Let's Make Love [DVD]

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On the set, Marilyn cooperated with director George Cukor and other cast members -- agreeable behavior that was in stark contrast to her conduct on her last two productions. It is likely that Marilyn was emulating Montand's professionalism, a quality she admired in him. I'd heard a lot about this film since I was a boy, but had never had a chance to see it, probably because it was deemed to racy at the time for younger audiences. Well, now I've seen it, and not only do I wish I hadn't, I wish it had never been preserved. Then again we need poor films in this world to remind us good films are good in the first place. Too bad Marilyn had to be in this one. Still, according to some accounts, she was taking more drugs than her new California psychiatrist, Dr. Ralph Greenson, thought safe. After the film was completed, Montand broke off his affair with Marilyn. Apparently, he had no intention of leaving Simone Signoret. 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.

This scene from Let's Make Love seems to encapsulate the personal unhappiness that Marilyn was feeling at the time. However, considering Marilyn's increasingly fragile state and growing tendency to disengage herself from everyday existence, the relationship with Montand was a destructive event in her life. Let's Make Love is a 1960 American musical comedy film made by 20th Century Fox in DeLuxe Color and CinemaScope. Directed by George Cukor and produced by Jerry Wald from a screenplay by Norman Krasna, Hal Kanter, and Arthur Miller, the film stars Marilyn Monroe, Yves Montand, and Tony Randall. It would be Monroe's last musical film performance. Taylor, Miller, and Marilyn formed their own production company for the purposes of producing the film. All parties were eager to begin because Miller's dramatic and thoughtful script promised to showcase Marilyn's acting talents to their fullest extent.Whether the two stars began their love affair at this time, or whether it had developed earlier, is unknown. Montand has always claimed that Marilyn was the aggressor; if so, he did little to discourage her.

I have a hard time understanding why a slim minority heaped praises on this film. The film goes absolutely no where, and as far as French males go Yves Montand is one of the least attractive Europeans I've ever seen (and that's putting it too mildly). Surely Monroe's character has better taste than this? The drama that took place away from the set of Let's Make Love -- Marilyn's affair with Montand -- was infinitely more interesting than the film itself.

Let’s make love

The musicals are ghastly, the production is weak and the plot is sketchy; only the performances try to save 'Let's Make Love's' face. I would say the best actor in the movie would be Wilfred Hyde White, who mouths the line "You made a terrible/risky decision by mortgaging your house for this (to save his theater)" to the theater owner. I would add that George Cukor made a terrible decision of getting big actors such as Monroe and choosing such a script for them". Soon after shooting of Let's Make Love got underway, both Miller and Signoret were called away from Los Angeles, leaving Marilyn and Montand alone. From left: Yves Montand, Marilyn Monroe and British pop star Frankie Vaughanat the Beverly Hills Hotel in 1960 . There're so many things wrong with this film. Drab costumes, uninspired numbers, miscued performances, wandering story and just overall poor direction that it's a wonder it was ever released at all. Though I suppose the studio had to recoup its losses somehow. 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!

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. a b http://www.tcm.com/this-month/article.html?isPreview=&id=489137%7C449837&name=Let-s-Make-Love [ bare URL]

Despite the real-life sparks generated by the Monroe-Montand liaison, Let's Make Love is a distinctly unengaging musical comedy and remains Marilyn's weakest starring vehicle. 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. Fox was pressuring her to do a film for the studio before embarking on another independent feature. Marilyn finally agreed to star in a frothy musical comedy entitled Let's Make Love, which apparently was the least objectionable of the scripts Fox had to offer.

The problems with the film are abundant even though I still think it earns a 7. That's because the plot is so very likable you can ignore the ridiculousness of the plot (it really is tough to believe) as well as that many of the song and dance numbers don't seem all that great. While Miss Monroe has a HUGE cult-like following, I don't think her singing and dancing were all that great--but she was nice to look at and did a better job at acting. Overall, it's a nice little romance and worth a look. However, Let's Make Love is a reasonably inoffensive way to waste an afternoon. The plot is slight and therefore doesn't require too much brain power to follow and Monroe is, as usual, cinema gold. Despite the fact that she is slightly overweight here and nothing much has been done with her in terms of make-up, hair or wardrobe she is eminently watchable. She gives a convincing, assured performance in her role turning the simple character of Amanda into a sweet, likable woman.

Marilyn Monroe

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. Appraisals at the time were mixed. The New York Times reviewer wrote that the film was slow going, that Marilyn Monroe looked "untidy", that throughout the film she is "fumbling with things in the sidelines...", and that Montand's accent was so heavy it was not charming, just hard to understand. The direction and script were criticized for not allowing Montand the opportunity to use his Gallic humor. The irony of having Bing Crosby and Gene Kelly brought in to give the pupil further lessons was noted. [10] The direction was further criticized because Monroe's appearance had changed very noticeably during the halt in production and under Cukor the differences had been exacerbated by poor costume, hair and makeup decisions, and by poor direction of the musical numbers. Poor editing was blamed for parts of the film seeming disjointed and for the use of stand-ins being easily noticed. It was reported that Fox executives wanted some of the scenes completely refilmed, but Cukor ignored such requests. Marilyn asked her husband to improve the script with an extensive rewrite, but even the Pulitzer Prize-winning author could add little to bolster the slight story. Solomon, Aubrey (1989), Twentieth Century Fox: A Corporate and Financial History, Scarecrow Press, p.252 [ ISBNmissing] Montand took at least part of the credit for her improved attitude when he remarked, "She's got so she'll do whatever I ask her to do on the set. Everyone is amazed at her cooperation, and she's constantly looking to me for approval."