Word: montand
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...Make Love. Marilyn Monroe does a seismic shimmy, sings My Heart Belongs to Daddy, and carries on with Singer Yves Montand, but despite their efforts, the show is not really good low humor; it is merely good-humored...
...would be impossible on the American screen, particularly the notorious "rape" of Temple Drake by the impotent Popeye. Instead, the moviemakers have opted to masculate Popeye and remove the more unorthodox elements of the rape scene, leaving little to be double-filmed but an active bedroom encounter between Yves Montand and Lee Remick. "The European version I like best," says Montand with a half-bored Gallic shrug, "but I tell you something: both are acceptable and decent. The difference is so small. For America I kiss her lips, but for the Europeans I kiss her collarbone...
...right, I'm not real") has never been more dazzling. And the comic counterpoint of fleshy grandeur and early Shirley Temple manner is better than ever. But despite Mrs. Miller, the film is not really good low humor. It is merely good-humored. Co-Star Yves Montand, the French music hall singer, is urbane and masculine, but he seems constrained by a part that requires him to pretend he is not an expert song-and-dance man. He plays a billionaire who, to be near Actress Monroe, decides to take the part of himself in a satirical off-Broadway...
...production is slick, the songs are good-notably one in which Crooner Frankie Vaughan says with fervor, in effect, never mind good lyrics, "give me a song that sells"-and the plot no thinner than most. The supporting actors are expert, especially Tony Randall, who plays Montand's pressagent with an accurate blend of servility and fresh-faced eagerness. One reason why the film, although consistently pleasant, is only fitfully funny may be a plague now widespread in Hollywood movies. Milton Berle, Gene Kelly and Bing Crosby appear in brief "cameo" parts as themselves (they are supposed...
Somewhat Jealous. She made more movies, played with Montand in stage and screen versions of Arthur Miller's The Crucible, was seen by U.S. audiences in the memorable chiller, Diaboligue. Yet Simone insists that she is too lazy to be a great star, and too bent on following her husband wherever his career takes him. "Not that I'm sacrificing anything," she adds hastily. "It's just that between lousy scripts and being with him, I'd rather be with him. Of course I'm jealous too," she says. "There's good reason...