Thanks for the memories!

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

There's a good chance the film will make you laugh out loud, but if it doesn't, there's an even better chance it will make you openly sob.

Billionaire Jean-Marc Clement (Yves Montand) is the result of a family fortune cultivated over generations. His PR guy Alexander Coffman (Tony Randall) tells him about an unflattering portrayal of him in a Broadway start-up and he decides to go see for himself. He is taken with leading lady Amanda Dell (Marilyn Monroe) as she performs a sexy number. When he's mistaken for an actor auditioning for the role of Clement, he decides to take the part as Alexandre Dumas while trying to woo the beauty.This is the second to last movie for Monroe and the first American movie for veteran French actor Yves Montand. Her husband Arthur Miller expanded her role to basically a co-lead of the movie. She still has that magnetic stardom but the movie lacks the ability to make something iconic. It's a little sloppy. Montand is playing a stiff billionaire and his heavy French accent doesn't help. Just as the movie seems to be stalling, Milton Berle comes in to inject a bit of humor like the story. It works best when Montand is actually funny. The problem is that his character is not suppose to be that good and he's restricted by this character flaw. Essentially, he is acting with both hands tied behind his back. He manages to throw in a few funny lines but this movie needs more. All the cameos are a fun idea but the execution is less humorous than expected. In general, this is less than expected.

The story of Jean-Marc Clement and his pretty chorus girl is so widely hated and depreciated among the critics I always get surprised when I find myself enjoying it. Sure it's overlong, from a good half an hour, sometimes dull and never truly believable: why they kept the introduction sequence is a mystery. Also, as often with musicals of this era, the camera practically never moves.Still, there are noticeable good points: the score makes for a pleasant listening, from the classic Cole Porter 's"My Heart Belongs to Daddy" (the only number really well staged) to the romantic, jazzy themes "Let's Make Love", and "Incurably Romantic". Marilyn sings and dances with her own soulful abandon, and as an actress, she will only disappoint those who do not like her at all. I, a fan, thought she was right on my money. There is true charm in her portrayal of Amanda, an everyday beauty queen who knits between sexy numbers, good comic timing too -although she overacts a bit the final scenes. And with her pale blonde hair and tired gaze, she looks almost younger than in the 50's. Some biographical allusions -like the night school- and the fact she's supposed to be an happy-go-lucky, "at home wherever she goes" make sit ultimately poignant. As for Montand, in charge of a difficult task after Gregory Peck and James Stewart had said "no", he looks surprisingly at ease. Apart from the heavy french accent, his approach of the Clement character is cleverly unexpected : while everyone thinks of him as an icy, pompous businessman crossed with a self-assured playboy, Clement appears as always charming and suave, exceedingly polite, widely smiling and very stiffly dressed. As a result, it makes impossible for the viewer not to go for him -specially as once he poses as a struggling extra, he gets humiliating indifference and mockery from everyone. The trouble is the story becomes much less believable and a bit confusing : and while you care for the billionaire, you never get to understand him or the life he leads. The chemistry between the two stars is fine yet it never sparkles, much because of the script which until the very end imposes misunderstanding and a one-way relationship. The supporting cast is less reliable, from dazzling to forgettable. Theatre people have not much soul, although they're supposed to be the good guys : directors spend their time screaming, there's a mean blonde dancer and Frankie Vaughan, as the whining crooner, is no match for Monroe. On the other hand, Wilfrid Hyde-White is pleasant in a prototype for his Col. Pickering of "My Fair Lady". And young Tony Randall frankly excellent as the public relations man who gets disgusted by his boss's frivolity. Long before I got to love Randall as Felix Ungar, I thought he gave the subtlest performance of the movie. It's too bad that after a definite part in the first hour, his likable character stands aback in the shade with Hyde- White, to watch the seduction going on. One gets the feeling he had scenes cut or else added in the course of the film. Of course, one has to mention the three guest-stars that make most of the life in the middle dragging part, during which Clement learns how to be an artist. It turns out the shorter the appearance, the better it is and Gene Kelly is truly priceless in the one little scene he waltzes with Yves Montand. Bing Crosby and Milton Berle are nice too but the latter remains too long on the show.The script, which suffered many rewrites before and during the shooting is an odd mixture, including moving monologues by Arthur Miller (who, complained Peck, wanted badly to extent Marilyn's part), classic comedy stuff, good one-liners and awkward gags: the Elvis Presley satire comes from a long way. The charm and tenderness of some sequences does not work so well with the mechanical farce going around, leaving the general feeling of an of- balance movie. George Cukor was not the ideal musical director and he fails to reconcile human comedy and singing lavishness - although he would score a triumph a few years later with "My Fair Lady", but then the script was of better quality. One may wonder what "Let's Make Love" would have been, with sharper writing and wiser editing. But there's enough good to contradict the severe critics, as long as Monroe, Randall and sometimes Montand are around. So forget the faults. Enjoy the stars.

