Reviewed by Isabella Baker ||
Howard Hawks & Richard Sales | Gentlemen Prefer Blondes | 1953 | 20th Century Studios
Surrounded by adoring suitors, witnessing them trip over one another for a glance, with a glittering spotlight to illuminate it all: welcome to the theatrical world of Lorelei Lee. Marilyn Monroe embodies the very essence of this it-girl in the 1953 film, Gentlemen Prefer Blondes, an updated portrayal of Anita Loos’ Jazz Age novel. In a startlingly pink dress made complete by a generous, trailing bow, she is every inch the show girl whom Lorelei lives to be.
The film features Lorelei Lee and Dorothy Shaw, two beautiful performers making a name for themselves on the New York scene. The former has aspirations to marry outrageously rich, and finds herself close to success as wealthy sweetheart, Gus Esmond, Jr., proposes. While the young couple makes swift preparations for their happily ever after, Gus’ father is dubious of Lorelei’s intentions and hires private investigator Ernie Malone to surveil her. The pair of ladies then embark on the Isle de Paris, a voyage serving as their final “single-gal” amusement before the marriage is to take place in Paris. Multiple outlandish dance numbers, including the still-famous “Diamonds are a Girl’s Best Friend,” ensue as the plot thickens. Lorelei is caught in a misunderstanding which Malone catches on film; Dorothy begins to fall for him, unaware of his profession until the feelings have manifested. Though all ends well – a merry double marriage for the two couples – enough drama transpires so as to have entertained generations (Gentlemen Prefer Blondes, 1953).
If there is one beating heart of Gentlemen Prefer Blondes driving this success, it is the iconic blonde herself. The femininity she embraces and the power which it wields have grown into the main discourse surrounding the film, and scholarship on this point remains divided into two distinct camps. Some say it shows the relationship between women and their sexuality as something to be celebrated, even to be portrayed in a “comedic” light (Hegeman, 526). Others view the adaptation as criticizing the inability of this sexuality to overcome the patriarchy’s whims (Mulvey, 10). This is the key division in the academic conversation surrounding Gentlemen Prefer Blondes. Are the leading ladies a harmless representation of beauties enjoying their youth, or does their coquettish behavior hint to a bigger lack of morality in the 1920s, when it was set? Even despite these two opposing views, it is widely agreed upon that the film is a commentary on female sexuality. Through a dual feminist-ethics lens, I will demonstrate that the film portrays the leading ladies as both of these ideas: harmless representations of youth, as well as the era’s lack of morality. It will be proven that both views are equally presented in Gentlemen Prefer Blondes.
One example of young female sexuality being viewed in both of these ways is neatly captured in the film’s five-minute dance number. Entitled “Diamonds are a Girl’s Best Friend,” it boasts unforgettable acting, facial expressions, and body language which ensure its being a centerpiece of the movie and optimal example of the aforementioned divide. Singing “No!” repeatedly and waving the fan in the faces of debonair men encircling her, Lorelei Lee is in her element. This image enhances her feminine power and transforms the adoring horde into playthings, easily discardable at whim. She exists as both sex symbol and unobtainable trophy. Though adorned, as one might expect given the song’s title, in sparkling and layered diamond jewelry, the lady remains unsatisfied and shouts a need for more:
A kiss may be grand…but it won’t pay the rental on your humble flat
Or help you at the automat
Men grow cold as girls grow old
And we all lose our charms in the end
But square cut or pear shape these rocks don’t lose their shape
Diamonds are a girl’s best friend
In these lines, Monroe’s character repeatedly declares her preference for material delights over the fickle attention of men, a prime example of blurring the line between questionable morals and lighthearted coquetry.
Analyzing this, the motivations behind her outlandish behavior become clear: Lorelei Lee is pushed to do everything she is able for as long as her youth and beauty permit her. One is almost moved to sympathy upon this realization, given that her self-worth is defined wholly by the perception of others. Thus, both sides of the hegemonic discourse on Gentlemen Prefer Blondes are represented: she is young, and she will be young but once – why shouldn’t she profit from this? However, on the flipside, what message is being conveyed with such an unabashedly materialistic character? To what extent did these values permeate America in the decade represented?
Critiques of the film have been careful to note, also, that within this number there is neither convoluted phrasing nor difficult vocabulary. Carefully structured, it allows the audience to focus on the woman singing them in lieu of her chirpy lyrics. The choreography and set, though initially dramatic, are outlandish by the end; cardboard hearts and gentlemen in suits are joined by palatial chandeliers, a blinding spotlight, and Greek pillars. By its end, “Diamonds are a Girl’s Best Friend,” has blossomed into a decadent musical number and homage to its equally decadent female lead. Thinking of this scene – and by extension the film – as a lighthearted portrayal of female happiness and youth is much simpler than considering the larger societal issues which plague it. Consider: with lyrics washing easily over the listener, the unrestrained theatrics and showstopping leading lady are able to make a heavy impression and overpower the more concerning messages therein.
