Reviewed Aug 18, 2012
Joshua Ray’s review:
Wilder, doing his Pre-Code Lubitsch redux thing (see: Love in the Afternoon,) makes a stream of double entendre, phallic symbols, horned-up delivery. Its oft-copied narrative, however, reveals the characters' self-loathing.
Wilder's framing perpetuates and extends the Monroe myth. She's often on solitary display, naked, vulnerable, sad, but always radiant.