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Let's Make Love Reviews

Monroe is simply terrific, while Milton Berle is a riot in his glorified cameo. If only a more vibrant and charismatic leading man had been chosen!

Full Review | Original Score: 3/4 | Aug 10, 2021

Cukor's old skill is evident in the bits of business he finds for his actors, the touches which build up sympathy, the unobtrusively accurate sense of where to place the camera and how to keep a flow of backstage action and dialogue moving.

Full Review | Jan 11, 2020

Most of its musical numbers are letdowns but there is a generous amount of entertainment...

Full Review | Dec 2, 2019

Let's Make Love is a disaster for everyone concerned... It is all a great pity because Miss Monroe has charm, naturalness and a real comedic gift.

Full Review | Jul 12, 2019

Cukor's movie is less successful as a musical than as a star vehicle (one of her very last) for Marilyn Monroe, who is at her sexiest.

Full Review | Original Score: B- | Jun 2, 2011

Cukor ... directs with all the panache of an unwanted contractual obligation. Indeed, Marilyn disliked the script but accepted Let's Make Love to fulfill her Fox contract.

Full Review | Jul 26, 2006

Full Review | Original Score: 3/5 | Oct 7, 2005

Full Review | Original Score: 3/5 | Jun 13, 2005

Full Review | Original Score: 2/5 | Aug 22, 2003

Monroe is typically captivating even if this isn't vintage Cukor.

Full Review | Original Score: 3/5 | Jan 23, 2003

Apesar do excesso de números musicais, o filme é leve e divertido, trazendo Marilyn Monroe em uma de suas performances mais sedutoras (em seu penúltimo papel no Cinema).

Full Review | Original Score: 3/5 | Jan 20, 2003

If you can live with the plot making absolutely no sense, then you should be able to handle this uneven attempt at being a screwball comedy.

Full Review | Original Score: C | Oct 21, 2002

Marilyn's Heart Belongs to Daddy number (and her practice leotard) are worth the price of the video.

Full Review | Original Score: 4/5 | Oct 3, 2002

Full Review | Original Score: 3/5 | Jul 29, 2002

Let's Make Love doesn't come close to Marilyn Monroe's best moments, but those who like corny old romances could certainly do worse.

Full Review | Original Score: 69/100 | Jul 9, 2002

Safe to skip.

Full Review | Original Score: 2.5/5 | Apr 25, 2002

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Let's make love.

1960 Directed by George Cukor

MARILYN MONROE and YVES MONTAND the French entertainment sensation! Doing what they do best in LET'S MAKE LOVE!

When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell.

Marilyn Monroe Yves Montand Tony Randall Frankie Vaughan Wilfrid Hyde-White David Burns Michael David Mara Lynn Dennis King Jr. Joe Besser Milton Berle Bing Crosby Gene Kelly Joan Banks Roxanne Tunis Madge Kennedy Ray Foster John Craven Richard Haydn Oscar Beregi Jr. Geraldine Wall Samuel Colt Byron Morrow Owen Cunningham Tom Greenway Larry Thor Leonard Bremen Jerry Hausner Louise Vincent Show All… H.T. Tsiang Florence MacMichael Richard Collier Benny Burt James Larmore

Director Director

George Cukor

Producer Producer

Writer writer.

Norman Krasna

Editor Editor

David Bretherton

Cinematography Cinematography

Daniel L. Fapp

Assistant Director Asst. Director

David S. Hall

Art Direction Art Direction

Lyle R. Wheeler Gene Allen

Set Decoration Set Decoration

Fred M. MacLean Walter M. Scott

Title Design Title Design

Composers composers.

Lionel Newman Earle Hagen Cyril J. Mockridge

Songs Songs

Jimmy Van Heusen Sammy Cahn Cole Porter Rube Bloom Harry Ruby

Sound Sound

W. D. Flick Warren B. Delaplain

Costume Design Costume Design

Dorothy Jeakins

Makeup Makeup

Hairstyling hairstyling.

Helen Turpin

The Company of Artists 20th Century Fox

Primary Language

Spoken languages.

Arabic German French Italian English

Releases by Date

08 sep 1960, 12 dec 1960, 01 jan 1961, 27 jan 1961, 11 feb 1961, releases by country.

• Theatrical e 12

South Korea

• Theatrical NR

119 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Josh Gillam ★★½ 2

Billionaire playboy Jean-Marc Clement (Yves Montand) is mistakenly cast in a satirical revue playing himself, taking the role to get closer to glamorous co-star Amanda (Marilyn Monroe), in George Cukor’s musical comedy featuring Tony Randall, Frankie Vaughan and Wilfred Hyde-White.

It’s got a fun premise, bringing a lot of humour from Jean-Marc’s fish out of water attempts to fit in with the theatrical world despite having no performing experience whatsoever, sending up celebrity culture and the theatrical world in the process. This comes across best in the cameos from Milton Berle, Bing Crosby and Gene Kelly, all playing themselves attempting to teach the Jean-Marc how to perform, with their mounting exasperation at his lack of talent creating some particularly memorable…

Review by Jordan James Brooks ★★★★

“My name is... Lolita... and uh... I'm not supposed to... play... with boys!”

