InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

JohnHowardReid Producer: Jerry Wald. A Company of Artists (Jerry Wald) Production. Copyright 1960 by 20th Century-Fox Film Corp. New York opening simultaneously at the Paramount and the Trans-Lux 52nd Street: 8 September 1960. U.S. release: September 1960. U.K. release: 18 September 1960. Australian release: 15 December 1960. Sydney opening at the Regent. 10,675 feet. 118 minutes.SYNOPSIS: Monroe's 28th picture was supposed to be a satire of Howard Hughes entitled "The Billionaire", but Fox's lawyers must have advised no-no, and it became instead a sort of later version of "On the Avenue", made in 1937 by the same studio. Montand is cast as a billionaire industrialist who is told by his attorney, Wilfrid Hyde-White, and his public relations man, Tony Randall, that an off-Broadway satire aimed right at him, has not only been planned, but is now actually in rehearsal. So Montand and Randall go to the theater and actually discover our Marilyn rehearsing "My Heart Belongs To Daddy" (This particular rendition must rate as one of her very best singing attempts ever). Anyway, the show has not yet engaged anyone to play Montand. Therefore the stage director assumes that the real Montand is actually an actor who has come to audition for the part. Needless to say, the real Montand is hired instantly. — Adapted from a resume in the Motion Picture Guide.NOTES: Lionel Newman and Earle H. Hagen were nominated for a prestigious Hollywood award for Scoring of a Musical Picture, losing to "Song Without End".Miss Monroe's coach on this one was Paula Strasberg, her make-up man, Whitey Snider. Her then husband, Arthur Miller, was present for much of the shooting and is reported to have written additional dialogue for Marilyn.Hollywood debuts for Yves Montand, Frankie Vaughan and Wilfrid Hyde- White. Despite great publicity breaks, shoals of ballyhoo and marvelously enthusiastic reviews, box-office results in both domestic and foreign situations were disappointing. COMMENT: Cukor's ability to extract engaging performances from temperamental females is much in evidence in this delightful comedy: — as is his facility in surrounding himself with the very best artisans in every department.I'm tempted to write that the accent is firmly focused on style, but director George Cukor is too farsighted a director to over-emphasize the movie's luxurious settings, creative camera-work and imaginative choreography at the expense of his cast; or to under-emphasize the demurely seductive playing of Miss Monroe, the Gallic, volatile quality of Yves Montand, or even the delightfully dry acidity of Wilfrid Hyde-White, at the expense of Norman Krasna's witty script.OTHER VIEWS: One of the brightest, if slightest, musicals of the year. The situations, once the exclusive domain of Dick Powell and Ruby Keeler, sparkle with witty lines and fresh sight-gags. - Arthur Knight in "The Saturday Review".

grammatim It's hard to believe George Cukor forced Marilyn Monroe to fall for the charmless cad Yves Montand in the last 30 seconds, when she had a fine relationship with Frankie Vaughn for the first two hours. And this may be the unfunniest Milton Berle ever was (and I recently saw his turn as a used-car salesman on The Lucy Show, so that's saying something). Crosby and Kelly do decent parodies of themselves. Wilfrid Hyde White is as impeccable as ever, and Tony Randall was wasted. Even the prologue detailing the five generations of ancestors and how they amassed a billion dollars through period-looking artwork using Montand's face is tedious.

williwaw Marilyn Monroe was at the top of the Hollywood star ladder as the Star of Stars when assigned this movie by her home studio 20th. Marilyn Monroe had just had the smash hit of her career with Some Like It Hot (A United Artists film) and 20th wanted to cash in on the MM popularity. Marilyn Monroe had been announced for another UA film John Huston's masterpiece The Misfits co starring Clark Gable and 20th insisted on a Monroe film before MM was allowed to do another film outside 20th. (between 1956 to 1960 while having the greatest star in Hollywood under contract 20th Century Fox did not cast MM in a movie however the very shrewd MM had a play or pay contract and when the studio announced her for Wild River and The Blue Angel but those deals did not materialize MM demanded and got her salary for those films!) Much has been written about this film and when it was released I was disappointed, having seen it recently on the Fox Movie Channel, I now find Lets Make Love charming and Ms Monroe enchanting. George Cukor among the "Approved Directors" on MM's short list ( others were Wilder, Huston, Hitchcock, Wyler, et al) was said to be a director aware of the nuances of a female star's personas ( Hepburn, Garbo, Crawford, Leigh, Holiday, Loren all raved over Cukor.Marilyn Monroe looks stupendous in this movie,and is given fine support by a cast of professional's such as Wilfrid Hyde White, Tony Randall and cameos by Milton Berle and Bing Crosby. Yves Montand, who had a legendary fling during the filming of the movie with MM, is fine as The Billionaire.

csrothwec I quite enjoyed the 'set pieces' with Marilyn doing her stuff singing 'My heart belongs to Daddy' etc. but watching the film turned increasingly more irritable through having to watch, ('endure' might be a more appropriate verb), the scenes between Marilyn's appearances. Montand is simply miscast and one begins to feel simply sorry for him after the first few scenes, (whilst remembering him in such movies as 'The wages of fear'), and, apart from the ever-reliable Wilfrid Hyde-White, I thought the inputs/cameos by the other 'stars' were either so short as to be inconsequential, (Bing Crosby and Gene Kelly), or just simply atrocious, (i.e. Merton Berl and Tony Randall! Churchill said Britain and the USA were 'divided by a common language' but how on earth Randall and Berl could ever be classified by use of the word 'comedians' remains, on the basis on their inputs to this movie, a total and complete mystery to this particular Brit! I began to cringe when they appeared for yet another squirm-inducingly UNfunny escapade, (Berl's walking on his heels or Randall looking lost and dejected yet again, for example)). Verdict: hardly worth the effort of viewing apart from Marliyn's set-pieces. Set the remote to 'FFW' in between these.