Hellen I like the storyline of this show,it attract me so much

Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

elisedfr The story of Jean-Marc Clement and his pretty chorus girl is so widely hated and depreciated among the critics I always get surprised when I find myself enjoying it. Sure it's overlong, from a good half an hour, sometimes dull and never truly believable: why they kept the introduction sequence is a mystery. Also, as often with musicals of this era, the camera practically never moves.Still, there are noticeable good points: the score makes for a pleasant listening, from the classic Cole Porter 's"My Heart Belongs to Daddy" (the only number really well staged) to the romantic, jazzy themes "Let's Make Love", and "Incurably Romantic". Marilyn sings and dances with her own soulful abandon, and as an actress, she will only disappoint those who do not like her at all. I, a fan, thought she was right on my money. There is true charm in her portrayal of Amanda, an everyday beauty queen who knits between sexy numbers, good comic timing too -although she overacts a bit the final scenes. And with her pale blonde hair and tired gaze, she looks almost younger than in the 50's. Some biographical allusions -like the night school- and the fact she's supposed to be an happy-go-lucky, "at home wherever she goes" make sit ultimately poignant. As for Montand, in charge of a difficult task after Gregory Peck and James Stewart had said "no", he looks surprisingly at ease. Apart from the heavy french accent, his approach of the Clement character is cleverly unexpected : while everyone thinks of him as an icy, pompous businessman crossed with a self-assured playboy, Clement appears as always charming and suave, exceedingly polite, widely smiling and very stiffly dressed. As a result, it makes impossible for the viewer not to go for him -specially as once he poses as a struggling extra, he gets humiliating indifference and mockery from everyone. The trouble is the story becomes much less believable and a bit confusing : and while you care for the billionaire, you never get to understand him or the life he leads. The chemistry between the two stars is fine yet it never sparkles, much because of the script which until the very end imposes misunderstanding and a one-way relationship. The supporting cast is less reliable, from dazzling to forgettable. Theatre people have not much soul, although they're supposed to be the good guys : directors spend their time screaming, there's a mean blonde dancer and Frankie Vaughan, as the whining crooner, is no match for Monroe. On the other hand, Wilfrid Hyde-White is pleasant in a prototype for his Col. Pickering of "My Fair Lady". And young Tony Randall frankly excellent as the public relations man who gets disgusted by his boss's frivolity. Long before I got to love Randall as Felix Ungar, I thought he gave the subtlest performance of the movie. It's too bad that after a definite part in the first hour, his likable character stands aback in the shade with Hyde- White, to watch the seduction going on. One gets the feeling he had scenes cut or else added in the course of the film. Of course, one has to mention the three guest-stars that make most of the life in the middle dragging part, during which Clement learns how to be an artist. It turns out the shorter the appearance, the better it is and Gene Kelly is truly priceless in the one little scene he waltzes with Yves Montand. Bing Crosby and Milton Berle are nice too but the latter remains too long on the show.The script, which suffered many rewrites before and during the shooting is an odd mixture, including moving monologues by Arthur Miller (who, complained Peck, wanted badly to extent Marilyn's part), classic comedy stuff, good one-liners and awkward gags: the Elvis Presley satire comes from a long way. The charm and tenderness of some sequences does not work so well with the mechanical farce going around, leaving the general feeling of an of- balance movie. George Cukor was not the ideal musical director and he fails to reconcile human comedy and singing lavishness - although he would score a triumph a few years later with "My Fair Lady", but then the script was of better quality. One may wonder what "Let's Make Love" would have been, with sharper writing and wiser editing. But there's enough good to contradict the severe critics, as long as Monroe, Randall and sometimes Montand are around. So forget the faults. Enjoy the stars.

danjakubik Let's Make Love, 1960 * * Verdict: mostly boring. On the positive side: opens with an interesting, imaginative introduction of the main character. The first half of the film is quite tedious and boring. Things improve a little in the second half with pace and dialogue improving and appearances by Milton Berle, Bing Crosby and Gene Kelly, playing themselves in the film, as they give advice to help our French main character learn comedy, dance and singing.The story concerns a French billionaire, who learns a stage play will be made, one which makes fun of him. He visits a rehearsal of the play and is mistaken as an actor. He decides to take advantage of this and accepts an offer to be in the play, to try to save his reputation from being tarnished. Along the way, he falls for a young female actress (Marilyn Monroe), also rehearsing for the play.For those familiar with Marilyn Monroes's films of the 50's, she was a bit overweight here. In her case, that does not detract much from her overall beauty, sensuousness and charm. As a lead character, Marilyn Monroe does not have much of a role to play here, the same old boring sex siren, this time in a stage theater setting.The Frenchmen Yves Montand, is the acting highlight, to help brighten up an otherwise mostly dull film. He has some moments of genuine charm and humor. A paycheck for Marilyn Monroe, but a waste of her comedic and dramatic talents as a film actress. She would next go on to "The Misfits", a dark and sad film and after that, was filming another comedy, "Something's Got To Give", when she was fired from the studio, hired back and shortly later, died alone, tragically at home.

