讓我們相愛(ài)吧

Let's Make Love(1960)

導(dǎo)演:喬治·庫(kù)克 編劇:諾曼·克拉斯娜/哈爾·坎特 主演:瑪麗蓮·夢(mèng)露/伊夫·蒙當(dāng)/托尼·蘭德?tīng)?/span>

1959年由比利·懷德指導(dǎo)的《熱情似火》（Some Like It Hot）大獲成功，瑪麗蓮·夢(mèng)露再次回到巔峰狀態(tài)，并拿下了金球獎(jiǎng)最佳影后。

趁著演員合同還沒(méi)有結(jié)束，二十世紀(jì)?？怂?/span>又開(kāi)始?jí)赫?mèng)露的性感。

一部粗俗、艷俗的歌舞片被安排上了日程，并取名為“Let's Make Love”。

故事

當(dāng)億萬(wàn)富翁讓-馬克·克萊門(mén)特(伊夫·蒙當(dāng)飾)得知自己將在百老匯外的一出喜劇中被諷刺時(shí)，為了接近劇中美麗的明星阿曼達(dá)·戴爾(瑪麗蓮·夢(mèng)露飾)，他把自己偽裝成扮演他的演員......

影片根據(jù)1937年迪克·鮑威爾主演的歌舞片《林蔭道上》（On The Avenue）所改編，并將男女主角的性別做了反轉(zhuǎn)置換。

夢(mèng)露的編劇丈夫阿瑟·米勒修改了劇本，把更多的重點(diǎn)放在了他的妻子瑪麗蓮·夢(mèng)露身上。

最初與夢(mèng)露演對(duì)手戲的格里高利·派克(Gregory Peck)因?yàn)樽约旱慕巧幌魅醺械绞植粷M(mǎn)繼而離開(kāi)了劇組。

這個(gè)角色后來(lái)被提供給洛克·哈德森、加里·格蘭特和查爾頓·赫斯頓，但他們都拒絕了。

最終，伊夫·蒙特德得到了這份工作，他曾出演過(guò)米勒1957年劇作《塞勒姆女巫》改編的法語(yǔ)電影，并因最近在紐約舉辦的個(gè)人音樂(lè)演唱會(huì)而受到好評(píng)。

然而這位法語(yǔ)流利的男演員卻不怎么會(huì)說(shuō)英語(yǔ)......

當(dāng)然，這還不是最大的問(wèn)題。

拍攝正值電影工會(huì)大罷工，電影停拍了近1個(gè)半月。

再次期間，先于表演，倒是夢(mèng)露的體重先開(kāi)始超常發(fā)揮。

經(jīng)常的無(wú)故遲到、忘詞也是片場(chǎng)一大難題。

此外，兩位主演還因戲生情，這讓整個(gè)劇組都處于尷尬的狀態(tài)之下。

倒是福克斯得到了免費(fèi)宣傳電影的猛料。

貌合神離的伊夫·蒙當(dāng)和妻子西蒙·西涅萊以及第三人夢(mèng)露

影片上映之后并未在北美票房取得多少亮眼的表現(xiàn)，口碑也是一塌糊涂。

在去世之前，夢(mèng)露曾嘆息道：阿曼達(dá)可能是我演過(guò)最糟糕的一個(gè)角色。（完）

?有興趣的朋友可以公眾號(hào)回復(fù)“ 讓我們相愛(ài)吧 ”觀看此片，希望大家喜歡這部電影。

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Ms. Monroe’s penultimate picture, a trite mistake identity musical-comedy directed by none other than George Cukor, French movie star Yves Montand plays a New York dwelling billionaire Jean-Marc Clement, who is born with a silver spoon and so atrociously famous that an off-Broadway revue decides to satirize his merry-go-round love affairs along with the personages like Elvis Presley and Maria Callas. Apprised of the news, Jean-Marc is persuaded by his PR officer Coffman (Randall, evokes an underlined drollness in his all-serious demeanor) to sneak into the rehearsal, and hit by a coup-de-foudre, he is swept off his feet by its star Amanda Dell (Monroe)’s sultry rendition of Cole Porter’s MY HEART BELONGS TO DADDY, and when he is hired to play himself for his uncanny resemblance, Jean-Marc plays along and becomes Alexandre Dumas, hoping to win Amanda over not by his wealth, but his charming personality in lieu.

As a comedy, LET’S MAKE LOVE is only moderately funny, in spite of three showbiz dignitaries’ cameos as themselves, Milton Berle, Bing Crosby and Gene Kelly, each pops up as an instructor to teach Jean-Marc comedy act, singing and dancing respectively, but the dry humor induced by Jean-Marc’s gaucheness and his teachers’ understated frustration doesn’t go anywhere. Montand appears like a fish out of water whenever Monroe is not present (the pair were conducting an off-screen affair during the production), and being a top-drawer entertainer, to act as if he is not really requires more showmanship than one might reckon.

But naturally, scenes shine when Monroe is on screen, whether she is cooing and twirling in music numbers (SPECIALIZATION is a boon), or playing a typical manic pixie dream girl in front of a besotted Montand, her Amanda only exudes irresistible, faultless loveliness that she leverages with considerable ease, even shoulders the third act’s over-egged self-denying non sequitur safely to the finishing line.

LET’S MAKE LOVE also marks British pop idol Frankie Vaughan’s bash into the Tinseltown, but is left nearly nothing to do as the no-account second fiddler, if not for his pizzazz when the music swells. The show must go on however off-Broadway it is, and a girl like Monroe is destined to marry a billionaire, a pipe dream Hollywood has been consistently force-feeding its audience to wallow in, and only looks wistful and ironic when Ms. Monroe prematurely shuffles off this mortal coil.

referential entries: Billy Wilder’s SOME LIKE IT HOT (1959, 9.2/10), Howard Hawks’s GENTLEMEN PREFER BLONDES (1953, 6.3/10).