There’s something about this one that I’ve always loved. I think Marilyn gives one of her very best performances, not just in terms of her acting, but also both her incredible dancing and singing ability, which she wasn’t often given a whole lot of credit for. In turn, she helped to churn out one of the very best soundtracks to one of her films with stunning musical numbers like My Heart Belongs to Daddy , Specialization , Incurably Romantic and of course - the title song. And with the narrative revolving around a colorful Broadway act, there’s a vast array of entertaining sequences from cabaret-styled stand-up and acting to…

Review by 📀 Cammmalot 📀 ★★★

Isn’t It Romantic?

"I hope you can kiss better than you sing or we’re out of business"

It’s an age old tale about a womanizing billionaire who wants the girl to like him for him, and not for his money. So he pretends to be poor while secretly buying a theater and then hiring Milton Berle, Bing Crosby and Gene Kelly to help him trick Marilyn Monroe into liking him.

Oh, and while he spends tons of money trying to win the girl, he also spends the entire movie lying through his teeth. I wonder if it’ll work…

"You’ll never impress her by being a rooster… unless she’s a chicken"

Cinematic Time Capsule - 1960 Ranked

Review by Quintin ★★

Monroe Marathon #11

I've been down the Monroe rabbit hole during her filmography binge. I've seen about five YouTube documentaries about the actress and almost all of them barely mention her second last film Let's Make Love. Only one mentioned it as a film she was contractually obligated to film with 20th Century Fox and it certainly feels like it. The story felt forced and the movie as a whole was exceptionally boring. The title seemed like a desperate attempt to draw viewers in at a Monroe film called Let's Make Love because the title doesn't really fit the story. Feels like they just hoped the sexual title for the sex symbol Monroe would be enough. As the documentaries have shown, this film has been lost in history as possibly her least remembered film and for good reason.

Review by Morgan ★★★

Too many of the white guys in this look the same.

Review by russman ★★★

They should have cast an actual billionaire to play the part of the billionaire playing the part of a billionaire

Review by harry ★★★

they way marilyn literally shines on screen is insane…

Review by filmsbykaitlyn ★★

That was literally so boring but to be fair I only watched it because of Marilyn Monroe

Review by zlata ౨ৎ ★★

honestly this film is too long and boring in my opinion, Marilyn’s performance is literally the only and main jewel in it, she’s charming

Review by Cineanalyst ★★★½

Monroe's Method and Her Sexpot Shadow

Revisiting the films of Marilyn Monroe, I find it extraordinary how far some of them go as reflexive commentaries on her acting method, which by the time of "Let's Make Love," was the Method of Lee Strasberg's Actors Studio, and on her star persona, as sexpot. I'm also only more convinced now that she's one of the greatest actresses we've ever had, but many have always been blinded to this because of the highly gendered and sexualized nature of her iconic status, if not also because she was physically an extremely attractive woman. There was no escaping that status as sex symbol. No way at the time would a studio finance Monroe in some…

Review by DubiousLegacy ★★ 6

You won't find many movies where it's more infuriating that the hero gets the girl. You think it's bad when a sadsack schlub gets a gorgeous woman to fall for him? Wait until you see a sleazy and manipulative billionaire take on the role.

It's no surprise, I suppose. George Cukor has always been an outspoken admirer of the rich, and his wealthfucker values really shine through in this piece of idolatry. Let's Make Love offers a new play on the Pygmalion movies he kept directing through his career. A high-status man and low-status woman collide, but instead of resolving the tension by having the man sculpt the woman into something better, Let's Make Love has the debonair man go…

Review by ClinTarantino ★★★ 2

A legendary Monroe embellishes an average comedy here in all aspects. Magnificent music and dancing interludes in one of her last films. Yves montand also could shine at least (loved the scene between him and gene)  a bit while the rest of the film felt totally uninteresting for me.

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Let's Make Love

Time out says, release details.

• Duration: 118 mins

Cast and crew

• Director: George Cukor
• Screenwriter: Norman Krasna
• Marilyn Monroe
• Wilfrid Hyde-White
• Frankie Vaughan
• David Burns
• Yves Montand
• Tony Randall

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Let's Make Love (1960) Directed by George Cukor

Film review, film synopsis, similar films.

• White Christmas (1954)
• Gigi (1958)
• Swing Time (1936)
• The Gay Divorcee (1934)
• Crustacés et coquillages (2005)

Film Credits

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• Terms of use

Let's Make Love

• Photos & Videos

Film Details

• Articles & Reviews

Brief Synopsis

Cast & crew, george cukor, marilyn monroe, yves montand, tony randall, frankie vaughan, wilfrid hyde white, photos & videos, technical specs.

