Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers.
When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell.
The titular river unites a farmer recently released from prison, his young son, and an ambitious saloon singer. In order to survive, each must be purged of anger, and each must learn to understand and care for the others.
Lorelei and Dorothy are just "Two Little Girls from Little Rock", lounge singers on a transatlantic cruise, working their way to Paris, and enjoying the company of any eligible men they might meet along the way, even though "Diamonds are a Girl's Best Friend." Based on the Broadway musical based on the novel.Written by
Stewart M. Clamen <firstname.lastname@example.org>
Choreographer Jack Cole had been devising stage movement for non-dancing female stars in Hollywood since the mid-1940s, accenting glamorous hand, arm and hip movements within basic dance steps to camouflage his leading ladies' lack of ability. Cole reached his zenith with Gentlemen Prefer Blondes (1953). Faced with two stars who had no dancing experience whatsoever, he was determined to showcase them to their best advantage. Cole accomplished this by doubling and tripling the amount of isolations per beat, which meant that Russell and Monroe were actually performing a challenging series of steps in each of their numbers, made even more so by the necessity of their executing the steps, turns and arm gestures in absolute unison, which they did brilliantly. In the end, the choreography Cole devised was as intricate as a bona fide dance number. Jane Russell was so impressed by the results that she hired Cole as choreographer for Gentlemen Marry Brunettes (1955), the companion piece that Russell financed two years later. True to form, Cole concocted dynamic, humorous movement duets for Russell and her co-star, Jeanne Crain. See more »
The "Two Little Girls From Little Rock" number ends with Dorothy near stage right and Lorelei near stage left. As the girls leave the stage, Dorothy is near stage left and Lorelei is near stage right. See more »
[trying to have a serious talk with Lorelei, but she is bouncing up and down on the bed]
Dear... dear... dear, stop that! It's most distracting.
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Howard Hawks tackles a Broadway show and Marilyn Monroe.
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.
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