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Let's Make Love

Let's Make Love(1960)

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  • painfully mediocre

    • Eric Fry
    • 6/4/12

    This is a dud for all concerned. A comedy without humor. Mostly mediocre songs performed in a cramped, dark setting. Wasted everyone's talents. Just shows that actors can't be better than the script.

  • Marilyn Monroe in Cukor's

    • David Atkins
    • 9/19/10

    Marilyn Monroe after the smash hit of "Some Like It Hot" owed 20th Century Fox her home studio which allowed MM to make one outside pix for another company but then had to make one for 20th demanded a Monroe picture to follow up and cash in on the great worldwide success of "Some Like It Hot" Greg Peck was assigned co starring role in this movie initially called "The Billionaire" to be directed by George Cukor approved by MM who had director approval. Peck realized that this was going to be "All About Marilyn" and left the film. 20th asked Rock Hudson to take the lead and MM even offered to make a movie for Universal, Hudson's home studio but Rock declined. Eventually little known in the USA French Star Yves Motand was selected by MM and her then husband Arthur Miller, and the film retitled "Lets Make Love" What resulted was a torrid Monroe-Montand affair, the Miller-Monroe marriage in tatters and a film that has little of the style George Cukor was known for. Seen today it has a novel charm and yes it is "All About Marilyn". In fact 20th should have called the movie "All About Marilyn"

  • Citizen Kane the musical?

    • Jarrod McDonald
    • 10/26/09

    This seems like a thinly veiled portrait of real-life billionaire William Randolph Hearst and his lady love, Marion Davies, whom he met when she was performing as a Ziegfeld girl. The prologue of the Clement family is meant to suggest the wealthy Hearst dynasty. But casting Yves Montand, after others failed to sign on for the project, definitely takes it in a different direction than Citizen Kane.

  • Sorry. I've got a headache.

    • DougieB
    • 3/28/09

    This one is a puzzler. After superior work in recent years, Marilyn somehow wandered into this miasma of so-so songs and so-so jokes. Who was she getting advice from? Milton Greene was gone after The Prince and The Showgirl, so I'm guessing Miller. He apparently offered his services as script doctor and put some polish on a few scenes, but it was way beyond cosmetic repair. Maybe she'd already set her sights on Montand, but he was a relatively late arrival, after Gregory Peck and Cary Grant had passed. Maybe she just didn't care, she was so anxious to get her contract with 20th out of the way. To be blunt, thirty-something Marilyn was too old for this kind of ingenue role, but she gives it a respectable effort. "My Heart Belongs To Daddy" is a standout; it's one of the better musical numbers of her career. The real problem is Montand. Yes, his English was weak, but something about his comic timing tells me he probably couldn't get a joke across in his native language either. When I see this today, I think "Please, Marilyn, don't fall for this lug.", but there's no getting around history, is there? It's too bad Something's Got To Give never got completed, because that role of a middle-aged young mother would have put her right where she should have been career-wise, instead of recycling this kind of show biz nonsense. (There is a GREAT restoration of SGTG on Marilyn: The Final Days.) Let's Make Love is a pleasant enough amusement if you're easily amused, but it would have made more sense for the young Ann-Margret, but not for the sublime Marilyn Monroe.

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