Gentlemen Prefer Blondes

I think some people are too harsh on this movie. No, it doesn't saying anything revelatory about the human condition but that's not its intent. It is very good escapist fare. Monroe and Russell keep us enthralled with their glamor, song and dance numbers, and the occasional sharp one-liner. The plot is perfunctory. While Monroe is obviously the one most associated with the film in the public's consciousness, I personally think Russell is just as good if not better (I'm not saying that because I'm a brunet as well!) A question many Monroe fans ask is whether at this point onward in her career Monroe was playing Lorelei or whether in real life she 'was' Lorelei? Whatever the case, I recommend this movie if one is in the mood for glitzy glamorous Hollywood spectacle, 7/10.

As a demonstration of Hawks' versatility, this picture stands out. It's anything but a faithful adaptation of the Anita Loos story, but in Hawks skilled hands, it's as delightful and silly as his best screwball comedies, and an evocative example of the sexpot exploitation prominent in it's day. Monroe and Russell complement each other nicely as glamour babes beyond belief. The flamboyant musical numbers are deliriously fetishistic and there are some particularly hilarious bits involving a hoarse-voiced little boy and a dirty old man. Sensationally staged and provocatively primitive.

Marilyn Monroe and Jane Russell are so terrific in their musical comedy roles that they make the men (Elliot Reid and Tommy Noonan) look even more pallid than they are. But let's fact it. Nobody's watching them anyway when the spotlight is on Monroe and Russell as just "two little girls from Little Rock".

Fox knew what to do with the two lovelies when they cast them as the gold diggers aboard a ship bound for France with nothing on their minds but the pursuit of men with money. Jane has a wonderful song-and-dance routine with Olympic hopefuls in "Ain't There Anyone Here For Love?" and Marilyn gets to do a now-classic routine with "Diamonds Are A Girl's Best Friend". Charles Coburn has some amusing moments as an old-timer with a yen for Marilyn who has a yen for his wife's tiara. "I just love finding new places to wear diamonds", she says in that sweetly innocent Monroe voice. And Russell tops everything off with an imitation of Monroe in a courtroom that's guaranteed to draw chuckles.

It's all done up in vivid technicolor. The girls wear eye-popping costumes and look ultra glamorous together (exact opposites), and the songs aren't bad either. Pure escapist entertainment of the '50s kind with enough humorous moments to keep you entertained by the silly shenanigans. Fans of Monroe and Russell will love this one.

One of the funniest moments: Monroe stuck in a ship's porthole while a little boy holds a blanket around her as she makes small talk with Charles Coburn.

Anita Loos's famous novel and play Gentlemen Prefer Blondes was done as a musical and ran for 740 performances during the 1949-1951 season. It was the breakout role in the career on Broadway for Carol Channing. But for the screen version a pair of pulchritudinous sex symbols were cast as the showgirls looking for husbands, Jane Russell and Marilyn Monroe.

Two things were done for the film, most of the Jule Styne-Leo Robin score was scrapped and two numbers written by Hoagy Carmichael and Harold Adamson were added. Retained from the original score was Bye Bye Baby, Two Little Girls from Little Rock and the famous theme of goldiggers everywhere, Diamonds are a Girl's Best Friend.

The second thing was to update the story from when it was originally written during the Roaring Twenties to the current Fifties. Still the two basic characters of Russell and Monroe remained the same. Both would like husbands, but Russell wants to marry for love, money would be nice though, but Monroe it's strictly mercenary.

The two men they have an eye on are millionaire son Tommy Noonan for Monroe and Russell has her eye on Elliott Reid. Monroe's mercenary ways nearly sink the two of them, but it all kind of works out in the end.

Lorelei Lee was Marilyn's breakout role as well. No big male star names are opposite here, she's only in a friendly competition with fellow sex symbol Jane Russell. Russell's contribution to the film is too often overlooked with Marilyn's legend looming over all. She more than holds her own against Marilyn and in fact unlike in some of her films, there was no friction at all with the two women.

I can see why Howard Hawks was attracted to this film. The women he has in his films are tough minded and more than capable of dealing in a man's world. That Jane and Marilyn are in abundance and boy do those women have a lot of abundance.

And in all the right places too.

Marilyn needs no introduction. Suffice it to say that she is perfect in what is probably the best of her "dumb blonde gold digger" roles, looks great, (As if it were possible for her to look less), has plenty of great and funny quotes, and sings the most famous of the Jule Styne-Leo Robin songs wonderfully. But let's not forget the brunette in the picture, Jane Russell, who has plenty of talent, comic timing, and yes, sex appeal herself. Her performance has a great sense of irony, she makes a great foil for Marilyn (Although it certainly is obvious that she really likes the girl), and gets ample oppurtunity to show off her own vocal chops in such songs as the low-key, showstopping duet "When Love Goes Wrong" and the somewhat kitschy "Ain't There Anyone Here For Love," sung while she wanders through a sea of Olympic atheletes wearing nothing but flesh-colored swimming trunks as they lift weights, etc., and then finishes off with a dunk in the pool that wasn't planned but was kept in the film upon viewing the rushes of the sequence. She herself is really great in both. And just how she manages to do a dead-on impersonation of Marilyn in a hilarious courtroom scene, then launch into a take-no-prisoners reprise of "Diamonds Are A Girl's Best Friend" while still keeping her blond wig and hat squarely on her head, I'll never know.

With such as these to hold out attention, the rest of the film doesn't seem like much, with the usual humdrum romantic plotline, the uninteresting supporting cast, and everything. But it's still a great musical comedy, based on the Broadway show that was in turn based on the famous Anita Loos novel. Howard Hawks' direction, while not as inspired as his "Bringing Up Baby" or "His Girl Friday" work, is lively, the costumes are great, the songs (Those that were retained from Broadway and those added for the film) are all great, and the script, while probably not including much of the wicked satire that the novel is praised for, (Unless I missed it), is funny enough. I should also mention the many classic shots of Marilyn and Jane walking side by side. What a contrast! Marilyn gives it all she's got, and Jane is so low-key about the whole thing she's reviting. What a great team these two ladies were! And, all things considered, what a great movie!