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.
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.
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.
Billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue. He goes to the theatre, where he sees Amanda rehearsing a song, and the director thinks him an actor suited to play himself in the revue. He takes the part in order to see more of Amanda.Written by
Ed Stephan <email@example.com>
Marilyn Monroe disliked the script for this movie; she only signed on to end her contract with 20th Century Fox. See more »
Although the story takes place in contemporary 1960 New York City, the taxicab prominently featured is a 1947 DeSoto, typical of the Post-WWII era, but long since retired by 1960; obviously, it's a TCF studio prop left over from an earlier era. See more »
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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