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.
Jeff Carter has put an end to the town's delinquency with a boys' club. Young hoodlum Danny shows up and influences teenagers Doris, Willy and Leo. They hang out at a juke joint where Eve ... See full summary »
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.
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.
Years after his wife, Ellen, was lost at sea, Nick has her declared legally dead and remarries. That same day, Ellen is rescued from a desert island and returns home. This unfinished remake of "My Favorite Wife" was the last film Marilyn Monroe worked on before her death in 1962. Most of the footage was unseen, until it was restored into a 37-minute short which aired on television on June 1, 2001. Written by
It had been erroneously long-claimed that Marilyn Monroe's erratic behavior pushed the film more than $1 million over budget in just a few weeks of filming. While it is true that Mariln's behavior was somewhat 'difficult,' in truth, her behavior was no more 'erratic' than any other actor then, or now. The reason for this false story was that Fox - already in a massive financial debacle to the filming of Cleopatra (it's cost - even today - make it the single most expensive film - in 2016, it's cost would be over $1billiion) was desperately looking to put 'blame' on. The Fox PR department crafted this story, but, when one understands the cost of Cleopatra to the minuscule, by comparison budget of 'Something's Got To Give,' it's very clear that 'Something's' fate, and seemngly the fate of Fox, itself where to be 'blamed' on Marilyn, as she was considered the 'easiest' to blame. This added pressure to Marilyn, who clearly knew what was going on in the studio's offices. See more »
The only way to fairly judge the 37-minute "re-creation of "SGTG" in "The Final Days" is to have seen the previous 1990 documentary on the making of this film, which contained alternate takes, AND to have seen (as I have) the bootlegged hours and hours of Marilyn on set, doing it over and over. Not because she couldn't remember her lines, but because Cukor demanded it. And what you'll find is a very patient and usually cheerful actress obeying her director. Each time he asks for a new take, she does it just a little different. Higher, lower, softer, stronger. When she flubs, she doesn't fall apart. She seems miffed with herself, but no great drama is revealed.
THis patched together thing in "The Final Days" is to me, the final indignity. Almost without fail, her weakest takes are used. Remember, again: Even when MM was letter perfect, Cukor DEMANDED another take.
I think most of the IMDb reviewers probably know the backstory to this debacle--the script she approved, which was then changed, an antagonistic director(right before she was fired he went to Hedda Hopper, demanded anonymity and scourged her. Declared her insane and her career over. Nice guy! All we can really say about what remains of "SGTG" is that she was very lovely, strikingly beautiful. It is clear, however that as the film progressed she grew thinner and indeed looked a bit ill. She is radiant in the costume tests, and at a perfect weight. Later, in the beige suit, she is obviously padded (she had a normal-sized bosom, except when she was plump--which was most of the time.) The script appears to be a drag, but Marilyn was at least playing an adult woman, with children, in sleek clothes and using a far more natural voice. Had she lived to complete the film, it might have found success, based on the nude swim--a carefully choreographed stunt, she was never naked in the water at all, and her more mature appearance and attitude. But Cukor was a lousy director at this point, and HE was the problem on "Let's Make Love" as well--those endless scenes! He'd lost his touch.
I'm glad so much attention has been paid to this last gallant effort on Marilyn's part. But you'll only recognize how hard she tried, if they release every second of her on set.
Maybe fate was kind, and middle-age would have been an unbearable horror for her. But in what remains of "Something's Got To Give" you can see the elegant performer she might have become, if she'd had more faith in herself.
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