How to Marry a Millionaire

Fox released this one right after THE ROBE did smash box-office when it opened at New York's Roxy theater. Likewise, HOW TO MARRY A MILLIONAIRE featured an opening orchestral number under Alfred Newman's baton before the credits began--and then the wide screen became the source for watching BETTY GRABLE, LAUREN BACALL and MARILYN MONROE put their own personal stamp of sex appeal on the CinemaScope screen.

This one is probably best enjoyed in the widescreen version rather than the pan and scan shown on some TV stations. It's a witty delight from start to finish, with Monroe doing a delightful impersonation of a near-sighted blonde ashamed to wear glasses and always walking into walls; Grable as a snappy charmer who gets hooked into a trip to Maine thinking she's going to a convention; and Bacall as the know-it-all sophisticate with the sharp tongue who's good at bossing others around.

While Bacall is great in the role, it's really an alienating part and she can't always disguise the fact that her character--in real life--would be considered an annoying bitch. True, she has some of the best lines, but the sarcasm stings a little too much at times and her treatment of doormen and furniture movers is very condescending.

So, it's up to Grable and Monroe to keep things light and breezy, and that they do. Also on hand for some sophisticated charm is WILLIAM POWELL in one of his last screen roles, RORY CALHOUN as a forest ranger who attracts Betty's eye, and CAMERON MITCHELL as a man who turns out to be someone Bacall should have treated with more respect.

It's fun all the way, easy to take and easy on the eyes whenever the three stars cavort around the screen in assorted fashion ensembles.

The film, the first filmed in CinemaScope, although the second to be released, remains as slick and witty as ever. While the three girls chase rich husbands they somehow end up marrying for love.

Personally for me it is Lauren Bacall and William Powell that standout...their witty knowing conversations are a true delight. Mr Powell shows just why he was so highly regarded. He has a magnificent calm and dignified presence beautifully complimented by Mrs Bogart's cool chic.

The film shows all the problems of early CinemaScope of course ...the lack of closeups because of optical distortions that would occur and enough light to sunbake under being necessary on the sets and a sound scheme with the stereophonic image shifting from side to side as characters moves across the screen.

The film is beautifully restored on the DVD with fine colour and sound.

The use of a 1:2.55 ratio means a truly WIDE screen ....which is shown off by the location shots of New York and the girls apartment which seems enormous!

The opening sequence/overture of course was designed to show off both the brand new wide screen and stereo sound. It seems slightly redundant now but is still a fabulous piece of music by Alfred Newman.

So turn the lights down, turn up the stereo and step back to 1953 and watch a consumate piece of entertainment

I just had a wonderful opportunity to catch a screening of this film on a wide screen. What a treat!

Unfortunately, it wasn't the best print; lots of dust and scratches on reel changes, and the colors were quite faded, but these films simply must be seen on a wide screen with an audience to be truly appreciated. Of course, almost any movie is improved by seeing it at the Castro Theatre in San Francisco, and I consider myself fortunate to have had the opportunity.

Lauren Bacall has always been one of my favorite actors, and she and Powell do work wonderfully together. Monroe is also, always a delight - I think that she was a much better actress than she is generally given credit for. However, though I've seen this movie close to a dozen times before, I was really struck at the wonderful performance that Grable turned in. She was perfect! I haven't seen much of her other work, but in HTMAM, she shows herself to be a wonderful comedic actress, playing a "dim blonde" who really isn't that dim. What a revelation and what a delight.

I would definitely recommend this movie to anyone who likes old movies, but if you have a chance to catch it on a real movie screen - DO SO! You won't be disappointed.

An over excited critic once wrote that seeing Monroe in Cinemascope was like being smothered in baked Alaska, and seeing this movie, you know exactly what he (I assume he was a he) was on about. The movie opens on the extreme verticals of New York skyscrapers and narrow city streets, then cuts to a wonderfully elongated horizontal Monroe streeeeeeeetched across the scene in an increasingly empty apartment (the girls sell their furniture to be able to pay the rent). This movie is dated and fluffy, but has several interesting elements that make it worth a look for anyone interested in movie history, any of the leads, or in passing a wet Sunday afternoon in a pleasant way. This was Grable's last performance. She knew Monroe was about to usurp her, but the two women both dealt with an uncomfortable situation in a professional way. There is a great narrative twist in the film too - Monroe plays a short sighted girl who finally meets the man to marry her when he tells her he likes her in her glasses. Unlike the usual cliched plot line, it is when Monroe keeps her glasses on that she is revealed to be beautiful. Her acting is this film is among her best, especially her vulnerable scene in the gold aeroplane, and the moment in the powder room when she looks at herself in the mirrors and explodes into five, raspberry satin dress covered Marilyn's is a visual pleasure the film and the viewer revel in (Monroe can't, not wearing her glasses at that point). This film is creamy, smooth, warm - just liked baked Alaska!!

Loco Dempsey, Pola Debevoise and Schatze Page, each one a pretty model, their goal in life?, to marry millionaires. They set themselves up in a top apartment and set about wooing any potential suitors, trouble is is that it's hard to tell the rich from the normal, and love may just have a say after all.

Betty Grable, Marilyn Monroe and Lauren Bacall play our three dubiously motivated ladies, each one putting a delightful stamp on each respective character. Filmed in CinemaScope, New York {and the girls Manhattan apartment}is beautifully realised and with the restored DVDs available, the colour positively gleams on the screen. The story itself is a fun one, tho at its core it's of course greedy and selfish, but this is a romantic comedy that plays out with delightful ease, and thankfully doesn't contain pointless filler scenes to purely showcase the actresses on show.

Monroe has never looked as pretty as she does here, some of her other films are obviously more famous, but she radiates sexiness and with her character being vision impaired, she gets to show the wonderful comedic talent that she definitely had. Bacall clearly is the best actor on show, so it's no surprise that she gets the best written part, at times bitter, intelligent and determined, her Schatze Page character is the glue binding the picture {and the girls} together. Betty Grable is solid without really impacting a great deal, with the boys {notably Rory Calhoun} offering entertaining support. How To Marry A Millionaire is simply a delightful movie that never over tries your patience, it's a fun ride with a little something for everyone, and it cheerily pays you off at the end. 7/10