Let's Make Love

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.

This is one of my favorite Marilyn films. No, let me amend that--this is one of my favorite Marilyn performances. She is sweet, natural, sympathetic, adorable. She has no character to play and no script and no director (Cukor was sliding fast at this point) But she and Montand are lovely together; two great charmers surrounded by an overblown 60's confection of "guest stars" and constant costume changes (although some of Marilyn's outfits are so flimsy one wonders why they bothered to dress her at all?!) "My Heart Belongs To Daddy" is classic MM, but I have a perverse fondness for "Specialization" with Monroe hopping around (she really couldn't dance) in this INCREDIBLE gown, belly and backside bulging, a Reubens come to life. It's a very minor film, especially sandwiched between "Some Like It Hot" and "The Misfits" but there is pleasure to be found if you're into Miss M.

I was pretty unimpressed with this movie, to be frank. There was something about every aspect of it that didn't quite add up and you're left with an essentially dull film, which you're not really too concerned about by the end. I am a huge fan of Marilyn but I don't feel she was at all her best in this picture, and I don't think that's entirely her fault - the film around her is incredibly flimsy. The dialogue is often wooden and unconvincing, and Montand's character and his storyline are just totally unbelievable - nothing of what he says or what he does was convincing to me and this really brought the film down very hard and very quickly. The musical numbers are pretty standard fair and were nothing Marilyn hadn't done before. The film didn't make me laugh and I didn't care what happened to the characters. If anything I was only sad the talented Marilyn Monroe was a part of the film - as her portfolio shows she was deserving of far higher quality films than this. I can't recommend the film as it's not really worth your time and you probably won't enjoy it - if you just want to see all of Monroe's film's than see it, but otherwise don't bother.

Okay, I'm one of the biggest and most loyal Marilyn fans, but this movie sucks. Her character is at times cute but not nearly as cute/lovable as her other "dumb blonde" roles such as The Girl in "The Seven Year Itch." I do not like Yves Montand or his character - sorry to go with stereotypes, but he is the "Dirty Frenchman," spying on her, finding out her address and personal information, twisting things to get her affection, being cloyingly (and not convincingly) sweet to "win" her...And as far as theplay that was going on...okay, though I loved the number, what does "My Heart Belongs to Daddy" have to do with the play's supposed point? And if you'll notice, Yves is not very good at anything, even after all those people try to help him sing, but funny, etc. Yet they keep him on the play when Amanda's boyfriend is doing all the rehearsing for the Jean-Marc character. So does he have teh part or not? And if not, why is her still there?! Nothing in this movie fits with what it's supposed to be doing! I've read that Marilyn did not like this role, and neither did I. She may "have a heart of gold," and all those other cliches, but the character is just dumb (despite her going to night school - she should get her money back). Like I said, I love Marilyn but...even she saw how absurd this film was! If you're interested in Marilyn's best "dumb blonde" characters, I suggest you go see "The Seven Year Itch," "Some Like It Hot," or "Gentlemen Prefer Blondes" with its superb "Diamonds Are A Girl's Best Friend" song (though her character in this movie is not really dumb...go see it, you'll know what I mean.)

This has got to be one of the dullest films MARILYN MONROE ever did--and equally dull is her leading man, the French accented YVES MONTAND who must have left his heart and his talents in France for the duration of filming.

He's simply bland with a capital B and very unfunny. And when MILTON BERLE, GENE KELLY and BING CROSBY attempt to give him pointers on how to be an entertainer, they're impatience with him is understandable. Whatever magic Montand had in his homeland is obscured here by a witless script and poor direction from George Cukor, who even manages to make Marilyn look less than believable as a wistful showgirl.

The faults extend to the songs to. The only reasonably good one is "My Heart Belongs to Daddy" done in a rather coy and simpering style by Monroe but nevertheless, it's the only high point in the whole show. Everything else is better left unmentioned.

Summing up: A waste of two stars who, incidentally, have no chemistry together, at least on screen. Off is another matter.