Taking the position that Lorelei Lee is best viewed as a carefree representation of youth is an associate professor of English at the University of Florida, Susan Hegeman. She argues in her journal article “Taking Blondes Seriously,” that it is advisable to regard Gentlemen Prefer Blondes not as a tragedy of moral laxity, but rather as an analysis of the joys of femininity, youth, and their accompanying sexuality (Hegeman, 526). With the backdrop of the 1920s for the storyline, she warns that there can be a temptation to box women into the roles they were expected to hold in that time, and to judge them accordingly. However, as Maureen Turim points out in her “Gentlemen Consume Blondes,” article, the screening of the movie in the 1950s erected a barrier between the two time periods and enabled audiences to accept the more modern, potentially concerning themes without heavy criticism (page 370). Turim goes on to discuss the female image – in this case, Lorelei Lee – being eroticized for choosing to have fun with well-dressed men, to “get her kicks,” in essence, while still young enough to do so. Feminine joy and youth are further explored with this, with Turim pointing out that the plotline of musical, popular films have tended to revolve around men who search out women to amuse themselves. In this film, the script is switched, and it is the women on the metaphorical prowl to make the most of their sexuality, an idea not immediately rejected by its audience because of the aforementioned divide between the two time periods (“Gentlemen Consume Blondes,” 373). Adhering to this perspective, the “Diamonds are a Girl’s Best Friend” example may be analyzed as an attractive young woman lightheartedly profiting off of her eroticization both socially and financially. In terms of the former, she restricts herself neither from indulging in fanciful fun nor from the liberty to do as she pleases; of the latter, she will accept exquisite gifts and prosper from the attention however possible, aware that as her aesthetic appeal fades, as will the stream of gifts from suitors.
Academics who dissent from this view find, instead, that Gentlemen Prefer Blondes does not portray Lorelei Lee as her own character, and mocks her “shallow,” materialistic nature. Laura Mulvey of the University of London-Birkbeck College wrote in her article “Unmasking the Gaze: Some Thoughts on New Feminist Film Theory and History,” that the sexual nature of Lorelei Lee puts her in the public eye as an object for the male gaze, and through that, erases any autonomy she might have otherwise achieved (7). The reality of this film is that Marilyn Monroe may be attractive and wield that allure in achieving her aims, but there are unspoken and insurmountable limits as to what extent she may do so. It is the patriarchy, Mulvey asserts, which restricts the lady’s full sexual freedom. Even with Lorelei’s appearing to push the bounds of what is permissible, the film resolves with her being situated in a “conventional,” heterosexual marriage (Mulvey, 10). The plot arch as a whole seems, in this view, to show her materialism and youthful dalliances as silly, shallow detours from the main goal of becoming a so-called “kept woman.” Analyzing “Diamonds are a Girl’s Best Friend” from this lens, one would think Monroe’s character is a vacuous puppet to both her own silly desires and the patriarchy’s desire for something at which to gaze unblinkingly.
Neither of these perspectives – that Lorelei Lee and her femininity may be portrayed in only positive or negative lights – is comprehensive. I believe that the directors and producers of this film purposely constructed Lorelei Lee to show both sides, and to allow the audience to come to their own conclusions on the true nature of the woman. Through this lens, therefore, the morality of the film is truly in the eye of the beholder. Such musical scenes as “Diamonds are a Girl’s Best Friend,” which embrace youth and sensuality contrast against dialogue between Lorelei and her co-star, Dorothy Shaw remarking on one another’s flaws in these things. Dorothy Shaw, the voice-of-reason brunette to Lorelei’s shimmering blonde, provides a more cynical outlook and sharper observations on the world around them than her counterpart. Though still Lorelei’s intimate friend, and not in competition with her for happiness in this life, Dorothy early develops a pattern of commenting, occasionally critiquing, her friend if determining the blonde’s words or actions to be excessively ridiculous or sexual (Gentlemen Prefer Blondes, 1953). Even in Dorothy’s scope as an enthusiastically hedonistic woman, who fully embraces every moment of her own youth and iota of her beauty, Monroe’s character is meant to look extreme in her aspirations for wealth in comparison. After Lorelei remarks on a man in their acquaintance potentially being rich, Dorothy makes her feelings known. Her trademark, sarcastic wit makes an appearance as she snaps a quick retort:
“Dorothy Shaw: You know, I think you’re the only girl in the world who can stand on a stage with a spotlight in her eye and still see a diamond inside a man’s pocket,” (Gentlemen Prefer Blondes, 1953).