French billionaire Jean-Marc Clement is notorious for his lust for money and beautiful women. Clement has settled in New York City, where one day at Clement company headquarters, Howard Coffman, an employee in the public relations department, becomes alarmed when he reads an article in Variety announcing that his boss is to be lampooned in an off-Broadway theatrical revue. Eager to render his boss a sympathetic character, Coffman suggests that Clement attend the rehearsal at The Circle in the Round Theater to demonstrate his sense of humor. At the theater, Clement is smitten when Amanda Dell, the troupe's female singer and dancer, slinks down a pole clad only in a sweater and tights, and then whips off her sweater and throws it in his face. When the show's director mistakes Clement for a fledgling actor who has come to audition for the part of the billionaire, Clement, hoping to get closer to Amanda, hits upon the idea of posing as Alexander Dumas, a struggling performer. His ploy works as Amanda coaches him on how to play the pompous billionaire, whom she holds in contempt as a "rich louse." When a call is put out for fresh jokes, Clement decides to impress his fellow thespians by presenting some new material. Coffman commissions comedy writer Charlie Lamont to pen some jokes, but the plan backfires when Oliver Burton, the company's producer, asks Lamont to judge the comedy material and he accuses Clement of stealing his joke. After Clement protests that he bought the joke from a stranger at Lindy's, Amanda comes to his defense by testifying that she witnessed the transaction. Touched by Amanda's act of kindness, Clement tells her that his day job is selling fake jewelry and shows her a genuine diamond bracelet that he has bought for one of his paramours, offering to sell it to her for five dollars. When Amanda buys the bracelet, Lily Nyles, another performer in the troupe, asks to buy one for her sick mother and Amanda graciously offers to sell hers. After Amanda leaves, Clement tells Lily, who made the mother story up, that the bracelet has been treated with radioactivity to make it shine, and she throws it back at him. One day, Abe Miller, the manager of The Theater in the Round, receives a notice requiring the company to pay one year's rent in advance. When Coffman traces the ownership of the theater to Clement Enterprises, he angrily accuses Clement of betraying the troupe. Realizing that the unreasonable demand is the handiwork of his aide-de-camp, George Wales, Clement arranges for Wales to pose as George Welch, a retired merchant, who offers to finance the entire production for fifty-one percent control. When Wales urges Clement to reveal his true identity to Amanda, Clement refuses, fearful that she will no longer relate to him as a person but rather as a power-wielding billionaire. To improve his woeful acting skills, Clement hires Milton Berle to coach him in the art of comedy. After several resounding failures, Berle manages to teach Clement a funny pantomime about a subway rider. Asked to assess the troupe's performance, Berle sits in on Clement's pantomime and cheers him on. Impressed, Burton offers to sign Clement for the run of the play, but when Clement demands a fifty-dollar raise for both him and Amanda, Burton fires him but is overruled by Wales. Aware that Amanda is dating Tony Danton, the show's star, Clement fantasizes about taking Danton's place in the love sequence he performs with Amanda. To accomplish this, Clement hires Bing Crosby to teach him to sing and Gene Kelly to coach him in dance. Clement then woodenly sings the new song with Amanda, which ends in a heartfelt embrace. When Danton, a recovering alcoholic, begins to drink again in fear of losing his role to Clement, Amanda decides to go out to dinner with Clement and delay him, thus allowing Danton an opportunity to perform the tune for Wales. Over dinner, Clement confesses his love to Amanda and proposes to her. When he finally reveals his true identity, Amanda thinks that he is deluded, identifying with his part in the play, and flees in fright. To convince Amanda of his identity, Clement instructs Wales to file an injunction in Clement's name to close the show for an invasion of privacy. After Clement suggests to Amanda that she charm the womanizing billionaire into allowing the show to go on, they all troop to the Clement building. When Amanda asks to see Clement, his dumbfounded secretary ushers them into an empty office. Taking a seat behind the desk, Clement summons his staff to take dictation. Finally realizing that Clement was telling the truth, Amanda becomes angry and runs into the elevator, pushing the down button. While broadcasting endearments over the intercom, Clement recalls the elevator to the top floor and after joining Amanda in the car, they embrace.

David Burns

Michael david, dennis king jr., madge kennedy.

John Craven

Harry chesire.

Bing Crosby

Milton Berle

Richard monsour, marian manners, richard fowler, oscar beregi.

Geraldine Wall

Samuel colt, byron morrow, owen cunningham, tom greenway, henry edward, leonard bremen, jerry hausner, edith claire, stassa damascus, louise vincent, h. t. tsiang, florence macmichael, richard collier, james larmore, michael fox, david bretherton, warren b. delaplain, daniel l. fapp, w. d. flick, earle h. hagen, hoyningen-huene, dorothy jeakins, norman krasna, fred m. maclean, lionel newman, cole porter, walter m. scott, helen turpin, james van heusen, lyle r. wheeler.

Hosted Intro

Award Nominations

Let's make love.

Arthur Miller (I) revised the script so that more emphasis was given to his wife, Marilyn Monroe. Gregory Peck, originally cast opposite Monroe, left the project, unhappy about the way his role and been diminished. He said the script was "now about as funny as pushing Grandma down the stairs in a wheelchair."

Cary Grant, Charlton Heston, Rock Hudson, 'Stewart, James' , and Yul Brynner all turned down the male lead. Yves Montand was cast after starring in Sorcieres de Salem, Les (1957), based on a play also written by Miller.

The working title of this film was Billionaire . The picture opens with a prologue that traces the history of the "Clement" family. According to a November 1959 Hollywood Reporter news item, Tommy Rall tested for a role, but he did not appear. According to studio publicity materials contained in the film's production file at the AMPAS Library, the project was initially conceived as a vehicle for Yul Brynner. When Brynner was not available, Gregory Peck was signed for the lead, but backed out because he thought the part was too slight. After the studio's attempt to hire Charlton Heston failed, Stephen Boyd tested for the role. According to a December 10, 1959 Hollywood Reporter news item, Marilyn Monroe was intent on securing Rock Hudson as her co-star.        Studio publicity noted that playwright Arthur Miller, Monroe's husband at the time, rewrote and expanded her role of "Amanda," although the extent of Miller's actual contribution to the film has not been determined. The Variety review listed the character played by Wilfrid Hyde White as "John Wales," but he is addressed as "George Wales" in the film. The production was halted due to a Screen Actors Guild strike, which ran from 7 March-April 18, 1960. Let's Make Love marked the motion picture debut of British pop star Frankie Vaughan and the American screen debut of French singing star and actor Yves Montand. The picture was nominated for an Academy Award for Scoring of a Musical Picture.

