Her story is well-known - the lonely child who yearned for affection and approval which she finally seemed to find as Hollywood's greatest love goddess. But even though she scaled heights ... See full summary »
This insightful documentary features some of the major and most beautiful actresses to grace the silver screen. It shows how the movie industry changed its depiction of sex and actresses' ... See full summary »
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.
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.
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.
Her story is well-known - the lonely child who yearned for affection and approval which she finally seemed to find as Hollywood's greatest love goddess. But even though she scaled heights few could even dream of, she was one of the loneliest of stars. And yet, in spite of the breakdowns, the failed marriages, the sordid rumors surrounding her life -- and her death Written by
This Gene Feldman documentary features funny anecdotes and insights from Sheree North and Celeste Holm especially, describing the drive and will behind Monroe's sadomasochistic help-me pose. Holm tells that Monroe studied Betty Grable, in particular, to imitate her, though Monroe only occasionally paralleled Grable's brassy quality.
Feldman edits the song Diamonds Are A Girls Best Friend to footage of Monroe's ascending success at the time of the film it came from, Gentlemen Prefer Blondes, but the narration incorrectly names her last film as Something HAS to Give.
What emerges from this study is the irony of Monroe's celebrity and how her need for publicity and attention to further her career did not come with the respect she so wanted as an actress. The end does not comment on the way Monroe died, with no mention of the Kennedy- associated murder conspiracy theory, and the highlight of Monroe's acting is said to be in Bus Stop. Otherwise, the label 'sex goddess' is repeated to an extent that you would guess that Marilyn herself would feel is reductive.
Actors Clark Gordon and Susan Strasberg all offer impersonations of Monroe, with Strasberg's own natural elegance in counterpoint to Monroe's perceived tackiness.
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