Customer Reviews

Let's Make Love [VHS]

5 star:		(12)
4 star:		(9)
3 star:		(5)
2 star:		(6)
1 star:		(1)

 

 

Let's Make Love is, sadly, not one of Marilyn Monroe's better films. I feel bad about it because apparently this film was essentially a contractual obligation and Yves Montand doesn't even look right for her onscreen--I find it hard to picture the off-screen... oh, oh, well.

Anyway, the action begins when the French billionaire Jean-Marc Clement (Yves Montand) finds out his life and playboy scandals are being publicly spoofed in an off-Broadway play. Upset about the possibility of negative press, Jean-Marc hurries down to the theater with his main PR man Alexander Coffman (Tony Randall). Naturally, he does find out he IS being made fun of--but his worries are sidetracked when he lays his eyes on Amanda Dell (Monroe), the female lead in the show.

Jean-Marc and his associates set things up so that he can masquerade as an actor to be closer to Amanda; and as time goes by Jean-Marc forgets about his reputation being slandered. He only wants Amanda for his wife. Of course, the fact that Amanda is involved with another actor named Tony (Frankie Vaughan) doesn't help much.

Look for some wonderful songs by Frankie Vaughan; and Marilyn at least scores one big one with her song and dance classic number, "My Heart Belongs To Daddy." It's not that she looks tired in this film; it's that she's grossly underused. That surprises me because George Cukor, the director, was particularly well known for bringing out the best acting from his leading ladies during production.

After several silly plot twists, Jean-Marc realizes he's got to hire some professionals to help him get Amanda's attention. We therefore get some wonderful cameos by Milton Berle, Bing Crosby and Gene Kelly. They do a wonderful job although Milton Berle wasn't as funny as I hoped he would be.

Of course, from here the plot can go anywhere. Will Jean-Marc ever disclose his true identity to Amanda--and how will she react when she knows he's been a faker all this time? How will Tony handle it if Amanda leaves him for Jean-Marc? Watch the movie and find out--I don't give plot spoilers!

The DVD has a couple of interesting but very brief comparisons between what the film looked like pre-restoration and after restoration; but that's about it. Sigh.

Overall, Let's Make Love is a tepid motion picture to be saved for when there's nothing good on television and you want to see a Marilyn Monroe movie. The acting is only fair; in fact Montand looks more weathered than Marilyn! It's a good movie; but nothing that you should go too far out of your way to see. Sorry, guys.

There are two types of movies, #1: the kind you have high expectations of and go rent it or see it in theaters or rent etc. etc.; & #2: the kind you come across one day and go "What's this?" and watch it.
"Let's make love" was fit for #2 (which is how I first saw it,) yet has follen a victim to #1.

I had first seen "Let's make love" on TV and found it rather entertaining and found the characters likable, maybe even lovable. I could relate to Clement (not for having all that money but) his feeling for the Monroe character. The scene where I could most relate to him is when the cast of the musical is notified that the musical doesn't have to worry about money anymore, with that Monroe gives a BIG graciouse hug to her friend Toney (NOT Clement [Yves Montand]) the look on Clement's face is a pretty anguished one.

Others don't like this film because of the supporting role Marilyn has, it's rather arguable if her role was a supporting one or not. Yet if this is a supporting role for her it shouldn't really be a bad thing, let's face it, Monroe's best film's have her in (do I dare say it:) supporting rules, such as "The Seven Year Itche," there is only four major segments of the film she is in (five at the most), and in "Some Like it Hot," the audiance has to wait a lenthy thirty minutes (the waiting is made easier by a chaming Toney Curtis & Jack Lemon) until we see Marilyn. It's not to bad though, after all, absence does make the heart grow fonder.

When "Let's Make Love" was first released by Twentieth Century Fox in 1960, it was eagerly awaited because of the original teaming of superstar Marilyn Monroe with the French actor Yves Montand. Directed by the legendary George Cukor, who certainly could handle musical comedies as his work on the 1954 "A Star Is Born" and the 1964 "My Fair Lady" demonstrates, there was every reason to believe this would be a very entertaining film.