Miscellaneous Notes

Released in United States September 1960

Released in United States Summer August 1960

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"We waste our money so you don't have to."

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Movie Review

Let's make love.

US Release Date: 09-08-1960

Directed by: George Cukor

Starring ▸ ▾

• Marilyn Monroe ,  as
• Amanda Dell
• Yves Montand ,  as
• Jean-Marc Clement
• Tony Randall ,  as
• Alexander Coffman
• Frankie Vaughan ,  as
• Tony Danton
• Wilfrid Hyde-White ,  as
• David Burns ,  as
• Oliver Burton
• Milton Berle ,  as
• Bing Crosby ,  as
• Gene Kelly as

Marilyn Monroe and Yves Montand in Let's Make Love .

Let's Make Love is Marilyn Monroe's most provocative movie title. It is not her most provocative film. Although she is easily the bigger star, it is Yves Montand who unfortunately gets far more screen time.

Yves plays a rich, French playboy living in New York. He gets wind of an off Broadway show that is going to make fun of him and other celebrities. Elvis Presley is one of the other celebrities and this movie features one of the first ever Elvis impersonators. Montand secretly visits the show's auditions to find out how badly they intend to make him look. He gets distracted, however, by Marilyn Monroe singing 'My Heart Belongs to Daddy.' Not only does he not attempt to close the show, he ends up in it. Mistaken for an impersonator, the shows director casts him as himself. To be near Monroe, and prove to his assistant, Tony Randall, that he can get a girl without using his wealth, he stays with the show.

This movie is great on ideas. That set up alone is comically brilliant. Later in the movie, Yves wants to impress Monroe with his talent. In cameos, he has Gene Kelly teaching him to dance, Bing Crosby teaching him to sing, and Milton Berle trying to get him to be funny.

The problem with this film, is that there is too much of Montand and not enough of Monroe. Monroe doing a scene with Gene Kelly, Bing Crosby and Milton Berle would have been classic. Instead we have lots and lots of scenes of the horrifically dull Montand. Let me put it this way. His big scene which is supposed to genuinely funny is done in mime! This guy couldn't be any duller if he tried.

This is Monroe's second to last completed film. In this point in her career she is almost a caricature of herself. She has the look down to perfection. Her sexy wink and smile work well at the end of 'My Heart Belongs to Daddy'. However, she was over weight at this point. The movie producers realized this and include an insulting scene to justify Montand's attraction to her. The beginning of the movie has a sequence that explains Montand's family tree. It explains how they got their money and how they always had a passion for balloons. It then shows pictures of women with big ballooning skirts. When Monroe first meets Montand she says 'Your French!' then turns and reaches for something, revealing her large ass in tights. Montand leers at her and responds 'Very much so.'

This movie desperately needs to be remade. It is a genuinely great idea for a comedy. It is just too bad that Monroe couldn't have been teamed with a more charismatic leading man. Or better yet, Monroe should have played the Montand part. That would have been both original and unique. Of course this was 1960, and women in film rarely played the sexual aggressor. Too bad though.

Marilyn Monroe in Let's Make Love .

Apparently the size of Monroe's part was increased when her then husband Arthur Miller reworked the script. I have to wonder just how small her part was before he did that because it's still pretty insignificant in the finished product. In terms of screentime, it's 75/25 in favor of Montand. And given, as you mentioned Eric, he's the worst part of the movie and as about as exciting as a box of rocks, that's the real tragedy here. Cary Grant, Gregory Peck, Charlton Heston, Rock Hudson, and Yul Brynner all reportedly turned down the male lead and so it went to Montand who had previously appeared in a production of Miller's play The Crucible . Although I'm not sure about Heston or Peck, Hudson or Grant could have done wonders with this role.

Eric, you do get some funny ideas when watching movies some times. I don't think they're insulting Monroe at all when Montand leers at her ass. I think they're genuinely presenting it as something leerworthy and I agree with them. Yes, compared to actresses working today, she is heavy, but I would still call her voluptuous instead of fat. She does however look tired and as though her heart really isn't in the proceedings. I can't say I blame her. When you think of how big a star she was at the time, for her to be playing such a small, supporting part, you can't help but think how insulted she must have been. Reportedly she was having an affair with Montand during filming and their lack of chemistry doesn't speak well of him. 

I never really gave it much thought before, but what the hell is up with the song, "My Heart Belongs to Daddy"? In the song her name is Lolita and her heart belongs to Daddy? What is it, the Pedophile Society's theme song?

Not only did Montand lack chemistry with Monroe, I actively didn't want her to end up with him. I never believed she was in love with him. I wanted her to end up with Frankie Vaughn's character, with whom she did actually seem to have a spark.

