Gentlemen Prefer Blondes (1953)

The second feature on our Monroe double bill—and the second smash hit for Marilyn in 1953, was the iconic Gentlemen Prefer Blondes. In fact, prior to a certain election, Dorothy and Lorelei were Little Rock, Arkansas’ most iconic exports. I was bemused by the theme of the double feature (How To Marry A Millionaire being the previous entry) which I described as “Sympathy for the Gold-digger.” But more on that in a moment.

Homina-homina-homina!
You almost can’t blame Bill, if this is what he grew up around.

Our heroines are of two decidedly different temperaments with the athletic, aggressive Dorothy (Jane Russell) being more about male pulchritude and the sweet but highly-focused Lorelei seeing marrying a rich man as the only sensible approach a girl can take. Lorelei has her hooks in the nebbishy Gus, Jr. (Tommy Noonan) and is genuninely warm and affectionate toward him…but Lorelei is also warm and affectionate to any man with a lot of money.

The girls have a show where they sing and dance exposition, so this is a musical where almost all the music has a rational-esque explanation. Russell has one number, “Isn’t Anyone Here For Love?” in a gym full of beefy dudes that doesn’t make sense as merely an ambient outbreak of song-and-dance, unless it was that kind of cruise.

The Flower points out that they may not ALL have been gay.
They’re here for love, honey, but not the kind you can give.

Anyway, Lorelei ends up going overseas to get away from Gus, Jr., who himself can’t break free of his suspicious, controlling father’s grasp, and the second act of the movie takes place on a cruise ship. She meets “Piggy”, a diamond king, and seduces away his wife’s tiara from him. But the suspicious Gus, Sr. has hired a detective (Elliot Reid) to keep on an eye on her—or more accurately to get evidence against her, and he snaps some compromising (if perhaps unfair) photos.

Lorelei and Dorothy scheme to get the evidence back, said scheme itself complicated by Dorothy’s attraction to the dick.

Indeed.
“If we can’t empty his pockets between us, then we’re not worthy of the name Woman.”

By the time the girls arrive in Paris, they end up penniless, under suspicion by the law and, worst of all, broken-hearted.  The do find success in a suspiciously large Paris nightclub, though.

It all works out for the best, as it must, but there is a terrific moment at the end when Lorelei confronts Gus, Sr. He claims she’s interested in Juniors money, and she retorts that that’s ridiculous, since Junior doesn’t have any money. She’s interested in Gus, Senior’s money! He’s appalled but that’s when she lays it out for him:

Don’t you know that a man being rich is like a girl being pretty? You wouldn’t marry a girl just because she’s pretty, but my goodness, doesn’t it help?

One thing they understood very well in the ’50s and (all prior history really), was that a woman can use her looks to “trade up”, socioeconomically speaking. The theme of both movies was that a woman of charm does herself a disservice by settling for a guy who’s going nowhere. It’s not for every woman. But neither is it some necessarily mercenary task. The vast landscape of civilization shows marriage as being a decision of trade-offs, and often the ones most “passionately in love” are the ones whose relationships fizzle out. (By survey, arranged marriages do better than those where the two people choose for themselves. That probably says nothing good about humans, but there it is.)

I submit they understood the realities of life back then, and also the distinction between marrying just for money versus taking the entire future life ahead into consideration when making decisions that impact that whole life.

Anyway, however anyone felt about the plot or the politics of it, they made a great movie. Monroe and Russell are both dazzling. The dance numbers are fun. The costumes won The Flower’s approval. There are a lot of good, wacky set pieces, in that ’50s style. We loved it.

And Marilyn was far more appealing in motion than in stills.
Iconic.

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