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.
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.
Lorelei and Dorothy are just "Two Little Girls from Little Rock", lounge singers on a transatlantic cruise, working their way to Paris, and enjoying the company of any eligible men they might meet along the way, even though "Diamonds are a Girl's Best Friend." Based on the Broadway musical based on the novel.Written by
Stewart M. Clamen <email@example.com>
The vintage Citroën taxi cab in which Marilyn Monroe and Jane Russell go on their shopping spree of Paris fashion houses is the same one Don Ameche drove while romancing Claudette Colbert in the 1939 comedy classic Midnight (1939), given a "facelift" by the 20th Century-Fox prop department. See more »
Lorelei's hair before and just after she performs "Diamonds are a Girl's Best Friend" is different to the style that she wears during her performance. See more »
[Lorelei is stuck going through the porthole]
Henry Spofford III:
All right. I'll help you. I'll help you for two reasons.
Never mind the reasons. Just help me.
Henry Spofford III:
The first reason is I'm too young to be sent to jail. The second reason is you got a lot of animal magnetism.
See more »
Howard Hawks tackles a Broadway show and Marilyn Monroe.
As a demonstration of Hawks' versatility, this picture stands out. It's anything but a faithful adaptation of the Anita Loos story, but in Hawks skilled hands, it's as delightful and silly as his best screwball comedies, and an evocative example of the sexpot exploitation prominent in it's day. Monroe and Russell complement each other nicely as glamour babes beyond belief. The flamboyant musical numbers are deliriously fetishistic and there are some particularly hilarious bits involving a hoarse-voiced little boy and a dirty old man. Sensationally staged and provocatively primitive.
15 of 17 people found this review helpful.
Was this review helpful to you?
| Report this