How to Marry a Millionaire
1953 Directed by Jean Negulesco
Synopsis
Three women set out to find eligible millionaires to marry, but find true love in the process.
Cast
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"How to Marry a Millionaire" should not be any good. The premise is cynical and mean-spirited. The male leads (with the exception of the inimitable William Powell) collectively have the charisma of a goldfish. Plot strands dangle unresolved like the frayed edges of a burlap sack. The resolution is an affront to the laws of both probability and basic human nature. I liked it anyway.
I liked it because Bacall, Monroe, and Grable are all sublime as three gold diggers trying to elbow their way into the sweet life. Monroe has always been underrated as a comedic actress, and here her talents are on full display. Bacall doesn't have great comedic timing, but she knows how to deliver a sarcastic…
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This film seems to have a terrible reputation, even among Marilyn Monroe's most die-hard fans. For the life of me, I can't figure out why. Sure, the premise - and the characters - are as superficial as they come, and the movie broadcasts its ending about 5 minutes into the picture. But how can you go wrong when every woman in the movie is knock-you-flat-on-your-feet gorgeous, from the demure and sexy Lauren Bacall to Marilyn Monroe looking impossibly cute in chic 50's specs.
The characters may be dim but the screenplay is most definitely not; "How to Marry" elicited more than one laugh out of this viewer with its clever oneliners. And you couldn't ask for a better setting than…
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The film is never more entertaining than when its central actresses play opposite each other - although Grable obviously doesn't have Monroe's comedic chops or Bacall's ability to ground the absurd in reality - which is why it's such a shame the film splits them up so quickly. Regardless, it's refreshing to see a film willing to make jokes at its characters' expense, even as it seems legitimately invested in their happiness. (B-)
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One of the most visually spectacular romcoms I think I've ever seen - beautiful to see Negulesco experimenting with the possibilities and potential of CinemaScope. AND, of course, it's sparklingly funny. In the "don't make 'em like they used to" argument, it's a strong case for the prosecution.
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Do I find the premise of this movie troubling from a modern standpoint? Sure. Would I mind as much if the movie were funnier? No, I wouldn't. Is William Powell still the coolest motherfucker in the world? Just about. Am I comfortable with the ladies using 'creamy' as a catchphrase? Not even a little bit...
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I was nuts about him. Know what he did to me? First he gave me a phony name. Second, he was already married. Third, the minute the preacher said amen, he never did another tap of work. Then he stole my TV set and gave it to a car hop. When I asked him about that, he hit me with a chicken.
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Fantastic. Very funny. It seems almost effortless the way they've cast these films. Bacall, Monroe and Grable each have their strengths and make this film interesting to watch. The way this film is constructed it's almost episodic and doesn't feel like a movie at all. That's not necessarily a bad thing, if anything it's good. I don't feel drained at the end. A lovely romp!
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The huge, vacant apartment inhabited by these soft-hearted manhunters is a fitting symbol: this is the first film shot in CinemaScope, and the capable but uninspired Negulesco shows off the possibilities of the format like it’s an empty house just put on the market. He sets up all these expansive canvases, from the vast penthouse to the snowy hills of the Maine countryside, but seems satisfied with merely showing off the size of the frame, rather than spatially utilizing it. Lateral movement or exploitation of the wide gulfs between the characters is negligible, except for the one shot where the three ladies converge in a triangular pattern upon the camera, growing into titanic goddesses as they draw near. The film’s…
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Drags on a bit - but the characters are fabulous and the truth of the movie is timeless.
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I am a huge fan of Lauren Bacall, so the minute I saw that this film was on Netflix, I sat down to watch it. Once I got past the excruciatingly-long orchestral intro, I actually quite enjoyed this movie. The three main characters, played by Marilyn Monroe, Betty Grable, and Bacall, were engaging and delightful to watch. They each had their own personalities and distinct character arcs. I especially enjoyed the light situation humor. I wouldn't consider this a particularly wonderful movie, but it brought me back to another time and would love to sit down on a rainy day and watch it again.
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This film seems to have a terrible reputation, even among Marilyn Monroe's most die-hard fans. For the life of me, I can't figure out why. Sure, the premise - and the characters - are as superficial as they come, and the movie broadcasts its ending about 5 minutes into the picture. But how can you go wrong when every woman in the movie is knock-you-flat-on-your-feet gorgeous, from the demure and sexy Lauren Bacall to Marilyn Monroe looking impossibly cute in chic 50's specs.
The characters may be dim but the screenplay is most definitely not; "How to Marry" elicited more than one laugh out of this viewer with its clever oneliners. And you couldn't ask for a better setting than…
-
The film is never more entertaining than when its central actresses play opposite each other - although Grable obviously doesn't have Monroe's comedic chops or Bacall's ability to ground the absurd in reality - which is why it's such a shame the film splits them up so quickly. Regardless, it's refreshing to see a film willing to make jokes at its characters' expense, even as it seems legitimately invested in their happiness. (B-)
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Entertaining Marilyn Monroe comedy about charming gold diggers. Not mold breaking, but the film looks gorgeous, and it's hard to argue with a Monroe film on Blu-ray. Solid picture. (B)
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"How to Marry a Millionaire" should not be any good. The premise is cynical and mean-spirited. The male leads (with the exception of the inimitable William Powell) collectively have the charisma of a goldfish. Plot strands dangle unresolved like the frayed edges of a burlap sack. The resolution is an affront to the laws of both probability and basic human nature. I liked it anyway.
I liked it because Bacall, Monroe, and Grable are all sublime as three gold diggers trying to elbow their way into the sweet life. Monroe has always been underrated as a comedic actress, and here her talents are on full display. Bacall doesn't have great comedic timing, but she knows how to deliver a sarcastic…
-
One of the most visually spectacular romcoms I think I've ever seen - beautiful to see Negulesco experimenting with the possibilities and potential of CinemaScope. AND, of course, it's sparklingly funny. In the "don't make 'em like they used to" argument, it's a strong case for the prosecution.