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.
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.
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.
June, 1911. Among the dignitaries from the Balkan State of Carpathia in London for the coronation of King George V and Queen Mary is the Regent, His Serene Highness the Grand Duke Charles. The London foreign office places great importance on Carpathia because of an unstable geopolitical situation with Kaiser Wilhelm of Germany set to overthrow its monarchy government if allowed. The Regent, a Prince originally from Hungary, and the most recent and now deceased Queen married for convenience. As such, the Regent has spent time with a series of lady friends while on his travels in his somewhat "free" state. In meeting one of those London women, music hall actress Maisie Springfield, and the company of her current production "The Coconut Girl", the Regent instead has his eyes set on one of the minor players in the show, American actress Elsie Marina. When seemingly simpleminded Elsie receives a party invitation from the Regent for that evening, Elsie is not so simpleminded to understand ...Written by
Vivien Leigh was supposed to reprise her stage role as Elsie Marina. But, at forty-three, she was considered to be too old by the time that this movie was made. See more »
In the opening scene inside the Carpathian embassy, the 2 men stand at the window as the royal carriage carrying the King and Dowager passes. The carriage doesn't just move past the window, it rolls along; it and the avenue trees traverse past the open window, as if the men are standing still and the rest of the outside world is parading magically past the window opening. V. strange editing. See more »
Charles, the Prince Regent:
Here am I, having reached the age of 40. And I have never known what it is to love or be loved. It is like the legend of the sleeping princess. Only here, it is the prince who sleeps and awaits the kiss of the beautiful young maiden that will bring him back to life.
You mean you want me to kiss you?
Charles, the Prince Regent:
You are so literal.
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Just saw this again the other day after many years, and was impressed by Monroe's effortless upstaging of Olivier, who gives the most hammy, artificial performance of his career, unsurprising as he is directing himself.
If you want to see what star quality means, just watch their scenes together. He is desperately trying to ACT and eclipse her. All she has to do is just BE there in shot.
Whenever they are on screen, it is always her that one's eyes are drawn to and she gives such a natural performance throughout it almost seems as if she isn't acting at all. She also copes with some extremely tricky dialogue, giving the lie to her inability to remember lines. These are often done in a single take - one scene in particular, early in the film as she is leaving the house before Olivier arrives home, talking rapidly to Richard Wattis as they walk down the long staircase, is outstanding.
So, the film is worthwhile in showing Monroe as the great star she was - and revealing Olivier to only be capable of mere caricature (that fake German accent is so awful) without a strong director to rein him in.
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