Ms. Monroe’s penultimate picture, a trite mistake identity musical-comedy directed by none other than George Cukor, French movie star Yves Montand plays a New York dwelling billionaire Jean-Marc Clement, who is born with a silver spoon and so atrociously famous that an off-Broadway revue decides to satirize his merry-go-round love affairs along with the personages like Elvis Presley and Maria Callas. Apprised of the news, Jean-Marc is persuaded by his PR officer Coffman (Randall, evokes an underlined drollness in his all-serious demeanor) to sneak into the rehearsal, and hit by a coup-de-foudre, he is swept off his feet by its star Amanda Dell (Monroe)’s sultry rendition of Cole Porter’s MY HEART BELONGS TO DADDY, and when he is hired to play himself for his uncanny resemblance, Jean-Marc plays along and becomes Alexandre Dumas, hoping to win Amanda over not by his wealth, but his charming personality in lieu.
As a comedy, LET’S MAKE LOVE is only moderately funny, in spite of three showbiz dignitaries’ cameos as themselves, Milton Berle, Bing Crosby and Gene Kelly, each pops up as an instructor to teach Jean-Marc comedy act, singing and dancing respectively, but the dry humor induced by Jean-Marc’s gaucheness and his teachers’ understated frustration doesn’t go anywhere. Montand appears like a fish out of water whenever Monroe is not present (the pair were conducting an off-screen affair during the production), and being a top-drawer entertainer, to act as if he is not really requires more showmanship than one might reckon.
But naturally, scenes shine when Monroe is on screen, whether she is cooing and twirling in music numbers (SPECIALIZATION is a boon), or playing a typical manic pixie dream girl in front of a besotted Montand, her Amanda only exudes irresistible, faultless loveliness that she leverages with considerable ease, even shoulders the third act’s over-egged self-denying non sequitur safely to the finishing line.
LET’S MAKE LOVE also marks British pop idol Frankie Vaughan’s bash into the Tinseltown, but is left nearly nothing to do as the no-account second fiddler, if not for his pizzazz when the music swells. The show must go on however off-Broadway it is, and a girl like Monroe is destined to marry a billionaire, a pipe dream Hollywood has been consistently force-feeding its audience to wallow in, and only looks wistful and ironic when Ms. Monroe prematurely shuffles off this mortal coil.
referential entries: Billy Wilder’s SOME LIKE IT HOT (1959, 9.2/10), Howard Hawks’s GENTLEMEN PREFER BLONDES (1953, 6.3/10).
Ms. Monroe’s penultimate picture, a trite mistake identity musical-comedy directed by none other than George Cukor, French movie star Yves Montand plays a New York dwelling billionaire Jean-Marc Clement, who is born with a silver spoon and so atrociously famous that an off-Broadway revue decides to satirize his merry-go-round love affairs along with the personages like Elvis Presley and Maria Callas. Apprised of the news, Jean-Marc is persuaded by his PR officer Coffman (Randall, evokes an underlined drollness in his all-serious demeanor) to sneak into the rehearsal, and hit by a coup-de-foudre, he is swept off his feet by its star Amanda Dell (Monroe)’s sultry rendition of Cole Porter’s MY HEART BELONGS TO DADDY, and when he is hired to play himself for his uncanny resemblance, Jean-Marc plays along and becomes Alexandre Dumas, hoping to win Amanda over not by his wealth, but his charming personality in lieu.
As a comedy, LET’S MAKE LOVE is only moderately funny, in spite of three showbiz dignitaries’ cameos as themselves, Milton Berle, Bing Crosby and Gene Kelly, each pops up as an instructor to teach Jean-Marc comedy act, singing and dancing respectively, but the dry humor induced by Jean-Marc’s gaucheness and his teachers’ understated frustration doesn’t go anywhere. Montand appears like a fish out of water whenever Monroe is not present (the pair were conducting an off-screen affair during the production), and being a top-drawer entertainer, to act as if he is not really requires more showmanship than one might reckon.
But naturally, scenes shine when Monroe is on screen, whether she is cooing and twirling in music numbers (SPECIALIZATION is a boon), or playing a typical manic pixie dream girl in front of a besotted Montand, her Amanda only exudes irresistible, faultless loveliness that she leverages with considerable ease, even shoulders the third act’s over-egged self-denying non sequitur safely to the finishing line.
LET’S MAKE LOVE also marks British pop idol Frankie Vaughan’s bash into the Tinseltown, but is left nearly nothing to do as the no-account second fiddler, if not for his pizzazz when the music swells. The show must go on however off-Broadway it is, and a girl like Monroe is destined to marry a billionaire, a pipe dream Hollywood has been consistently force-feeding its audience to wallow in, and only looks wistful and ironic when Ms. Monroe prematurely shuffles off this mortal coil.
referential entries: Billy Wilder’s SOME LIKE IT HOT (1959, 9.2/10), Howard Hawks’s GENTLEMEN PREFER BLONDES (1953, 6.3/10).
