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Let's Make Love

4.1 out of 5 stars 66 customer reviews

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(May 14, 2002)
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Editorial Reviews

Product Description

Known as one of the world's richest, most powerful and eligible bachelors, Jean Marc Clement (Yves Montand) is not amused when he learns that an off-Broadway show plans on parodying his fickle ways. He'll do anything to stop the show - until he meets Amanda (Marilyn Monroe), the production's real show stopper! In a classic case of "if you can't beat 'em, join 'em" he auditions and lands a role playing himself! Underwhelmed by his lack of talent, Amanda all but ignores his romantic advances. In a desperate attempt to get her attention he hires Bing Crosby, Gene Kelly and Milton Berle (as themselves), to help him get his act together and win the woman of his dreams.

A curious picture in many ways: Marilyn Monroe was the superstar, Yves Montand new to Hollywood, but she seems peripheral to the action and he's in almost every scene. Meanwhile, director George Cukor, always happy with theatrical material, can't make the off-off-Broadway milieu come to believable life. In short, Let's Make Love lacks the sparkle promised by its talent roster, and for Monroe especially the bloom is off the rose. This 1960 film was her next to last, and she appears weary, although isolated moments have the old oomph (and she has a terrific romp through her first number, Cole Porter's "My Heart Belongs to Daddy"). Cameos by Milton Berle, Bing Crosby, and Gene Kelly increase the time-capsule feeling. The biggest failing is the lack of chemistry between Monroe and Montand, yet offscreen they had a romance during filming. A curious picture indeed. --Robert Horton

Special Features

  • Restoration comparison
  • Stills gallery

Product Details

  • Actors: Marilyn Monroe, Yves Montand, Tony Randall, Frankie Vaughan, Wilfrid Hyde-White
  • Directors: George Cukor
  • Writers: Arthur Miller, Hal Kanter, Norman Krasna
  • Producers: Jerry Wald
  • Format: Anamorphic, Closed-captioned, Color, NTSC
  • Language: English (Dolby Digital 4.0), French (Dolby Digital 2.0 Mono)
  • Subtitles: English, Spanish
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 2.35:1
  • Number of discs: 1
  • Rated: Unrated
  • Studio: 20th Century Fox
  • DVD Release Date: May 14, 2002
  • Run Time: 119 minutes
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (66 customer reviews)
  • ASIN: B000062XG4
  • Amazon Best Sellers Rank: #223,234 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Let's Make Love" on IMDb

Customer Reviews

Top Customer Reviews

By Matthew G. Sherwin HALL OF FAMETOP 500 REVIEWERVINE VOICE on April 5, 2008
Format: DVD
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.
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Format: DVD
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.
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Format: DVD Verified Purchase
Hot on the heels of her smashing success in SOME LIKE IT HOT (1959), Marilyn Monroe's final "glamor girl" film LET'S MAKE LOVE turned out to be a surprising failure. Surprising that is until we examine the whys and wherefores.

Right at the outset, Monroe, who was slated to appear opposite Gregory Peck, demanded rewrites. During these star-imposed delays, Peck encountered other obligations and he bowed out of the production. Next, several leading men flatly turned the film down, including Jimmy Stewart, Chuck Heston, Bill Holden, Yul Brynner, Rock Hudson and Cary Grant. When director George Cukor suggested to Marilyn that they hire the unknown-in-America Yves Montand, she happily agreed with the choice. This was almost the last time star and director would work together harmoniously-- they never even spoke to each other while filming.

Sadly, Monroe's dual addictions to alcohol and barbiturates are both plainly evident in the finished work. In some scenes she's obviously glassy-eyed and dull-witted; in others so bloated as to appear 20 lbs. heavier than in the previous shot. Her talent remained intact though: MM's performance of Cole Porter's "My Heart Belongs to Daddy" remains among her very best, while a warm on-screen rapport with both Montand and Frankie Vaughan seems genuine.

The English-born Vaughan was a popular crooner in his native land but never caught on in America. A pity, for he had a marvelous voice-- similar to Tony Bennett's, a bit rougher perhaps but with more power and clarity. His rendition of "Incurably Romantic" on SONY's
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Format: DVD
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.
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