A FILM TO REMEMBER: “GENTLEMEN PREFER BLONDES” (1953)

Before I get into this, I want to make mention “A FILM TO REMEMBER” will be a series about films that have reached a milestone anniversary since their origin in being culturally, historically, or aesthetically significant. The articles will contain the film’s plot outline, director, cast, a compilation of trivialities, various photos, movie trailer, critical reception and more. So, let’s start:

We are here to mark the celebration of the 65th Anniversary of Howard Hawks’ “Gentlemen Prefer Blondes”. Let’s take an inside look at the film:

PLOT OUTLINE:

Two Showgirls travel to Paris, pursued by a private detective hired by the suspicious father of one of the Showgirls’ fiancé, as well as a rich, enamored old man and many other doting admirers.

STUDIO:

20th Century Fox Pictures

DIRECTOR:

Howard Hawks

CAST:

• Jane Russell … Dorothy Shaw
• Marilyn Monroe … Lorelei Lee (singing voice on high notes was dubbed by Marni Nixon)
• Charles Coburn … Sir Francis “Piggy” Beekman
• Elliott Reid … Ernie Malone
• Tommy Noonan … Gus Esmond
• Taylor Holmes … Mr. Esmond Sr.
• Norma Varden … Lady Beekman
• George Winslow … Henry Spofford III
• Steven Geray … Hotel Manager

GENRE(S):

Comedy | Musical | Romance

TAGLINE:

The Two M-M-Marvels Of Our Age In The Wonder Musical Of The World!

The film is known for being a more elegant take on ’50s va-va-voom vulgarity and the more joyous paean to the cheesecake female self-empowerment. Director Howard Hawks adds a wily sexual innuendo to the blatantly carnal antics of the pairing of Marilyn Monroe and Jane Russell at their spangled, curvaceous, lip sticky best with Russell’s down-to-earth, sharp wit, but it is Monroe’s turn as the gold-digging showgirl in her pink dress with her rendition of the song “Diamonds Are a Girl’s Best Friend” for which the film is often remembered and considered iconic, as the performance has inspired homages by many other artists. The film is based from Anita Loos’ play and novel of the same name, it went on to receive a positive reception overall in this camp comedy capering of a enjoyable, escapist, breathy, faux-innocent sexuality musical film.

Here’s what some of the critical receptions have been for the film over the years:

Richard Brody from The New Yorker says: “Howard Hawks adds sly sexual insinuation to the blatantly sexual antics of Marilyn Monroe and Jane Russell in this scintillating 1953 adaptation of the stage musical based on Anita Loos’s novel.”

Dave Kehr from Chicago Reader says: “A landmark encounter in the battle of the sexes.”

Nick Pinkerton from Village Voice says: “There’s more warmth in [Russell’s] fondly bemused looks at Monroe, whose friendship is a front-row ticket to the best show in town.”

Bosley Crowther from New York Times says: “There is that about Miss Russell and also about Miss Monroe that keeps you looking at them even when they have little or nothing to do. Call it inherent magnetism. Call it luxurious coquetry. Call it whatever you fancy.”

David Fear from Time Out says: “You won’t find a more elegant take on ’50s va-va-voom vulgarity or a more joyous paean to the cheesecake self-empowerment of two little girls from Little Rock.”

As you can tell by the critical reactions, the film was consensually well-regarded, as its two stars are incredible in juxtaposition: Russell worldly, amused, intensely in touch: Monroe is sublimely unfocused and beatific. Hawks’ direction establishes in bringing a strong play to the sophisticated dialog and situations to assist in maintaining the racy air that brings the musical off at a pace that helps cloak the fact that it’s rather lightweight, but sexy stuff in this charming, entertaining and colorful 1950s musical romp. But I’ll let you decide…

So, to get a better look at the film, here’s a link to the movie trailer of Howard Hawks’ “Gentlemen Prefer Blondes”:

Here I have provided 12 interesting and intriguing trivia facts (I wanted to keep it limited) about “Gentlemen Prefer Blondes”:

