, etc. Yet they keep him on the play when Amanda's boyfriend is doing all the rehearsing for the Jean-Marc character. So does he have teh part or not? And if not, why is her still there?! Nothing in this movie fits with what it's supposed to be doing! I've read that Marilyn did not like this role, and neither did I. She may "have a heart of gold," and all those other cliches, but the character is just dumb (despite her going to night school - she should get her money back). Like I said, I love Marilyn but...even she saw how absurd this film was! If you're interested in Marilyn's best "dumb blonde" characters, I suggest you go see "The Seven Year Itch," "Some Like It Hot," or "Gentlemen Prefer Blondes" with its superb "Diamonds Are A Girl's Best Friend" song (though her character in this movie is not really dumb...go see it, you'll know what I mean.)
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Piffle me this, piffle me that, this is not where Marilyn was at.
Spikeopath4 July 2010
Poor romantic comedy that was subsequently talked down by director George Cukor and its two main stars, Yves-Montand and Marilyn Monroe. The latter only doing the film due to contractual commitments to 20th Century Fox. There were also problems with the affair that Montand & Monroe were having since both parties will still married to Simone Signoret and Arthur Miller respectively. Perhaps because they were trying not to show their feelings on screen explains why the coupling comes off as bland and listless? Monroe at least captivates and looks very well here, but Montand is dull as dish water and it's hard to believe that Monroe in character or in real life could go for such dullness.

The plot is unadventurous and it's tough enough to swallow without Cukor forcing in lame humour, lead weight dialogue and sub-par music numbers. A spark of hope that we might get a good movie arrives early with Marilyn's entrance, resplendent in figure hugging costume and warbling "My Heart Belongs to Daddy", but it's a false dawn and only serves to remind us why we loved her in the first place, and, that she deserved better than this. Montand's role had been touted to a number of high profile American actors, notably Cary Grant, James Stewart, Rock Hudson and Gregory Peck, the latter of which did get the gig but quickly got out of it upon viewing the script. Peck is also credited with a humorous and most fitting quote about the finished movie. He wryly observed that the end result "About as funny as pushing Grandma down the stairs in a wheelchair." Now where's Tomy Udo when you need him most eh? He could have pushed this movie down the stairs with Grandma too.

The film is also guilty of other things. It's at least 30 minutes too long and Tony Randall is badly underused as Coffman, PR aid to Clement (Montand). While cameos by Gene Kelly, Bing Crosby & Milton Berle, as pleasant as they are, just smacks of film makers trying to dress up a dogs dinner. There's some enjoyment to be had in Wilfred Hyde-White's sarcastic support turn, while some value can be got from the De Luxe Color/CinemaScope production. But really they are thin excuses from which to use in recommending this to anyone but the hardiest of Monroe completists. 3/10
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A poor film only occasionally brought to life by Marilyn's performances
csrothwec11 January 2009
I quite enjoyed the 'set pieces' with Marilyn doing her stuff singing 'My heart belongs to Daddy' etc. but watching the film turned increasingly more irritable through having to watch, ('endure' might be a more appropriate verb), the scenes between Marilyn's appearances. Montand is simply miscast and one begins to feel simply sorry for him after the first few scenes, (whilst remembering him in such movies as 'The wages of fear'), and, apart from the ever-reliable Wilfrid Hyde-White, I thought the inputs/cameos by the other 'stars' were either so short as to be inconsequential, (Bing Crosby and Gene Kelly), or just simply atrocious, (i.e. Merton Berl and Tony Randall! Churchill said Britain and the USA were 'divided by a common language' but how on earth Randall and Berl could ever be classified by use of the word 'comedians' remains, on the basis on their inputs to this movie, a total and complete mystery to this particular Brit! I began to cringe when they appeared for yet another squirm-inducingly UNfunny escapade, (Berl's walking on his heels or Randall looking lost and dejected yet again, for example)). Verdict: hardly worth the effort of viewing apart from Marliyn's set-pieces. Set the remote to 'FFW' in between these.
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alanma21 June 2006
Yves Montand was right for the part, but the writing and development so dire that he has no chance to shine.There is no chemistry between Montand and Monroe. Perhaps they were trying to conceal their affair. One wonders why Frankie Vaughan, is never even mentioned by American reviewers. Is it because, like Montand, he is a foreigner ? He gives a first rate performance of the title-song, and "Specialisation", and partners Marilyn beautifully. Some of the closeups of Marilyn,especially in "Daddy", are badly lit and cruelly emphasise her age. Was Cukor, who disliked Marilyn, taking revenge for past misdemeanours? In the CD version of "Specialisation" there are verses not in the film. Were these added for the CD or edited out of the film? If so,why? All in all, a galaxy of star performers could not make a silk purse from this sows ear. A remark made by Marilyn about a beautiful but personally unpleasant film actress sums it up well - poison is still poison, no matter how beautiful the bottle.
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good moment, with a wonderful pantyhose dance scene
collantsansculotte2 December 2005
Viewnig the movies give good time.

