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How to Marry a Millionaire (1953)

Not Rated | | Comedy, Drama, Romance | 20 November 1953 (USA)
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Three women set out to find eligible millionaires to marry, but find true love in the process.

Director:

Jean Negulesco

Writers:

Nunnally Johnson (screen play), Zoe Akins (plays) | 2 more credits »
Reviews
Nominated for 1 Oscar. Another 2 nominations. See more awards »

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Cast

Complete credited cast:
Betty Grable ... Loco Dempsey
Marilyn Monroe ... Pola Debevoise
Lauren Bacall ... Schatze Page
David Wayne ... Freddie Denmark
Rory Calhoun ... Eben Salem
Cameron Mitchell ... Tom Brookman
Alexander D'Arcy ... J. Stewart Merrill (as Alex D'Arcy)
Fred Clark ... Waldo Brewster
William Powell ... J.D. Hanley
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Storyline

Three New York models, Shatze, Pola and Loco set up in an exclusive apartment with a plan....tired of cheap men and a lack of money, they intend to use all their talents to trap and marry three millionaires. The trouble is that it's not so easy to tell the rich men from the hucksters - and even when they can, is the money really worth it? Written by Col Needham <col@imdb.com>

Plot Summary | Add Synopsis

Taglines:

All This and CinemaScope Too! The modern miracle with STEREOPHONIC SOUND See more »

Genres:

Comedy | Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | French | Latin | Arabic

Release Date:

20 November 1953 (USA) See more »

Also Known As:

Wie angelt man sich einen Millionär See more »

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Box Office

Budget:

$1,870,000 (estimated)

Cumulative Worldwide Gross:

$8,000,000, 31 December 1953
See more on IMDbPro »

Company Credits

Production Co:

Twentieth Century Fox See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

4-Track Stereo (1959 Reissue) (Western Electric Recording) (Stereo)| Stereo (1959 Reissue) (Stereo)

Color:

Color (Technicolor)

Aspect Ratio:

2.66 : 1
See full technical specs »
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Did You Know?

Trivia

By all accounts it was a happy set, which may have been a disappointment to those who were certain there would be infighting among its three glamorous stars. According to Nunnally Johnson, "The three girls are a good story. Everybody went around with their fingers in their ears blabbering about what temperament there would be on the set, and needless to say, the gossip columnists, those lice, have done everything possible to foment trouble for us. They've printed all kinds of mischievous rumors, quoting one against the other, and printing out fictitious privileges given to one above the other two, in the most desperate effort you ever saw to create feuds. But it hasn't worked in the least." See more »

Goofs

One of the three motorcycles that stop Betty Grable and the tycoon on the bridge on their return from skiing change design between when they are seen starting up and when they pull over the car. See more »

Quotes

[Referring to older men marrying young women]
Schatze Page: Look at Roosevelt, look at Churchill, look at that old fella what's his name in The African Queen.
See more »

Connections

Referenced in Frasier: How to Bury a Millionaire (1998) See more »

Soundtracks

Street Scene
Written by Alfred Newman
[Was also the opening theme in "The Dark Corner" (1946).]
See more »

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User Reviews

 
Wonderful as history
29 June 2008 | by Ron in LASee all my reviews

Romantic comedy starring Lauren Bacall as a model who bluffs her way into a sublease of a swanky Manhattan apartment rooming with two model friends with each scheming to marry a millionaire. This is an entertaining but superficial chick-flick meditating whether a gal should marry for love or money, or if you can maybe get both. Along with The Robe this was the premiere event for CinemaScope, and it also provided a breathless introduction to stereophonic sound.

As a romantic comedy it is imperfect, and it is ironically hampered by the very things that made it important in its original release. The grand images intended for magnificent CinemaScope will only appear smaller than normal on your small-screen television with horizontal black bars, or will be absurdly distorted to fit the aspect ratio of your monitor. And the stereo means nothing to us now, so the film's frequent side-trips into sound and scenery gimmicks are only a distraction to us now.

But as a historical peek at its time this film really delivers. You get the tacky materialism and newly-found hedonism of the beginning of post-war prosperity in the early 1950's, as well as a nervous examination of the changing social mores around the role of women. Plus you get a wonderful record of what New York City looked like circa 1953, and a gee-whiz tribute to the new phenomenon of commercial air travel.


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