This movie had its spots of humor due to the absurdity of the total differences between the real billionaire and the fake average guy. Some of the gags were just chuckle category but some elicited a real laugh. I enjoyed watching the people play the roles of those caught plying their deceit in the passing off of the rich man who was pretending to be poor so the object of his affection would hopefully like him for himself rather than his money. It was good to see the likes of Bing Crosby, Gene Kelly, and Milton Berle in surprise roles trying to teach the stiff as stark rich guy how to sing or dance or be funny.I'm not certain why it did poorly at the box office, maybe it had some serious competition at the time. This was not Oscar material but it was good enough to keep me interested. I munched through a whole bag of Paul Newmans micro corn without stopping so it had to have something working for it.

*Spoiler/plot- Let's Make Love, 1960. A French handsome eligible billionaire is tired of women chasing him for his money. He finds a small New York stage play that is making a satire involving him. He shows up to stop the public embarrassment of the shows opening. He falls in love with the lead struggling actress. He tries to win the love of a stage actress by pretending to be another starving New Your actor in the same stage play.*Special Stars- Marilyn Monroe, Yves Montand, Tony Randal, Frankie Vaughan, Wilfrid Hyde-White.*Theme- People from different backgrounds can find common matters to make a relationship.*Trivia/location/goofs- Musical. Script written by Monroe's new husband, Arthur Miller. Lead male role re-cast over six times but finally accepted by M. Monroe's final approval.*Emotion- An entertaining musical film combined with Marilyn Monroe and several great catchy song numbers. A time capsule of the late 50's and so a bit of history for the viewer.*Based On- "Mr. Monroe's" Arthur Miller script.

With the burden of all her own insecurity and distractions, and with all the commercial desperation haunting Fox's post-"Cleopatra" project, Marilyn actually delivers a very good all-round performance in "Let's Make Love." At times, such as her singing and dancing, and especially playing against Montand, I think she really is brilliant. She certainly acts and performs the wooden French star off the screen. (The thoroughly polished and rather cool British star Frankie Vaughan is a far better match for her as a performer.)Everyone has heard tell what a nightmare she could be to work with. I tend to think her Hollywood associates should have forgiven her eccentricities - apart from that late, great - and very nice - person Jane Russell, did she really have any friends in that brittle world? And yet they were all happy for her to sell the tickets that made her vehicles the big draw they were and earned the big bucks for the studios.Shame someone hadn't taken her 'little girl lost' aura more seriously than just thinking it meant she was an annoying airhead. Shame on them all for lusting after that magnificent physique, while impatiently and cruelly discarding the complex and tender person herself!If more people in her life had ever really shown her simple kindness and understanding, she might have lived longer, achieved more - and, most importantly of all, in the end, been happier. What an utter shame.

Poor romantic comedy that was subsequently talked down by director George Cukor and its two main stars, Yves-Montand and Marilyn Monroe. The latter only doing the film due to contractual commitments to 20th Century Fox. There were also problems with the affair that Montand & Monroe were having since both parties will still married to Simone Signoret and Arthur Miller respectively. Perhaps because they were trying not to show their feelings on screen explains why the coupling comes off as bland and listless? Monroe at least captivates and looks very well here, but Montand is dull as dish water and it's hard to believe that Monroe in character or in real life could go for such dullness.The plot is unadventurous and it's tough enough to swallow without Cukor forcing in lame humour, lead weight dialogue and sub-par music numbers. A spark of hope that we might get a good movie arrives early with Marilyn's entrance, resplendent in figure hugging costume and warbling "My Heart Belongs to Daddy", but it's a false dawn and only serves to remind us why we loved her in the first place, and, that she deserved better than this. Montand's role had been touted to a number of high profile American actors, notably Cary Grant, James Stewart, Rock Hudson and Gregory Peck, the latter of which did get the gig but quickly got out of it upon viewing the script. Peck is also credited with a humorous and most fitting quote about the finished movie. He wryly observed that the end result "About as funny as pushing Grandma down the stairs in a wheelchair." Now where's Tomy Udo when you need him most eh? He could have pushed this movie down the stairs with Grandma too.The film is also guilty of other things. It's at least 30 minutes too long and Tony Randall is badly underused as Coffman, PR aid to Clement (Montand). While cameos by Gene Kelly, Bing Crosby & Milton Berle, as pleasant as they are, just smacks of film makers trying to dress up a dogs dinner. There's some enjoyment to be had in Wilfred Hyde-White's sarcastic support turn, while some value can be got from the De Luxe Color/CinemaScope production. But really they are thin excuses from which to use in recommending this to anyone but the hardiest of Monroe completists. 3/10