But, for me, there is a wonderful scene, at the beginning, when Monroe dances.

She wear only pantyhose and a blue sweater and she is very, very sexy. She repeat a dance show.

When Montand look at here at this scene, he fall in love to Monroe and the movie really begin.

For me, this is one of the movies where Monroe is the more sexy.

Elsewhere scenario is not a very good scenario. But seeing Monroe in a movies is always a good time.
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One of Marilyn's better films
iadoredave19 January 2003
Warning: Spoilers
(Maybe spoilers herein)

In spite of an ominous start (a bit too much about the family history of the Montand character) and the annoying Montand (awkward-looking and charmless), the film grew on me as I sat through it. It turned out to be none of what the trailer tried so hard to sell: a story about people who are love- and sex-obsessed. Instead I was pleasantly surprised.

It is refreshing and marvellous to watch Marilyn as the ambitious and good-hearted stage performer, so unlike one of those "dumb blonde" roles considered typical of her screen persona. I *love* the catchy musical numbers,which are just the right amount, not too much to distract one from the plot. My favorites are My Heart Belongs to Daddy, Specialization and the title song. Marilyn is not at her most stunning here, probably a result of excessive dependence on drug and alcohol..but she still looks adorable, cheerful and full of life throughout the film. Overall the film is a delight to watch, marked for the decent script, sometimes funny dialogue, smooth direction and a great cast (after all I would say Montand is acceptable) I am sure I will visit this overlooked gem multiple times.
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A disappointment!
Pat-5430 December 1998
What makes this a disappointment is this film is so routine. Anyone could have played the lead and it's heartbreaking that Marilyn Monroe, who gave us only a handful of films to remember her by, is so wasted in this. Making it even worse was that this followed her very best film; "Some Like It Hot." But let's face it, any film with Marilyn is watchable. The lady had magic, no matter how poor the vehicle she was in.
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a millionaire gets involved in an off-Broadway comedy that pokes fun at him
noone-73 December 1998
THE WORST MARILYN MONROE FILM EVER! She was stuck with a terrible terrible movie, and try as she may the movie was a flop at the box office. Montand plays a millionaire who finds out that a play will be making fun of him. He goes to the theatre to complain, and is mistaken as a look-a-like. He goes with the flow after seeing Marilyn and deciding he wants to get close to her! The only good thing about this film is Monroe's "My Heart Belongs to Daddy" performance. And even that was not her best! One star rating and that's only because Monroe was in the film! Anyone else and the movie would get half a star!
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Dreadful comedy; star-wattage can't save it...
moonspinner557 February 2008
Yves Montand plays wealthy tycoon who finds he's being spoofed in a new musical revue; he strikes back by getting into show business himself. Tired backstage shenanigans looks like a remake of 1937's "On the Avenue" with a sex-reversal, none of it helped by George Cukor's uninspired direction. The glossy coating over this fluff is so thick, the actors look smudgy and perform lethargically, particularly Marilyn Monroe (who was reportedly having an affair with Montand during the movie's shoot). This all must have looked promising on paper (what with star-cameos delivered and the usual run of intermittent ditties), but the results fail to generate any sparks. This nearly put the kibosh on French star Montand's bid for Hollywood stardom; he seems itchy and uncomfortable. * from ****
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