我不喜欢把没有男朋友的人说成剩女，因为只有吃不完的饭菜才能用“剩”形容。现在没有男朋友的大龄女青年只是没有找到合适自己的另一半而已，没王子的女生们不要整天宅在家里窝在沙发上吃薯条看电视，或低头盯手机，走出家门去谈恋爱吧，谈恋爱比一个人呆在有趣多了。
电影《让我们相爱吧》是由玛丽莲梦露主演的，她演的女主性感，有个性，有自己喜爱的工作，一个亿万富翁的男人为了追求她，努力学跳舞、唱歌、表演，他知道“什么都不做是不能得到爱情的，只有争取才能得到真爱。”，亿万富翁为了得到爱情都那么积极主动，作为平凡的单身女也要行动起来，不要光躺在那里，时间就是金钱，不要浪费你的金钱，去谈恋爱吧！
女生们去找一个你喜欢的男生谈恋爱吧，不管你是喜欢他的眼睛或是他的酒窝或是他说话的声音或是他身上独特的味道或是他小孩子的一面或是他大男子主义的一面，只要你喜欢上了一个人，就和他谈恋爱吧，你原本灰色的世界将变成糖果色，你会每天会笑着入睡，笑着醒来！
当你的男友像狮子一样吼叫，你会像鸽子一样给他讲情话，给他温暖的拥抱，他会把你抱得更紧，此时你呼吸的空气里充满了甜味，恋爱的滋味比吃薯条有趣多了！
让我们相爱吧
Let's Make Love(1960)
导演:乔治·库克n编剧:诺曼·克拉斯娜/哈尔·坎特n主演:玛丽莲·梦露/伊夫·蒙当/托尼·兰德尔
1959年由比利·怀德指导的《热情似火》（Some Like It Hot）大获成功，玛丽莲·梦露再次回到巅峰状态，并拿下了金球奖最佳影后。
趁着演员合同还没有结束，二十世纪福克斯又开始压榨梦露的性感。
一部粗俗、艳俗的歌舞片被安排上了日程，并取名为“Let's Make Love”。
故事 n
当亿万富翁让-马克·克莱门特(伊夫·蒙当饰)得知自己将在百老汇外的一出喜剧中被讽刺时，为了接近剧中美丽的明星阿曼达·戴尔(玛丽莲·梦露饰)，他把自己伪装成扮演他的演员......
影片根据1937年迪克·鲍威尔主演的歌舞片《林荫道上》（On The Avenue）所改编，并将男女主角的性别做了反转置换。
梦露的编剧丈夫阿瑟·米勒修改了剧本，把更多的重点放在了他的妻子玛丽莲·梦露身上。
最初与梦露演对手戏的格里高利·派克(Gregory Peck)因为自己的角色被削弱感到十分不满继而离开了剧组。
这个角色后来被提供给洛克·哈德森、加里·格兰特和查尔顿·赫斯顿，但他们都拒绝了。
最终，伊夫·蒙特德得到了这份工作，他曾出演过米勒1957年剧作《塞勒姆女巫》改编的法语电影，并因最近在纽约举办的个人音乐演唱会而受到好评。
然而这位法语流利的男演员却不怎么会说英语......
当然，这还不是最大的问题。
拍摄正值电影工会大罢工，电影停拍了近1个半月。
再次期间，先于表演，倒是梦露的体重先开始超常发挥。
经常的无故迟到、忘词也是片场一大难题。
此外，两位主演还因戏生情，这让整个剧组都处于尴尬的状态之下。
倒是福克斯得到了免费宣传电影的猛料。
貌合神离的伊夫·蒙当和妻子西蒙·西涅莱以及第三人梦露
影片上映之后并未在北美票房取得多少亮眼的表现，口碑也是一塌糊涂。
在去世之前，梦露曾叹息道：阿曼达可能是我演过最糟糕的一个角色。（完）
✳有兴趣的朋友可以公众号回复“ 让我们相爱吧 ”观看此片，希望大家喜欢这部电影。
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偶然有一天，觉得领导很可怜——没有人敢跟他讲真话。即便是再平易近人、随和可亲的领导，也没有人敢随便摸老虎屁股，不然，他偶然的一发作，可能影响到你的职业生命。所以，不是只有童话中的那个皇帝，才穿着“新装”逛大街。往往地位越高，被蒙蔽的就越深。身边都是赞美和恭维，有几个人能不忘乎所以？
Jean-Marc Clement ，想学表演，可以请来全国最知名的喜剧演员来当老师，即便你演得再烂，他嘴里能说的只有“wonderful!”，然后一遍一遍不厌其烦。为了博得一个女孩子的欢心，他可以翻云覆雨，控股剧场，控制舆论。但是，他甚至没有作为一个有自由意志的人最基本的喜怒哀乐。在舞台上，他动作好僵硬啊；在大街上，他不敢随心所欲的走路；不知道这个世界上还有地铁，更不知道那里是否拥挤。
Amanda，一个小剧场的小演员，30美元的加薪就会高兴的惊叫。下班喜欢在满是尘土的大街上慢跑，不怕拥挤喜欢坐地铁，因为它只要15美分。但她是个自由自在的快乐女孩儿，不喜欢让自己闲下来，而且很漂亮。她活得好真实啊，有自己的喜怒哀乐。不必为各种大事情操心，只要努力关心自己的小世界~
结尾是个灰姑娘的结尾，但是灰姑娘会从此过上幸福的生活吗？离开她的草根快乐，她会不会在皇宫中怀念在大街上慢跑的生活？
PS：第一次看梦露的作品，原来她的美丽不仅仅来自于性感，还带点清纯、美丽和小可爱。