From Monroe to Bacall to Grable, 'How To Marry A Millionaire' demonstrates various levels of femininity

From Monroe to Bacall to Grable, 'How To Marry A Millionaire' demonstrates various levels of feminin ...

The 1953 film How To Marry A Millionaire, by Jean Negulescos (yes, real name), was one of the most successful box office successes of the year, despite being just a fad of gorgeous models and engaging women, and Betty Grable's earthy sweetness.

Monroe is able to demonstrate her breathy, bungee-jumping baby voice while smashing into furniture in How To Marry A Millionaire, a game that would make the French buckle at the knees. With her quintessential who, me? expression, Monroe's quest for the juiciest bank balance is oddly funny and never at the expense of her natural ability.

Pola reveals J. Stewart Merrill to be as imposing as an M.C. Escher staircase, and she decides that her near-sighted husband is a cutie patootie, as if she were a child. "That'll do, Pig," says the narrator.

Loco, by name and nature, is a salt of the earth, a savorable savory, eager to pay for groceries and carry shopping bags while maneuvering a friendship with Waldo Brewster, a bloated philanderer, who has been struck with measles.

Loco, a sexy park ranger played by Rory Calhoun and his limitless eyebrows, is called upon to restore Brewster to health. However, the revelation that the wonderful and well-meaning ranger is only wealthy in a New Age sense (yada yada) is a devastating blow in the teeth.

Betty B serves as the ringleader of the group, claiming that wealthy men are never old enough to slay women on their phones. She also insists that gentlemen callers should wear a necktie, and is never once enthused about them.

Schatze's vulnerability is evident in his desire to be a "the most intelligent person (they) ever met." Her hatred of her housemates is valid in the sense that they succumb to the charms of Average Joe before she does, but it's still a shame that her attachment to Brookman's is eroded by the inevitable kissing.

To be sure, this group of strangers might have a greater sense of self-confidence than Bacall's second act blouse. However, the protagonists are tethered to boxes of either disdainful or deceiving, leaving the audience unaware of the intention, but rather uninvestigated. Powell is a natural persona, but on closer examination, he may have dodged a bullet.