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How to Marry a Millionaire
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Directed by Jean Negulesco.
A remake of 1933's The Greeks Had a Word for Them, as well as a retread of 20th Century-Fox's favorite plotline, How to Marry a Millionaire was the first Hollywood comedy to be lensed in Cinemascope. Lauren Bacall, Betty Grable and Marilyn Monroe play three models of modest means who rent an expensive Manhattan penthouse apartment and pose as women of wealth. It's all part of a scheme hatched by Bacall to snare rich husbands for herself and her roommates. The near-sighted Monroe is wooed by an international playboy, but ends up settling for the tax-dodging fugitive (David Wayne) who owns the girls' apartment. The knuckle-headed Grable goes off on an illicit weekend in the mountains with a grouchy married executive (Fred Clark), but falls instead for a comparatively poor--but very handsome--forest ranger (Rory Calhoun). And Bacall very nearly lands an aging millionaire (William Powell), but has a sudden attack of conscience and opts instead for the supposedly poverty-stricken chap (Cameron Mitchell) who has been pursuing her since reel one. It turns out that she has actually landed one of the richest men in New York--and upon learning this, our three luscious heroines faint dead away. Before the opening credits roll in How to Marry a Millionaire, we are treated to a "live" orchestral rendition of Alfred Newman's "Street Scene" overture, conducted by Newman himself. In addition to its being the first wide-screen comedy, Millionaire was also the first-ever presentation of the weekly NBC series Saturday Night at the Movies, premiering on the small screen on September 23, 1961. ~ Hal Erickson, All Movie Guide
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Review by All Movie Guide
All Movie Guide
liked it.
This tasty little souffle of a movie remains palatable throughout because of the alternately sweet and tart comic styles of the Bacall/Grable/Monroe triumvirate. All three stars play very much to type, but it's all harmless fun -- and gorgeous to look at thanks to painter-turned-director Jean Negulesco's sumptuous way with the nascent widescreen format. Negulesco, cinematographer Joe MacDonald and set designers Stuart A. Reiss and Walter Scott concoct a gorgeously gaudy Manhattan full of elegant fashion shows, cavernous loft apartments and comfy greasy spoons. As for the three beautifully decked-out babes, no surprises: Bacall's the cynic, Monroe's the ditz and Grable's the girl who learns she's a softie in spite of herself. Their various romantic and financial entanglements are the stuff of which silly Broadway musicals are made. But, sans songs, How to Marry a Millionaire is all about snappy dialogue, clever physical comedy, fantastic costumes and gorgeous scenery. But the time wedding bells ring during the final reel, the overly familiar material starts to wear thin. But for those who can check their feminist impulses at the door, the film remains a breezy pleasure even a half-century later. ~ Brian J. Dillard, All Movie Guide
 



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