Marilyn Monroe gave "finer" performances in "Bus Stop," "The Prince and The Showgirl" and "Some Like It Hot" but "GPB" is the most out-and-out- delightful entertainment of her career. The film that established and then defined her stardom and appeal.
It is also one of the very few major MM vehicles in which she plays a character who is the film's catalyst--and a character without any comic or melancholic autobiographical references. This endearing gold-digger bears no resemblance to the off-screen actress, who disdained real jewelry and fought for "respect" not money. Although Monroe was still creatively hobbled by a Russian "acting coach" who demanded over-enunciation, this affect works for social climber Lorelei Lee. (This odd way of speaking came and went, depending on the how secure MM felt with her script and director. Later, it would vanish, after the Russian was shipped off. "GPB" is a relaxed performance, with the vocal oddity just enough present to give Miss Lee a kind of surreal fascination--is she from Mars?) The film is mercifully brief, with one outrageous adventure tumbling upon the next.(It begins in spectacular fashion, with both women in song and dance, and before you know it, it is over and the viewer is left slack-jawed with with admiration for the inspired fun!) Monroe is dazzlingly costumed by Travilla, luminously photographed in the rich Technicolor of 20th Century Fox,and given the best leading man of her career--the admirable Jane Russell. In no other movie is Monroe so tenderly looked after, so well-understood, or treated with such respect as she is by her best bosomy bud here. That Russell has also never been better on screen--despite some unflattering costuming and her own gracious handing over the film to MM--is the icing on this scrumptious cinema cake.
"GPB" looks even better now than it did 1953--certainly a far more entertaining musical than a lot of the pretentious, over-reaching MGM entries of the 40's and 50's.
Two musical numbers stand out. Russell's "Ain't There Anyone Here For Love" which is both a celebration of her character's lusty womanliness and an ode to homo-eroticism--all those guys in their flesh-colored briefs, gyrating. (Gives some pause to where Howard Hawks' head was!) And of course, Monroe's immortal "Diamond's Are a Girl's Best Friend"--the apogee of her special lure, her physical perfection, her confidence--her life, probably! She couldn't dance, but Jack Cole knew what to do to make it seem as if she did. She could, however, sing--very well indeed. (Her second film, 1948's "Ladies of The Chorus" had already proved that.) But by '53, she had stylized her native gift, producing a unique and unmistakable sound. Lionel Newman, who worked with MM on all her Fox musicals has reported she was never late, never a problem, and never, ever needed to be dubbed, "not one single note, ever." I make a point of this, because IMDb. trivia on "GPB" indicated Marni Nixon did MM's high notes. (In her famous "Happy Birthday, Mr. President, MM shakes out of her drugged nervousness to hit one brief high note, quite similar to her trilling in the opening of "Diamonds.")
Even if you don't much care for Monroe, it is almost impossible not to be wildly amused by this most carefree, colorful and satisfying musical romp.
It is also one of the very few major MM vehicles in which she plays a character who is the film's catalyst--and a character without any comic or melancholic autobiographical references. This endearing gold-digger bears no resemblance to the off-screen actress, who disdained real jewelry and fought for "respect" not money. Although Monroe was still creatively hobbled by a Russian "acting coach" who demanded over-enunciation, this affect works for social climber Lorelei Lee. (This odd way of speaking came and went, depending on the how secure MM felt with her script and director. Later, it would vanish, after the Russian was shipped off. "GPB" is a relaxed performance, with the vocal oddity just enough present to give Miss Lee a kind of surreal fascination--is she from Mars?) The film is mercifully brief, with one outrageous adventure tumbling upon the next.(It begins in spectacular fashion, with both women in song and dance, and before you know it, it is over and the viewer is left slack-jawed with with admiration for the inspired fun!) Monroe is dazzlingly costumed by Travilla, luminously photographed in the rich Technicolor of 20th Century Fox,and given the best leading man of her career--the admirable Jane Russell. In no other movie is Monroe so tenderly looked after, so well-understood, or treated with such respect as she is by her best bosomy bud here. That Russell has also never been better on screen--despite some unflattering costuming and her own gracious handing over the film to MM--is the icing on this scrumptious cinema cake.
"GPB" looks even better now than it did 1953--certainly a far more entertaining musical than a lot of the pretentious, over-reaching MGM entries of the 40's and 50's.
Two musical numbers stand out. Russell's "Ain't There Anyone Here For Love" which is both a celebration of her character's lusty womanliness and an ode to homo-eroticism--all those guys in their flesh-colored briefs, gyrating. (Gives some pause to where Howard Hawks' head was!) And of course, Monroe's immortal "Diamond's Are a Girl's Best Friend"--the apogee of her special lure, her physical perfection, her confidence--her life, probably! She couldn't dance, but Jack Cole knew what to do to make it seem as if she did. She could, however, sing--very well indeed. (Her second film, 1948's "Ladies of The Chorus" had already proved that.) But by '53, she had stylized her native gift, producing a unique and unmistakable sound. Lionel Newman, who worked with MM on all her Fox musicals has reported she was never late, never a problem, and never, ever needed to be dubbed, "not one single note, ever." I make a point of this, because IMDb. trivia on "GPB" indicated Marni Nixon did MM's high notes. (In her famous "Happy Birthday, Mr. President, MM shakes out of her drugged nervousness to hit one brief high note, quite similar to her trilling in the opening of "Diamonds.")
Even if you don't much care for Monroe, it is almost impossible not to be wildly amused by this most carefree, colorful and satisfying musical romp.