There are a few funny moments. Crosby and Kelly both get good cameos, but Berle's is surprisingly unfunny and the routine he supposedly teaches Montand isn't funny at all. Of the main cast, Tony Randall gets a few good lines. Monroe is good in the musical numbers, but isn't given much of a chance to be funny.

I agree with you Eric that there are some comedic possibilities here, but not so much that it's crying out to be remade or anything.

I pretty much agree with both of you. Let’s Make Love is a disappointment due almost entirely to the dull, bland presence of Montand. He may have been a decent actor when speaking in his native French but in English he sounds ridiculous, lacks comic timing and is rather difficult to understand. He has no chemistry with Monroe just as he would generate none with Barbra Streisand ten years later in On a Clear Day You Can See Forever .

Monroe, on the other hand, is a complete joy to watch whenever she graces the screen. As Eric said, by this time in her career her dumb blonde persona was nearly a caricature of itself. In fact Marilyn could easily be one of the celebrities being satirized in the Off Broadway play she is starring in, in the movie. It is historically interesting seeing her onstage with an Elvis impersonator since she and Presley have gone on to become the two biggest American icons of the 1950s.

Her rendition of “My Heart Belongs to Daddy” sizzles. Amanda Dell is a typical Monroe character – trying to better herself by attending night school – but with a bohemian Greenwich Village spin. Granted she is a bit thicker around the middle than in her earlier films but still exudes sexuality. Voluptuous is definitely the right word to describe her figure.

The cameos are fun and make a great time capsule. The routine Milton Berle tries to teach Montand is incredibly corny by today’s standards. He is funny mincing around as a woman though and causing Montand to ask incredulously, “And fourteen million Americans call you uncle?”

Let’s Make Love was a big box office hit in 1960 although it hasn’t aged well. I would have loved seeing Monroe reunite with Cary Grant for this movie. Something tells me it would be better remembered today and much, much funnier if Grant had signed on. He would play a very similar role opposite Doris Day in That Touch of Mink two years later.

Let’s Make Love is worth watching for Monroe alone. Just be prepared to sit through a lot of boring scenes with Yves Montand looking uncomfortable.  

Photos © Copyright 20th Century Fox (1960)

© 2000 - 2017 Three Movie Buffs. All Rights Reserved.

Dennis Schwartz Movie Reviews

• Top Ten Lists

LET’S MAKE LOVE

• Post author: eenableadmin
• Post published: August 5, 2019
• Post category: Uncategorized

(director: George Cukor; screenwriters: Norman Krasna/Hal Kanter/Arthur Miller (uncredited); cinematographer: Daniel L. Fapp; editor: David Bretherton; music: Sammy Cahn/Cole Porter/James Van Heusen; cast: Yves Montand (Jean-Marc Clement), Marilyn Monroe (Amanda Dell), Tony Randall (Howard Coffman), Wilfred Hyde-White (John Wales), Frankie Vaughn (Tony Danton), David Burns (Oliver Burton), Mara Lynn (Lily Nyles), Milton Berle (Himself), Bing Crosby (Himself), Gene Kelly (Himself), Michael David (Dave Kerry), Dennis King Jr. (Abe Miller), Joe Besser (Lamont, Joke Writer); Runtime: 119; MPAA Rating: NR; producer: Jerry Wald; 20th Century Fox; 1960) “If you can live with the plot making absolutely no sense, then you should be able to handle this uneven attempt at being a screwball comedy.”

Reviewed by Dennis Schwartz

Marilyn Monroe is the good-hearted sexy showgirl rehearsing for a new comedy/musical play opening and attending night school to better herself. Yves Montand is a stuffy French billionaire residing in NYC who falls madly in love with her, in this diverting comedy/romance played with a backstage musical setting. The lightweight comedy was more silly than funny, while the romance was more corny than romantic, and the plot is more stale than original, but the stars do the best they can with this material and make it at least watchable. This 27th picture of Marilyn’s is her penultimate and though not an embarrassment, yet it is certainly not one of her better ones. The one-idea joke, of the billionaire not recognized and passing himself off as a struggling actor, went on for too long–way past its shelf life. George Cukor (“ The Philadelphia Story “) directs this project as if it were a truckload of gold he was carrying and he was driving cautiously so as not to hit any bumps on the road that would cause his valuable cargo to spill out. There were plenty of Broadway songs from the likes of songwriter Sammy Cahn, Cole Porter, and James Van Heusen, and to keep the men occupied Marilyn strutted around in tights and hotly sang the title song “Let’s Make Love.”

The new PR man Coffman (Tony Randall) has been hired to keep his tycoon boss, the seventh generation French billionaire Jean-Marc Clement (Yves Montand), out of the news. Coffman reports to his immediate boss, business manager John Wales (Wilfred Hyde-White), that he read in Variety a new off-Broadway musical is opening that is spoofing a number of celebrities such as Elvis, Maria Callas, and the thin-skinned publicity shy womanizing bachelor Jean-Marc Clement. To see if they can soften the show’s parody and show that Clement has a sense of humor, Coffman takes Clement unannounced to a rehearsal of the show. As soon as Clement sees the busty Amanda (Marilyn Monroe), he decides he wants her in the same authoritarian way he’s accustomed to always getting what he wants–as he believes people respect and obey him for his money. He’s mistaken by the casting director and everyone else at the show, including Amanda, for a Clement look-alike, as they assume he’s trying out for the part. When he sees Amanda can’t stand the snobby Clement and is not driven to meet a wealthy man, he pretends to be an out-of-work actor trying out for that part. It’s hard to believe no one in a show lampooning Clement would recognize him, but there you have the lame plot and might as well except it for the sake of the film.