Marilyn Monroe was at the top of the Hollywood star ladder as the Star of Stars when assigned this movie by her home studio 20th. Marilyn Monroe had just had the smash hit of her career with Some Like It Hot (A United Artists film) and 20th wanted to cash in on the MM popularity. Marilyn Monroe had been announced for another UA film John Huston's masterpiece The Misfits co starring Clark Gable and 20th insisted on a Monroe film before MM was allowed to do another film outside 20th. (between 1956 to 1960 while having the greatest star in Hollywood under contract 20th Century Fox did not cast MM in a movie however the very shrewd MM had a play or pay contract and when the studio announced her for Wild River and The Blue Angel but those deals did not materialize MM demanded and got her salary for those films!) Much has been written about this film and when it was released I was disappointed, having seen it recently on the Fox Movie Channel, I now find Lets Make Love charming and Ms Monroe enchanting. George Cukor among the "Approved Directors" on MM's short list ( others were Wilder, Huston, Hitchcock, Wyler, et al) was said to be a director aware of the nuances of a female star's personas ( Hepburn, Garbo, Crawford, Leigh, Holiday, Loren all raved over Cukor.Marilyn Monroe looks stupendous in this movie,and is given fine support by a cast of professional's such as Wilfrid Hyde White, Tony Randall and cameos by Milton Berle and Bing Crosby. Yves Montand, who had a legendary fling during the filming of the movie with MM, is fine as The Billionaire.

I can see why this is a bit of an underrated film, but it does have some good routines and songs, and a good performance from Marilyn Monroe, in her penultimate film before her tragic death. Basically French billionaire Jean-Marc Clement (BAFTA nominated Yves Montand, who at the time was really with Monroe) has learnt he is being satirised in a Broadway show. At the theatre where it is happening, he sees Amanda Dell (Monroe) rehearsing the song "My Heart Belongs To Daddy" (the first song), and not knowing his real identity, the director casts Clement to play the role (of himself). Clement, posing as Alexander Dumas, he takes part to see more of Amanda, and goes through some auditions, along with singing, dancing and joke lessons, with the help of It's a Mad, Mad, Mad, Mad World's Milton Berle, singer Bing Crosby and Singin' in the Rain's Gene Kelly. Obviously Amanda in the end does discover Jean'Marc's real identity, but she can't resist him and his charm, so thank goodness there is a happy ending. Also starring Pillow Talk's Tony Randall as Howard Alexander Coffman, Frankie Vaughan as Tony Danton, My Fair Lady's Wilfrid Hyde-White as George Welch/John Wales, David Burns as Oliver Burton, Michael David as Dave Kerry, Mara Lynn as Lily Nyles, Dennis King Jr. as Abe Miller and Joe Besser as Charlie Lamont. The highlights for me are obviously the first song, the title song, and ultimately, both Montand and Monroe's performances, definitely worth watching. It was nominated the Oscar Best Music for Lionel Newman and Earle Hagen, it was nominated the BAFTA for Best Film from any Source, and it was nominated the Golden Globe for Best Motion Picture - Musical. Marilyn Monroe was number 39 on The 100 Greatest Movie Stars, she was number 6 on 100 Years, 100 Stars - Women, she was number 3 on The 100 Greatest Sex Symbols (she could have been number 1), and she was number 11 on The 100 Greatest Pop Culture Icons, and the film was number 1000 on The 100 Greatest Musicals. Good!