Let's Make Love [DVD]

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Montand has to act silly, which must have been as painful for him as it was for his character, a multi-billionaire trying to win Miss Musical Star, Marilyn. Watching the male singer in this movie was funny, as it reminds you of the 40s and the Dean Martin style crooners. Watching Bing Crosby and Milton Berl teach Yves how to sing and be funny was a hoot!!! "Don't 'bubba-boo-boo', or you'll get arrested," Bing suggests. Watching Milton berl walk on his ankles wasn't all that funny, but this was the 60s after all.

It is quite possible that Marilyn felt Cukor was more sympathetic to the character she was playing than other directors had been to her roles in the past. The veteran director was probably at least partially responsible for her cooperative attitude. Clement uses the opportunity to court Amanda, who continually expresses her distaste for irresponsible, playboy-type billionaires. Predictably, Amanda falls in love with Clement, whom she believes to be merely a starving actor.

Much of the credit, however, must go to George Cukor, an "actor's director" who enjoyed a reputation for bringing out the best in his female stars; Katharine Hepburn was just one of the legendary figures who admired Cukor's sensitive treatment of female characters. With Marilyns clout at 20th Century Fox studios one wonders why she chose to take the role as Amanda Dell. She's not altogether bad as the character. The script simply had little to offer her. But I have to say after repeated viewings, the film has grown on me. I am a huge fan of MM and to be fair Monroes first appearance singing "My heart belongs to Daddy" is a clever and exciting opening performance. What an entrance, she is on fire in this 3 minute masterpiece. I love the kiss and wink and staging of this classic piece. That scene is the best musical number in the picture. This sequence might have been filmed and added at the last minute after 20th Century Fox exec's saw a rough cut of the film.

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. Vitacco-Robles, Gary (2014). Icon: The Life, Times and Films of Marilyn Monroe Volume 2 1956 TO 1962 & Beyond. BearManor Media. ISBN 978-1593937751. There is plenty to work against the film: Cukor's almost non-existent direction, the rather dreadful musical numbers, Yves Montand's irritating performance and the wasted opportunities of the star cameos. Montand played billionaire Jean-Marc Clement, a world-famous playboy whose eyebrows are raised when he learns of a theater troupe's plan to satirize him in a musical revue. These ingredients, though contrived, are far from hopeless. Unfortunately, the slight script makes use of Marilyn's image but not her talent.

Monroe sat with co-star Montand as he enjoyed a smoke. Only a sliver of Dallinger's output — he shot more than 58,000 photos during a career that lasted until the early 1970s — made it to print, and a vast majority never has been seen. Intending to stop production, Clement appears at a casting call for the play, where he is immediately smitten by the character played by Marilyn, a singer-dancer named Amanda Dell. Not realizing Clement's true identity, the director hires the billionaire to play himself in the show. I liked the musical numbers, and watching Yves' face do all its rubbery wrinkling numbers. He may have been a great actor because he could put on so many different expressions, but his best movie was the one where he's trying to run for office in a crooked Banana Republic (sorta like our present government), a Cost-Grava film.