Amanda keeps her distance from him by fawning over her co-star and boyfriend Tony Danton (Frankie Vaughn), who has the thankless role of being someone who might as well as well not even exist. He’s reduced to being an insecure singer with a liquor problem and with no enthusiasm to even want to hold Amanda in his arms, as he might as well be a cardboard prop for all he’s asked to do in this film. Clement seizes the opening and pursues her in the same persistent way he makes business deals. In a movie extolling Marilyn for not caring about money, the theme still points out that money still counts for a lot.

When Clement needs help in keeping his impostor act going, he secretly uses his money to influence the show in his favor. He buys a fresh joke from a professional joke writer for a thousand dollars to soften up the producer Oliver Burton (Burns) and impress Amanda. His right-hand man, the loyal Wales who helped raise him from childhood, uses Clement’s influence to put the money squeeze on Burton by raising rental fees for theater space and then rescues the show when he buys a controlling interest in it. Wales then hires Gene Kelly to teach Clement to dance, Bing Crosby to teach him to sing and Milton Berle to teach him a comedy act.

The movie plods along for far too long until it gets to its predictable conclusion, though there are enough Cole Porter tunes sung and enough wiggles from Marilyn to keep the movie from imploding. Marilyn is charming and sexy. Yves in his first English speaking role is debonair and very French. Wilfred Hyde-White offers a likable performance in a supporting role. If you can live with the plot making absolutely no sense, then you should be able to handle this uneven attempt at being a screwball comedy.

REVIEWED ON 10/29/2002 GRADE: C

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Let’s Make Love

After the film has been underway about 12 minutes, the screen goes suddenly dark (the scene is rehearsal of an off-Broadway show) and a lone spotlight picks up Marilyn Monroe wearing black tights and a sloppy wool sweater. She announces, with appropriate musical orchestration, that her name is Lolita and that she isn't allowed to play (pause) with boys (pause) because her heart belongs to daddy [words and music by Cole Porter].

By Variety Staff

Variety Staff

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After the film has been underway about 12 minutes, the screen goes suddenly dark (the scene is rehearsal of an off-Broadway show) and a lone spotlight picks up Marilyn Monroe wearing black tights and a sloppy wool sweater. She announces, with appropriate musical orchestration, that her name is Lolita and that she isn’t allowed to play (pause) with boys (pause) because her heart belongs to daddy [words and music by Cole Porter].

This not only launches the first of a series of elegantly designed [by Jack Cole] production numbers and marks one of the great star entrances ever made on the screen, but is typical of the entire film – which has taken something not too original (the Cinderella theme) and dressed it up like new.

Monroe, of course, is a sheer delight in the tailor-made role of an off-Broadway actress who wants to better herself intellectually (she is going to night school to study geography), but she also has a uniquely talented co-star in Yves Montand. Latter gives a sock performance, full of both heart and humour, as the richest man in the world who wants to find a woman who’ll love him for himself alone.

Popular on Variety

Whenever the story threatens to intrude with tedium, there’s a knockout Cole Porter musical number.

1960: Nomination: Best Scoring of a Musical Picture

• Production: 20th Century-Fox. Director George Cukor; Producer Jerry Wald; Screenplay Norman Krasna, Hal Kanter; Camera Daniel L. Fapp; Editor David Bretherton; Music Lionel Newman (dir.); Art Director Lyle R. Wheeler, Gene Allen
• Crew: (Color) Widescreen. Available on VHS. Extract of a review from 1960. Running time: 118 MIN.
• With: Marilyn Monroe Yves Montand Tony Randall Frankie Vaughan Wilfrid Hyde White