MartinHafer "I hope you can kiss better than you can sing." When I heard this line from the film regarding Yves Montand, I had to laugh, as in real life Montand sold a bazillion records over his long career.In LET'S MAKE LOVE he plays a mega-millionaire who tries to pretend to be a stage actor--paying the likes of Milton Berle, Gene Kelly and Bing Crosby to give him lessons on comedy, dance and singing. So why would a rich guy like this go to all this trouble? Well, when the industrialist (Montand) hears that an off Broadway play will be lampooning him (as well as others), he's curious and sneaks in to watch rehearsals. There he sees sexy Marilyn Monroe and is so struck by her he doesn't tell anyone who he really is. And, in a strange twist, the producer decides to hire him to play himself--not realizing Montand really is the millionaire! He decides to go with it and says nothing to the company, as he plans on staying with the production and wooing Marilyn. The trouble is that he's NOT a professional and so he hires the best people to train him--and that's where Berle, Kelly and Crosby come into the film.This story idea is actually reminiscent of a great old film, THE DEVIL AND MISS JONES--where a rich department store owner decides to pose an a regular employee in order to spy on "rabble-rousers" in the company. Though the stories differ quite a bit, both certainly have similarities. Bkoganbing's review indicates that LET'S MAKE LOVE is very, very similar to 1937's ON THE AVENUE, though I can't really say since I haven't yet seen this film.The problems with the film are abundant even though I still think it earns a 7. That's because the plot is so very likable you can ignore the ridiculousness of the plot (it really is tough to believe) as well as that many of the song and dance numbers don't seem all that great. While Miss Monroe has a HUGE cult-like following, I don't think her singing and dancing were all that great--but she was nice to look at and did a better job at acting. Overall, it's a nice little romance and worth a look.FYI--Casting Montand is an interesting choice to play a nice industrialist, as he was a member of the Communist party in France up until 1968!

emhughley Not regarded as one of MM's best films by her legion of fans. "Lets make Love" isn't as bad as one might think. Gregory Peck and Carey Grant were originally asked to be her co-star, but after reading the script I guess they soon declined. Neither were game to play 2nd fiddle to a screen sensation.Plot line reads as follows: Rich man (Yves Montand) wants poor girl.(M.M.) Rich man pretends to be poor. Rich man gets poor girl then looses her after he tries to tell her the truth. Rich man eventually woos and gets the girl. With Marilyns clout at 20th Century Fox studios one wonders why she chose to take the role as Amanda Dell. She's not altogether bad as the character. The script simply had little to offer her. But I have to say after repeated viewings, the film has grown on me. I am a huge fan of MM and to be fair Monroes first appearance singing "My heart belongs to Daddy" is a clever and exciting opening performance. What an entrance, she is on fire in this 3 minute masterpiece. I love the kiss and wink and staging of this classic piece. That scene is the best musical number in the picture. This sequence might have been filmed and added at the last minute after 20th Century Fox exec's saw a rough cut of the film. Marilyn does look very comfortable and relaxed on the screen. But, at times she appears distracted.(Probably George Cukors uneven direction) There is something a little charming about the whole production. The musical score will grow on you and "Incurably Romantic" is very well done. This film was nominated for an Oscar for best musical score. I also loved the fantasy sequence with Yves and MM in the board room on the table where she is knitting with gold yarn. She even makes that chore look sexy!Marilyn and Yves are finally given a chance to show some real spark in the final scene of the movie when the whole charade comes to a close. Trapped in an elevator (and looking her best in the film) with a starry eyed Yves, Marilyn finally succumbs to his musical rendition of the title of this movie. They kiss passionately and we finally see AND hear what all the gossip was about. Her very heavy breathing during the kiss is caught on film, just turn up the volume... there is nothing "Method acting" about that! Aside from her sensitivity, intellect, and training with the Strasbergs this is what Monroe the movie star sex goddess was about.A fine line between acting and reality was beautifully blurred in "Lets make love"s final 2 minute scene. Released in 1960 The audience when asked "Lets make love" apparently said no thanks. The film was a box office failure.