Gentlemen don't marry corporations, especially one with a woman in charge, and basically for wealthy Texas rancher Jane Russell, she finds her money is the key to single unhappiness. So what does she decide to do? Catch the French Line to Europe and try to catch a beau the old fashioned way: pure animal magnetism, and with the double delights that Russell holds up, she's got the key in the door. Joining up with old friend Mary McCarthy, Russell becomes an entertainer, leading her into the arms of several possible suitors, particularly womanizing "Frenchman" Gilbert Roland who becomes aware of Russell's identity thanks to her interfering uncle Arthur Hunnicutt.Rather secondary even with its controversy, it has a few magical moments; Roland's production number, "With a Kiss", is pleasant and nicely staged, but Russell's musical numbers are rather focused on her curvy figure than written to be heard on the American hit parade. McCarthy, already a rising Broadway songstress (who would score in the 1970's on Broadway in the original "Follies" and "Chicago"), adds spark as her old pal who rose from good old country girl to New York fashion house maven, and Arthur Hunnicutt provides folksy humor as Russell's uncle. Spotting chorus girls/models Kim Novak and Joi Lansing among the beauties becomes a distraction in the musical numbers. For me, the highlight wasn't the controversial "Looking For Trouble" number (sanitized for American release), but the "Take those trays of canape's away!" which leads to an eye rolling number with Russell and McCarty ("Any Gal From Texas") that includes some of the strangest lyrics ever in a movie musical song. 1954 was a sensational year for musical numbers, so it's easy to see why this has fallen into obscurity. The plot is a variation of what Russell did in "Gentlemen Prefer Blondes", and the musical numbers here are weak in comparison. Several minor subplots just weaken the film even more, and the aging Roland seems just too sleazy to be the romantic lead. It also doesn't help that the rather garish color photography often seems slightly out of focus. If you go into it searching for camp, you might just get your wish, but those looking for something for something artistic or profound will be severely disappointed.

Jane Russell does look great in "The French Line", and she wears some smashing outfits, a few of which probably pushed the boundaries of censorship at that era. She doesn't manage to make us believe that she has fallen madly in love with Gilbert Roland, though - but who can hold that against her? Roland - or Roland's character in the film, if you prefer - is sleazy, charmless, and old. And in the supporting cast, Arthur Hunnicutt plays an insufferable Texas caricature. The story is stupid, the songs are forgettable and the comedy never really starts - so all you're left with is Jane, who, in this case, is not quite enough for "The French Line" to merit a recommendation. *1/2 out of 4.

This is what "Gentlemen Prefer Blondes" could've been without Hawks. It's as close to a remake as you can get. If you want to see a really BAD version, see "Gentlemen Marry Brunettes." I really only posted this to let everyone know that the FULL "Looking For Trouble" scene is posted on You-Tube. Makes it pretty obvious (the watchword for the whole flick) what the censors were up in arms about. Not to defend the CLD though they were the most effective publicity machine Hollywood never came up with, but JR does a WHOLE LOT of shaking' in the complete version. And it's definitely worth the trouble to check out. Amazing what "devout Christians" allowed themselves. We can only hope that if they ever put this out on DVD (and it isn't looking good) they'll include the whole thing instead of the prim careful official version.

"The French Line" was a Howard Hughes-produced opus in 3-D, designed to showcase star Jane Russell (you can make your own guesses what the purpose of putting this innocuous musical in 3-D was...I'll give you two!). To be kind, its no "Gentlemen Prefer Blondes", to which it has some similarities.Jane plays a Texas girl who is a reluctant millionairess - she has inherited her late father's ranch, which happens to be sitting on copious oil fields. But poor Jane only wants a man who will love her for who she is, not her money. She bewails her lot to her friend and guardian, ranch hand Arthur Hunnicutt, when her latest beau, Craig Stevens, jilts her before heading to the altar because he, like all the others, can't handle having a rich wife. Hunnicutt talks her into not canceling her planned wedding cruise to Paris on the French line, the Liberte (as pronounced by Jane, the Li-burr-tay), only she decides to go incognito so she can catch a man who knows nothing about her money.Well, first of all, do you really think a millionairess who happens to look like Jane Russell would have such problems? This is purely a confection of a film and not worth worrying about plot lines, but its all just pretty damn silly. And unfortunately, someone decided it should be a musical except all the blah numbers are staged very awkwardly. Jane is beautiful, but hasn't much to work with here and leading man Gilbert Roland seems both a bit too mature as a match for her and definitely too Spanish to play a Frenchman (they try to pawn it off by giving him a Spanish mother). It all ends with a fashion show which just may be the most ludicrous of many far-fetched Hollywood fashion shows. And by now, all the naughtiness which got this opus condemned by the League of Decency and denied a Production seal (Jane's skimpy costumes and bumps & grinds) seem fit for a toddler to watch.