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Let's Make Love

• When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell.
• Billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue. He goes to the theatre, where he sees Amanda rehearsing a song, and the director thinks him an actor suited to play himself in the revue. He takes the part in order to see more of Amanda. — Ed Stephan <[email protected]>
• New York-based French billionaire Jean-Marc Clément VII has been able to build on the fortunes of the first six Jean-Marc Cléments before him, in the process being known, in his excessive leisure, more for being a love 'em-and-leave 'em playboy than a businessman. Alexander Kaufman, his head publicist, learns that Clément is one of the many well-known personalities being satirized in an off-Broadway musical, "Let's Make Love," currently in production, they who will skewer his playboy status. After Clément and Kaufman discuss what they should do, including the option to shut down the show regardless of the fact that Clément truly doesn't mind being portrayed in a satirical way, they decide the best first measure of defense is to make a surprise appearance at a rehearsal just to show that he is a good sport, and thus may be less of a target. Clément and Kaufman's appearance at the rehearsal coincides with the auditions for the relatively minor roles of the many celebrities being satirized. As no one recognizes him but thinks he looks like Clément, Clément decides to play along and accepts the role of Clément if only because he is captivated by one of the featured performers, Amanda Dell. The more that Clément spends with Amanda, the more that he truly does fall in love with her, true love which is a first in his life, and wants to marry her. Clément has many obstacles to overcome for Amanda to feel the same about him. First, he seems to be competing for her affections with the man who is her leading man, Tony Danton. Second, he doesn't want to look foolish in front of her, which he may be asked to do in portraying himself in the show. Third, he doesn't seem to be the type of man personality-wise to whom she would be attracted. As such, he decides to hire only the best to teach him to be the man he believes to who she would be attracted, teachers whom may only able to do so much in this situation. And fourth and arguably most difficult, she has a generally poor opinion about "Clément" from what she knows about him through general publicity and as he is portrayed in the show. — Huggo
• Jean-Marc Clément is noted family name in France. The earliest Jean-Marc Clément found a chest of gold in the field and farmed money. The next was fond of balloons and made his fortune of 300,000 francs. The 3rd owned a cannon factory who supplied cannons to the French army and the enemy. He left millions when he died in an accident at the factory. The 4th was also interested in "balloons" and had a duel on account of it. He left for New York where he bought an 800-acre property, in a low rent area known as wall street. He returned to Paris and spent his life with rich widows. The 5th owned 43 railroads by 1855, and 19 steamship lines. The 6th built the Statue of Liberty and convinced Mr. Eiffel to build a sightseeing tower. He controlled all the steel in France, died in 1890, leaving 400 million. The next found blueprints of the airplane and patented them. He also invested in oil in Texas. His fortune touched $1 BN. The current Jean-Marc Clément has an HQ in New York. The plot revolves around billionaire Jean-Marc Clément (Yves Montand) who learns that he is to be satirized in an off-Broadway revue (Alexander Kaufman (Tony Randall) was his employee who brought this news to Jean-Marc's attention. Clement considers buying off the theatre or forcing the group to stop the play but understand that this will attract only more negative attention. Alexander advises him to attend a rehearsal to see if the material is really damaging at all. After going to the theatre, he sees Amanda Dell (Marilyn Monroe) rehearsing the Cole Porter song "My Heart Belongs to Daddy", and, by accident, the director Oliver Burton (David Burns) thinks him an actor suitable to play himself (Clement) in the revue. Clément takes the part in order to see more of Amanda (she has the right "balloons" in the right places) and plays along with the mistaken identity, going by the name Alexander Dumas. He learns that Amanda is attending night school to complete her high school diploma. she considers Clement a playboy, with no sensitivity towards women's feelings, who keep suing him after their affairs with him. She coaches "Alex" on how to play Clement, by being more assured with women, and to be arrogant about his money. While rehearsing, Clément finds himself growing jealous of Amanda's attentions to actor Tony Danton (Frankie Vaughan), unaware that she only wants to help Tony achieve stardom. Clement tells a joke (that's usually very popular in his normal circles) which falls flat as everyone knew it in this audience. Clement sends Kaufman to buy him an original joke for $1000 from Charlie Lamont (Joe Besser). Clement learns from his report that Amanda is also seeing another married man after church. George is a company man, and Clement's godfather and feels he is walking right into a scandal with Amanda. "Alex" again tells a joke at the rehearsal, but unknown to him Charlie Lamont was in the audience this time, who accuses him of stealing the joke. Clement lies that he bought the joke for $10 and is only saved when Amanda also says that she saw "Alex" buy the joke. He tells Amanda that he is a salesman for a French company that makes fake jewelry and gifts her a $10,000 real diamond necklace. Amanda sells the necklace to a friend for $5. "Alex" gets it back saying that the stones have been exposed to atomic rays. Clement finds that the man Amanda sees in church is her father, who is a priest. Clément even goes as far as to indirectly fully fund the revue after George (Wilfrid Hyde-White), who had raised him all his life, tries to put an end to the revue by demanding a full year's rent for the theater. Clement finds out when Kaufmann tells him, and he forces George to invest in the theatre and finance it fully in exchange for a 51% share. The show is on, but Clement is disappointed that he has only bits and pieces role, while Danton has the hero role. In order to impress Amanda, Clément hires Milton Berle, Gene Kelly, and Bing Crosby (all playing themselves) to teach him how to deliver jokes, dance, and sing, respectively. Throughout this, Clément and Amanda fall in love with one another. Clement manages to impress the Director, who cuts Danton out of the best scenes and gives them to Clement, for his singing and dancing skills. Eventually, Clément decides to confess the truth to Amanda (after she tells him that she doesn't love Danton and just wants him to have his shot at stardom), who reacts by assuming that he has gotten overwhelmed by method acting and needs to see a therapist. He eventually manages to convince her of his true identity after tricking her and the revue director into coming to his offices. He gets a judge to issue an injunction against the play for invasion of privacy and forces Burton and Amanda to visit his office to convince Clement to roll back his injunction. Amanda is initially indignant over the deception but swiftly forgives him after the two make up in the building's elevator.

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Let’s make love blu-ray review.

Let’s Make Love — The Limited Edition Series — (1960)

Genre(s): Comedy, Musical Twilight Time | NR – 118 min. – $29.95 | June 19, 2018

Date Published: 06/22/2018 | Author: The Movieman

  One Response to “Let’s Make Love Blu-ray Review”

A lot of people say they didn’t think the guy was a good leading man, but I always thought that was the point of the character. He’s supposed to be a fish out of water who is way out of his league in the world of theater. Considering this, Yves did an absolutely perfect job, he’s not supposed to be a cocky, confident leading man that we’ve seen in every 60’s movie ever.