• This was Jane Russell’s one & only film with Marilyn Monroe. They got along well. Russell called Monroe “Blondie,” according to her 1985 autobiography, and was often the only person on the set who could coax Monroe out of her trailer to begin the day’s filming.
• In her very last interview, (10 years after making “Gentlemen Prefer Blondes,”) Marilyn Monroe recalls the lack of respect studio execs had for her, but makes a point of mentioning co-star, Jane Russell: “I remember when I got the part in ‘Gentlemen Prefer Blondes’. Jane Russell, she was the brunette in it and I was the blond. She got $200,000 for it, and I got my $500 a week, but that to me was, you know, considerable. She by the way, was quite wonderful to me.”
• According to Marni Nixon, the studio initially wanted Marilyn Monroe’s entire voice dubbed, as they thought her voice was silly. Nixon thought that was “awful”, as she felt Monroe’s voice suited her persona so beautifully. Nixon told The New York Times in March 2007 that she ended up only dubbing the operatic “no, no, nos” at the beginning of the song and the phrase “these rocks don’t lose their shape”.
• For the “Diamonds Are a Girl’s Best Friend” musical number, Marilyn Monroe was originally going to be dressed in nothing but bands of black velvet and masses of rhinestones, creating the illusion of a woman-sized diamond necklace. However, this design was deemed too revealing and vetoed by the studio in favor of the now iconic pink dress.
• In preparation for her role as Lorelei, Marilyn Monroe attended the Broadway production of “Gentlemen Prefer Blondes” starring Carol Channing every night for over a month.

• Fans and critics insist that the film has bisexual undertones to it. Style-wise, Jane was cast as the taller, more masculine girl in the picture, which was a contrast to Marilyn’s blonde, feminine features. The costumes, gestures, and musical numbers also provide cues that the characters were romantically involved. But what about Marilyn and Jane in real life? Marilyn was known to not have female friends, yet Jane was frequently by her side. Coincidence? Doubtful. And this isn’t just an opinion. An HBO biopic of Marilyn clearly depicts her and Jane having a raunchy encounter.
• Originally bought by Fox as a vehicle for Betty Grable. After the success of “Niagara” (1953) (which featured Marilyn Monroe), however, the studio believed they had a more potent and far less expensive sex symbol than Grable (who was earning around $150,000 per picture vs. Monroe’s $18,000).
• The “Diamonds Are A Girl’s Best Friend” number was later re-shot in CinemaScope, to be used as part of a CinemaScope demonstration held on the Fox lot in March of 1953. Producer Darryl F. Zanuck told Daily Variety that it only took 3–1/2 hours to shoot the number in CinemaScope versus four days for the original film version. The public finally saw the CinemaScope version ten years later when it closed Fox’s documentary tribute to “Marilyn Monroe: Marilyn” (1963).
• Marilyn Monroe wears a gold lame’ evening dress previously worn by Ginger Rogers in Dreamboat (1952).
• Judy Holliday turned down the role of Lorelei Lee because she felt no actress other than Carol Channing (who played the part on Broadway) should be cast.
• The teaming of Jane Russell and Marilyn Monroe proved to be so successful, critically and commercially, that Fox wanted to re-team the duo. A December 1954 item in the Hollywood Reporter’s “Rambling Reporter” column indicated that the studio wanted Russell and Monroe to star in the film, “How to Be Very, Very Popular” (1955). Monroe passed on the project because she didn’t like the script. In January 1955, the studio cast Sheree North as Curly (the part intended for Monroe) and Betty Grable as Stormy Tornado (originally intended for Russell).

To conclude, Howard Hawks’ “Gentlemen Prefer Blondes” is anchored by the vavooom of Marilyn Monroe and Jane Russell’s sparkling magnetism and fond performances, that catapulted Monroe to major stardom and iconic status as sex symbol. Howard Hawks helms with verve and the result is a champagne cocktail showcase that could shatter Laura Mulvey’s theory of the “male gaze” in this unusually perfect marriage of star, scenario, dialogue, direction, and music of admiration and cultural reverence in making it a delightfully joyous, lavish, vivid and hilariously entertaining, 1950s frolic musical classic.

NOTE: The article contains sources from IMDb and Wikipedia.

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