Many women wear scantily clad clothing throughout the film.
A group of men wearing only underwear dance around a woman in a prolonged scene and she touches their muscles
Some kissing/flirting
Some sexual innenduos


Film review:Translated by www.rabudo-ru.com


Monroe’s dumb blonde image is really unmatched.

The following paragraph is abrupt, which roughly describes Monroe’s endless works.

Marilyn Monroe has: too much written about her–too much sex about her. There was too much breath in her voice and there were too many drugs in her body. Too much vulnerability,too much trouble,too much exposure. She read too many books,she had too many abortions,she put too much bleach on her hair,she had too much interest in acting,too much willingness to undress,too much talent,too much tardiness,too much anxiety,too much foster home,too much JFK——and these days there is too much paraphernalia associated with her. Her clothes were much too tight; her house was much too messy; her life ended much too soon. Too white,too childlike,too stupid,too manipulative,too sincere. Too awkward too undulating too intelligent too pathetic too diligent too lonely too lazy too funny–too,too much.

(Lisa Cohen,The Horizontal Walk: Marilyn Monroe,CinemaScope,and Sexuality)

The “marry a rich man” series in Hollywood in the 1950s and 1960s starring Monroe not only shows the new female image of sexual liberation, but also fully shows the economic and social changes in the United States – an American commodity exhibition. When talking about the film, Mulvey also mentioned the change from male gaze to female audience, that is, around the female image, in addition to the (male) sexual attraction represented by Monroe, they also showed the (female) sexual attraction of the consumer society.

If you look at the “marry a rich man” series of Hollywood and the “marry a rich man” series of contemporary Chinese urban emotional films, you will find that the comparison between the two “marry” is very interesting. Blonde silly girl deliberately wants to marry into a rich family. In fact, she has dressed up and asked herself according to the life of the rich family. In this backtracking play, the real hero is usually a poor boy, while the rich family is often just a materialized scene, not a real male protagonist. In this film, Dorothy married the little detective, and Laurie married the second generation of silly rich; In “passion like fire”, sweetheart is finally with saxophone again; In “willing to marry a golden turtle son-in-law”, one married a man who dodged debts everywhere, one married a forest ranger of the forest farm, and one married a “repairman”. Finally, he unexpectedly found that the repairman turned out to be a billionaire.

Here, only women and diamonds are the absolute protagonists, because men only have wealth, and women really know how to use the money correctly. Otherwise, Mrs. Peggy, who is known as reading countless people, will not recognize the super diamond king five without a tie as a repairman. Money worshippers only protect men’s self-esteem, so they look stupid. In fact, they all know the meaning of beauty and wealth in the emotional Libra, so whether they love diamonds or handsome men, they make people feel a natural and abundant emotion, Monroe makes this type of film to the extreme – no matter how much money she loves diamonds, you will unconditionally forgive her because she deserves it.

“Marry a rich man” in Contemporary Chinese urban emotional films puts men in a prominent position, and love is regarded as the emotional narrative of “tall, handsome and rich”. For men, there are two thresholds: one is to accumulate capital and the other is to use capital to shape their image. In the Hollywood narrative, the self-evident upper class male image in contemporary China is displayed as an aggressive middle-class male image and a self packaging process. When the image and identity are aligned, love will come. The typical representative is my fair gentleman. This packaging replaces the traditional “money can’t buy feelings” with “unqualified capital image can’t buy feelings” (for example, Wang Yang’s failure in “I do” and Li Xiaohong’s refusal to accept Zhang Quan in “happiness quota”). If the typical materialization is around Monroe, then here, a materialized (in fact, full of deception) emotion is formed. In the final analysis, it is just to erase the capital’s evaluation of love from the moral level – I love your people first and then your money.

So we see that the money worship women in Hollywood finally accept the poor boy. Of course, as a remedy, one of the sisters will always get a real golden turtle son-in-law. In Contemporary Chinese urban emotional films, beautiful women really marry local tyrants. In fact, instead of giving women false love choices, it’s better to say diamonds are a girl’s best friend. It’s better to love diamonds than to love my beautiful fake you.

In addition, the film also triggered a discussion about the image of queer. When Dorothy was in the gym, the interaction between the powerful male body and the heroine was not warm, and the flesh colored shorts looked very sexy.

At the same time, Dorothy and Laurie Lai always dress up very right, especially in the last scene of the wedding. The camera gives them a close look. They seem to be telling everyone that their real soulmate is actually each other.

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