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Let's make love (twilight time releasing) blu-ray review.

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Let's Make Love

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• Dennis Schwartz Movie Reviews Dennis Schwartz If you can live with the plot making absolutely no sense, then you should be able to handle this uneven attempt at being a screwball comedy.
• Movie Mom Nell Minow Marilyn's Heart Belongs to Daddy number (and her practice leotard) are worth the price of the video.
• Nitrate Online Dan Lybarger Monroe is typically captivating even if this isn't vintage Cukor.
• EmanuelLevy.Com Emanuel Levy Cukor's movie is less successful as a musical than as a star vehicle (one of her very last) for Marilyn Monroe, who is at her sexiest.
• Film Frenzy Matt Brunson Monroe is simply terrific, while Milton Berle is a riot in his glorified cameo. If only a more vibrant and charismatic leading man had been chosen!
• Esquire Magazine Dwight MacDonald Let's Make Love is a disaster for everyone concerned... It is all a great pity because Miss Monroe has charm, naturalness and a real comedic gift.
• DVDJournal.com Mark Bourne Cukor ... directs with all the panache of an unwanted contractual obligation. Indeed, Marilyn disliked the script but accepted Let's Make Love to fulfill her Fox contract.
• Apollo Guide Scott Weinberg Let's Make Love doesn't come close to Marilyn Monroe's best moments, but those who like corny old romances could certainly do worse.
• Filmcritic.com Christopher Null Safe to skip.

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Product Description

Known as one of the world's richest, most powerful and eligible bachelors, Jean Marc Clement (Yves Montand) is not amused when he learns that an off-Broadway show plans on parodying his fickle ways. He'll do anything to stop the show - until he meets Amanda (Marilyn Monroe), the production's real show stopper! In a classic case of "if you can't beat 'em, join 'em" he auditions and lands a role playing himself! Underwhelmed by his lack of talent, Amanda all but ignores his romantic advances. In a desperate attempt to get her attention he hires Bing Crosby, Gene Kelly and Milton Berle (as themselves), to help him get his act together and win the woman of his dreams.

A curious picture in many ways: Marilyn Monroe was the superstar, Yves Montand new to Hollywood, but she seems peripheral to the action and he's in almost every scene. Meanwhile, director George Cukor, always happy with theatrical material, can't make the off-off-Broadway milieu come to believable life. In short, Let's Make Love lacks the sparkle promised by its talent roster, and for Monroe especially the bloom is off the rose. This 1960 film was her next to last, and she appears weary, although isolated moments have the old oomph (and she has a terrific romp through her first number, Cole Porter's "My Heart Belongs to Daddy"). Cameos by Milton Berle, Bing Crosby, and Gene Kelly increase the time-capsule feeling. The biggest failing is the lack of chemistry between Monroe and Montand, yet offscreen they had a romance during filming. A curious picture indeed. --Robert Horton

Product details

• Aspect Ratio ‏ : ‎ 2.35:1
• Is Discontinued By Manufacturer ‏ : ‎ No
• MPAA rating ‏ : ‎ Unrated (Not Rated)
• Package Dimensions ‏ : ‎ 7.1 x 5.42 x 0.58 inches; 0.01 ounces
• Director ‏ : ‎ George Cukor
• Media Format ‏ : ‎ Anamorphic, DVD, Color, Closed-captioned, NTSC
• Run time ‏ : ‎ 1 hour and 59 minutes
• Release date ‏ : ‎ May 14, 2002
• Actors ‏ : ‎ Marilyn Monroe, Yves Montand, Tony Randall, Frankie Vaughan, Wilfrid Hyde-White
• Subtitles: ‏ : ‎ English, Spanish
• Language ‏ : ‎ French (Dolby Digital 2.0 Mono), English (Dolby Digital 4.0)
• Studio ‏ : ‎ 20th Century Fox
• ASIN ‏ : ‎ B000062XG4
• Writers ‏ : ‎ Arthur Miller, Hal Kanter, Norman Krasna
• Number of discs ‏ : ‎ 1
• #2,254 in Musicals (Movies & TV)
• #7,425 in Romance (Movies & TV)
• #13,683 in Kids & Family DVDs

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Let's Make Love | Full Movie | Movies Anywhere

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Rotten Tomatoes® Score

Monroe is simply terrific, while Milton Berle is a riot in his glorified cameo. If only a more vibrant and charismatic leading man had been chosen!

Cukor's old skill is evident in the bits of business he finds for his actors, the touches which build up sympathy, the unobtrusively accurate sense of where to place the camera and how to keep a flow of backstage action and dialogue moving.

Most of its musical numbers are letdowns but there is a generous amount of entertainment...

Let's Make Love is a disaster for everyone concerned... It is all a great pity because Miss Monroe has charm, naturalness and a real comedic gift.

Cukor's movie is less successful as a musical than as a star vehicle (one of her very last) for Marilyn Monroe, who is at her sexiest.

Cukor ... directs with all the panache of an unwanted contractual obligation. Indeed, Marilyn disliked the script but accepted Let's Make Love to fulfill her Fox contract.

Monroe is typically captivating even if this isn't vintage Cukor.

Additional Info

• Genre : Comedy
• Release Date : September 8, 1960
• Languages : English
• Captions : English, Spanish
• Audio Format : 5.1

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