However, even in 1960, when the film seemed rather daring in many ways, it was just not quite as good as one had hoped. Looking at it again, after many years, this writer had hopes that there might be something I missed when I first saw it. Sadly, the film misfires on a number of things. The magic between Monroe and Montand is just not there, and that's remarkable because we all heard about their offscreen love affair (which Montand's wife, actress Simone Signoret, tolerated, believing it would quickly end as it actually did). Nevertheless, one can see glimpses of the talents of both stars and I still remain impressed with Montand's very capable dancing and his competent singing.

Marilyn seldom looked as beautiful and sexy as she did in this film. Her costumes were quite sensational in 1960. Her hair had been changed to the popular bouffant style of the time. Her best singing in the film is in an updated version of the Cole Porter classic, "My Heart Belongs To Daddy." Her voice, however, had become increasingly husky and it often made it hard to understand the lyrics of the songs written for the movie, including the title song.

In the story, Montand's character is aided by Milton Berle, Bing Crosby, and Gene Kelly, in rather delightful cameos. They try to help him with his comedy, his singing, and his dancing and, typical of Hollywood magic, he does succeed in impressing Monroe's character, who is so taken with singer Frankie Vaughan. However, it is still difficult to believe that she would actually drop Vaughan for Montand, despite learning the truth that he really IS a billionaire. By the way, I was quite impressed with Vaughan's smooth, sophisticated singing.

Almost lost in the shuffle with the wonderful Tony Randall, who did so well in dealing with another Fox sexpot, Jayne Mansfield, in "Will Success Spoil Rock Hunter." Randall turned in one of his typically delightful performances, as he tried to help Montand in his efforts to attract Monroe.

This film proved to be the last production that Marilyn Monroe completed for Twentieth Century Fox, where she had made most of her films. It was followed by the intriguing drama "The Misfits," directed by John Huston, the only time she worked with Clark Gable (in his very last film), and another musical comedy at Fox, "Something's Gotta Give," also directed by Cukor. It has been well-documented how Monroe's increasing dependency on prescription drugs interferred with her work and led Fox to fire her, only to reconsider it just before she died in early August 1962, at the age of 36.

Marilyn Monroe is my favorite actress of all time, and this is one of my favorite Marilyn Movies. And it has some really wonderful songs, like "My Heart Belongs to Daddy", "Specialization", "Let's Make Love," and "Incurably Romantic". Not to mention all the guest stars! I thought the performances of all the actors involved was great. Marilyn, as always, absolutely shines, and Yves Montand is very entertaining in the role of Jean Marc Clement. I'd recommend this movie to anyone.

This is a wonderful movie. Reading the reviews, I saw so many put-downs of Yves Montand and I totally disagree. He was a wonderful actor, world-renowned and carries this movie totally. Just because many Americans don't "get it" when it comes to the French does not make him any less talented. This was his movie...HE was the main character, while Marilyn's character is more distant and viewed primarily through Yves' eyes.

Marilyn does the best she can with some obvious weight and other issues and the fact that she performed so well even with these problems made me respect her all the more. The flaws in her appearance (like a minor scratch on a diamond)actually gave the film more credibility and made it plausible that a man who had had his fill of perfect plastic beauties would fall in love with her! I do agree she was somewhat distant, but some of that had to do with the script. I think it is hard for some people to accept her in a supporting role at that point in her career and see a Frenchman with the lead.

Frankie Vaughn was stunning and ready for Broadway in his Tony Danton role and I do wish they had developed him a little better (there was no dialogue between his character and Montand's which was strange). If you can put any cultural biases aside you are in for a real treat! I do not give it a full five stars due to the technical problems with the film print but it is a jewel.

I don't understand why the critics hated this film so much, this is my favorite Marilyn film! They said that she looked tired and heavier than usual in the films, but I think it's the best she ever looked. Wonderful musical score. Loved the storyline!

Bad plot, bad script,some bad music choices..but Marilyn shines in her scenes! "My heart belongs to Daddy" is right up there with her classic performances (diamonds are a girl's best friend..) and any other musical numbers she is in are decent. This movie is interesting to watch just for the stuff that went on behind the scenes. Marilyn's marriage to playright Arthur Miller was already strained, her fling with co-star Yves Montand becoming public knowledge. Marilyn looks worn out in this movie, a tad heavier than she ever was before. Yet she carries this mediocre movie all by herself. That's why she is the best!

