Best movie of this year hands down!

An Exercise In Nonsense

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

The film may be flawed, but its message is not.

Producer: Jerry Wald. A Company of Artists (Jerry Wald) Production. Copyright 1960 by 20th Century-Fox Film Corp. New York opening simultaneously at the Paramount and the Trans-Lux 52nd Street: 8 September 1960. U.S. release: September 1960. U.K. release: 18 September 1960. Australian release: 15 December 1960. Sydney opening at the Regent. 10,675 feet. 118 minutes.SYNOPSIS: Monroe's 28th picture was supposed to be a satire of Howard Hughes entitled "The Billionaire", but Fox's lawyers must have advised no-no, and it became instead a sort of later version of "On the Avenue", made in 1937 by the same studio. Montand is cast as a billionaire industrialist who is told by his attorney, Wilfrid Hyde-White, and his public relations man, Tony Randall, that an off-Broadway satire aimed right at him, has not only been planned, but is now actually in rehearsal. So Montand and Randall go to the theater and actually discover our Marilyn rehearsing "My Heart Belongs To Daddy" (This particular rendition must rate as one of her very best singing attempts ever). Anyway, the show has not yet engaged anyone to play Montand. Therefore the stage director assumes that the real Montand is actually an actor who has come to audition for the part. Needless to say, the real Montand is hired instantly. — Adapted from a resume in the Motion Picture Guide.NOTES: Lionel Newman and Earle H. Hagen were nominated for a prestigious Hollywood award for Scoring of a Musical Picture, losing to "Song Without End".Miss Monroe's coach on this one was Paula Strasberg, her make-up man, Whitey Snider. Her then husband, Arthur Miller, was present for much of the shooting and is reported to have written additional dialogue for Marilyn.Hollywood debuts for Yves Montand, Frankie Vaughan and Wilfrid Hyde- White. Despite great publicity breaks, shoals of ballyhoo and marvelously enthusiastic reviews, box-office results in both domestic and foreign situations were disappointing. COMMENT: Cukor's ability to extract engaging performances from temperamental females is much in evidence in this delightful comedy: — as is his facility in surrounding himself with the very best artisans in every department.I'm tempted to write that the accent is firmly focused on style, but director George Cukor is too farsighted a director to over-emphasize the movie's luxurious settings, creative camera-work and imaginative choreography at the expense of his cast; or to under-emphasize the demurely seductive playing of Miss Monroe, the Gallic, volatile quality of Yves Montand, or even the delightfully dry acidity of Wilfrid Hyde-White, at the expense of Norman Krasna's witty script.OTHER VIEWS: One of the brightest, if slightest, musicals of the year. The situations, once the exclusive domain of Dick Powell and Ruby Keeler, sparkle with witty lines and fresh sight-gags. - Arthur Knight in "The Saturday Review".

Let's Make Love, 1960 * * Verdict: mostly boring. On the positive side: opens with an interesting, imaginative introduction of the main character. The first half of the film is quite tedious and boring. Things improve a little in the second half with pace and dialogue improving and appearances by Milton Berle, Bing Crosby and Gene Kelly, playing themselves in the film, as they give advice to help our French main character learn comedy, dance and singing.The story concerns a French billionaire, who learns a stage play will be made, one which makes fun of him. He visits a rehearsal of the play and is mistaken as an actor. He decides to take advantage of this and accepts an offer to be in the play, to try to save his reputation from being tarnished. Along the way, he falls for a young female actress (Marilyn Monroe), also rehearsing for the play.For those familiar with Marilyn Monroes's films of the 50's, she was a bit overweight here. In her case, that does not detract much from her overall beauty, sensuousness and charm. As a lead character, Marilyn Monroe does not have much of a role to play here, the same old boring sex siren, this time in a stage theater setting.The Frenchmen Yves Montand, is the acting highlight, to help brighten up an otherwise mostly dull film. He has some moments of genuine charm and humor. A paycheck for Marilyn Monroe, but a waste of her comedic and dramatic talents as a film actress. She would next go on to "The Misfits", a dark and sad film and after that, was filming another comedy, "Something's Got To Give", when she was fired from the studio, hired back and shortly later, died alone, tragically at home.

Yves Montand plays wealthy tycoon who finds he's being spoofed in a new musical revue; he strikes back by getting into show business himself. Tired backstage shenanigans looks like a remake of 1937's "On the Avenue" with a sex-reversal, none of it helped by George Cukor's uninspired direction. The glossy coating over this fluff is so thick, the actors look smudgy and perform lethargically, particularly Marilyn Monroe (who was reportedly having an affair with Montand during the movie's shoot). This all must have looked promising on paper (what with star-cameos delivered and the usual run of intermittent ditties), but the results fail to generate any sparks. This nearly put the kibosh on French star Montand's bid for Hollywood stardom; he seems itchy and uncomfortable. * from ****

Not regarded as one of MM's best films by her legion of fans. "Lets make Love" isn't as bad as one might think. Gregory Peck and Carey Grant were originally asked to be her co-star, but after reading the script I guess they soon declined. Neither were game to play 2nd fiddle to a screen sensation.Plot line reads as follows: Rich man (Yves Montand) wants poor girl.(M.M.) Rich man pretends to be poor. Rich man gets poor girl then looses her after he tries to tell her the truth. Rich man eventually woos and gets the girl. 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. Marilyn does look very comfortable and relaxed on the screen. But, at times she appears distracted.(Probably George Cukors uneven direction) There is something a little charming about the whole production. The musical score will grow on you and "Incurably Romantic" is very well done. This film was nominated for an Oscar for best musical score. I also loved the fantasy sequence with Yves and MM in the board room on the table where she is knitting with gold yarn. She even makes that chore look sexy!Marilyn and Yves are finally given a chance to show some real spark in the final scene of the movie when the whole charade comes to a close. Trapped in an elevator (and looking her best in the film) with a starry eyed Yves, Marilyn finally succumbs to his musical rendition of the title of this movie. They kiss passionately and we finally see AND hear what all the gossip was about. Her very heavy breathing during the kiss is caught on film, just turn up the volume... there is nothing "Method acting" about that! Aside from her sensitivity, intellect, and training with the Strasbergs this is what Monroe the movie star sex goddess was about.A fine line between acting and reality was beautifully blurred in "Lets make love"s final 2 minute scene. Released in 1960 The audience when asked "Lets make love" apparently said no thanks. The film was a box office failure.