Through Shaw’s commentary, the audience is made to realize that judgement of women and of their chosen activities does not always come from men, as was thought by academics such as Mulvey who focused heavily on that male gaze. These judgements and limitations are apt to come from other women as well. Dorothy criticizes Lorelei’s obsession with attracting wealthy men and taking all they have to offer, failing to capitalize on her own eroticization. In addition to the immoral portrayals of youth, femininity, and sexuality as described above, this quote shows another angle. An evident critique of Monroe’s priorities and character, it calls into question her ability to genuinely appreciate a person separate of their wealth or lack thereof. Addressing the positive view, it is clear that Lorelei is amusing herself and has honed a skill particularly important to her: gauging an individual’s fortune. With such interjections as “I always adore finding new places to wear diamonds!” and “I always say a kiss on the hand might feel very good, but a diamond tiara lasts forever!” (Gentlemen Prefer Blondes, 1953), Lorelei tends to cozy up to that stereotype, and embraces Dorothy’s critique in a lighthearted, unaffected manner, countering questions on her morality.
It may be said that “Gentlemen Prefer Blondes” was never intended to be reviewed as a serious commentary on femininity, sexuality, and 1920s morality, as well as that the characters were written to be one-dimensional. Upon first glance, the leading ladies do little to step outside of the mold of the stunning, provocative bombshell. However, their ability to interact with and question one another- to grow within and due to that female friendship, as with the above quote from Shaw – distinguishes them as having greater meaning than the object of a hungry male gaze. It is for this reason that we may look at them through a complex lens of morality, exploring their positive attributes and negative societal impact in equal measure.
American ideas surrounding women and sexuality, and how the connection between the two is portrayed as somewhere on the spectrum of carefree fun and a marker of more widespread immorality, are as relevant today as they were then. It is a difficult line to walk for females so as to live their lives as they please and not be criticized for inappropriate comportment. Looking through this reality with a feminist lens in place of an ethical one raises even more complicated questions. Is it right for women to be judged? Do women have the right to judge one another, as with Dorothy and Lorelei, as they both live under the scrutiny of the male gaze? Do women have an obligation to one another to behave acceptably so as to improve the reputation of their gender? As pertaining to earlier discussion on the effect of patriarchy on females; is anyone exempted from its reach, or does sexual freedom remain an impossibility?
Such questions force one to reflect upon the place which this 1953 film has in the modern day, and how it either coincides or clashes with fourth-wave feminism. This wave focuses on diversity and female empowerment (Munro, 22). In terms of diversity, this movie lacks individuals of color and socioeconomic groups outside of the American middle class. Female empowerment despite Mulvey’s observations to the contrary, however, has a place in this film. With Lorelei strongly biased towards wealth and Dorothy towards a handsome face, both ladies are unafraid to desire, pursue whom they desire, and empower one another to be bold in this pursuit, even if this pursuit may not have been universally approved of.
Gentlemen Prefer Blondes shows the relationship between femininity, youth, and the adjoining sexuality as something which ought to be both celebrated and careful of due to the patriarchy’s limitations on it. At the end of the iconic number “Diamonds are a Girl’s Best Friend,” which portrays this duality, Lorelei gains a second audience. After having been encircled by her male suitors, witnessing them trip over one another for a glance, the ritual is repeated with a collection of identically dressed young women. In her iconic pink dress, while drawing out the dramatic last notes, the show girl dispenses her sage advice to her followers; “diamonds … diamonds … I don’t mean rhinestones … but diamonds … are a girl’s best … best friend.” Glimpsed through a dual ethics-feminism lens, Lorelei Lee and the film as a whole have balance representations as both harmless representations of youth, as well as the era’s lack of morality. In the eye of the beholder, as well as of the beholder’s era, however, the film poses an open question as to how the next generation will choose to interpret it.
Isabella Baker is a multilingual undergraduate at American University majoring in International Relations and Russian. She has experience interning and serving as a T.A. for diverse perspectives within the IR sphere, including the Global Language Network, United States House of Representatives, Department of Defense, Department of State, and National War College, and has previously been published in the International Affairs Forum. After university, she aspires to promote women’s equality in Eastern Europe as an Officer of the U.S. Foreign Service. Isabella dedicates this article to her Nonna, who has lifted and raised the women in her life to be unapologetically strong.