I wish I could say I really loved this movie. I really do. Personally, I don't think I've ever seen Marilyn look sexier than she does with her romp through Cole Porter's "My Heart Belongs to Daddy", in that blue sweater and black stockings. Yowza !! And I like her with that little bit of extra weight ! But now, onto the movie. It, quite frankly, stinks. As other reviewers have noted, there is no on-screen chemistry between Yves Montand and Marilyn, which, also noted, is wierd for a couple that had a brief, off-screen affair. The story itself of a French billionaire falling for an off-Broadway actress who apears in a musical that portrays him in an unflattering light...well, let's just say it's not very believable. Marilyn seems to realize herself that the script itself is weak; it often seems like she is sleepwalking through her lines. Tony Randall is completely wasted. George Cukor's direction seems uncertain; it seems as though he and the rest of the crew walked away during those long, suffering, boring, close-up romantic conversations between Montand and MM that dominate the film because they realized the script stunk and there were no sparks on-screen whatsoever. And that cinematography...it seems like every time they show Marilyn, someone smeared Vaseline on the lens to give her a sort of "being in a fog" look, even though her beauty does shine through.

In the end, though, this is one of Marilyn's weakest films. Good to know that she bounced back wonderfully in her next - and last - outing, John Huston's 'The Misfits'. Makes you wonder how 'Something's Got to Give' would have turned out had she lived.

Marilyn Monroe and Yves Montand are delightful in this romantic comedy supported by Tony Randall, Wilfred Hyde White and Frankie Vaughn (a great talent who became a big star in his native England). The musical numbers are fun but the real pleasure is the interaction between Monroe and Montand. The actors, particularly Montand, play their roles "straight" rather than as cartoon characters which allows the quality of the screen play to come through.
The one part of the film that seemed gratuitous was the part that had Montand's character "tutored" by Milton Berle, Gene Kelly, and Bing Crosby. However the film survives this detour and succeeds anyway.
If you are a fan of Monroe and Montand and are in the mood for lighthearted entertainment this is a very satisfying movie.

The fantastic musical numbers alone make this movie worth watching at least a hundred times and Monroe's being in them is 90% of the reason why. Frankie Vaughn is great in all his musical numbers with Marilyn and Montand did an amazing job in his first English role, shifting smoothly between scenes with a more serious tone and ridiculous comic scenes. And 'Lack of Chemistry' between Montand and Monroe? Not so. You can very much feel the connection between them but it's a deeper chemistry born out of a true appreciation of each other's artistry rather than the common surface chemistry. This deeper transcending connection of the real people acting the parts is there for all who can pay close attention veiled behind what the parts themselves call for which is 'lack of chemstry' between them and Montand's silly attempts to impress her and create a connection. We slowly watch the surface-movie-parts chemistry and the sexual tension develop while the movie gets most of its laughs from making Montand look ridiculous--at the same time the deeper underlying chemistry being always at work whenever they share the screen.

Monroe was in more or as many scenes here as in "Some Like It Hot" and "Seven Year Itch." Whether Monroe initially hated the part she was given to do by Fox under contract--or not, is a moot point since it does not show through one bit in the role. She rises above any misgivings to deliver maybe her best performance after "Bus Stop," her most fully realistic, reality based comic role, a further demonstration of the remarkable acting talent that was struggling to be recognized amidst all the sex-symbol hoopla. In all the non-musical scenes, she refuses to play the dumb blonde caricature and instead plays a real woman, close to what she was like in real life, one whose intelligence and wit shows through and all the comic nuances she adds are firmly rooted in and arise from that base and not some two-dimensional cliche. She's been through a lot by this point and has acquired quite a bit of 'soul' and taps into it regularly without over-playing that angle and overpowering the light comic tone of the film.

The writing has plenty of wit to spare for every scene and the directing is expert and very detailed. One of the best scenes in the movie doesn't even involve any of the principal leads and features a hilarious attempt by the nearly bankrupt theatre manager to bluff his way into a better bargaining position against Montand's secret representative who is ready to pay his debts for a share of the business. I also love how they absurdly stretch the ending out with Montand saying repeatedly that he's Clement and Monroe refusing to believe it even all the way up to his office and in front of his secretaries because she thinks that his obsessive dedication to acting the part of Clement has driven him so much into the character that he's stuck in it and can't escape! Just the fact that they even conceived of and wrote a scene like that and Cukor got Montand and Monroe to subtly act it to perfection makes this movie unique and special among the comedy/musicals.

The DVD transfer is excellent but there are no special features other than a couple of trailers.