Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers.
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.
The titular river unites a farmer recently released from prison, his young son, and an ambitious saloon singer. In order to survive, each must be purged of anger, and each must learn to understand and care for the others.
With his family away for their annual summer holiday, New Yorker Richard Sherman decides he has the opportunity to live a bachelor's life - to eat and drink what he wants and basically to enjoy life without wife and son. The beautiful but ditsy blond from the apartment above his catches his eye and they soon start spending time together. It's all innocent though there is little doubt that Sherman is attracted to her. Any lust he may be feeling is played out in his own imagination however.Written by
Amazingly, Marilyn Monroe's very narrow spike heels don't get stuck or break in the subway grating that she stands on it in the movie's most famous scene, although this was a universal problem, at the time, for the countless women wearing that very popular style heel in New York City in that era. See more »
When Richard sets the coffee pot on the stove and turns on the gas, there is no flame, yet the pot is percolating when he returns to the kitchen minutes later. See more »
That's what's wonderful about a married man. No matter what, he can't ask you to marry him. He's married already. Right?
Right... You certainly don't have to worry about me. Am I ever a married man! I'm the most married man you'll ever know. And I promise... I will never ask you to marry me, come what may.
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When the title appears, one arm of the T in ITCH reaches down and scratches the stem of the letter. See more »
Version released in then West Germany contains some profanity. See more »
All the comments about Marylin Monroe for this film miss the point--the whole film is about Tom Ewell's character's wild imaginations and absurd twists colored by his constant immersion in his job in the field of dime pulp novels. If this movie moves at all, it's because of Ewell's performance as the husband who has been completely domesticated except for his uncontrollable imagination. Monroe's 'characteristics' drive some of the plot, but Ewell's fantasies are getting out of control before she even enters the film. It's a wonderful peek into that largely unspoken-of psyche of the American family man.
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