I’m not one who is typically known to lament the Golden Age of Hollywood in a way that discredits the current state of the industry, since there is a lot of value in any era of cinema, and those who complain about how the “good old days” of filmmaking are behind us are often quite myopic about the genuinely good work being done in recent years throughout the industry. However, it’s not too cynical to say that they simply do not make films like Bus Stop anymore, which is a remnant of a time and place consolidated to the past, regardless of how much we try and revive this kind of storytelling. Whether in the bold visual choices, the snappy and distinctive dialogue, or the magnificent actors that represent a very particular era of glamour, these films are very much a thing of the past. However, this doesn’t mean that modern films lack value, they just go about telling stories very differently, which makes the experience of leaping into a film like Bus Stop that much more invigorating, since it feels like we are being transported back to a simpler time, where colours seemed brighter, people seemed more beautiful and the mood was a lot more positive – and while we know this is the product of intentional sensationalism to create a feeling of escape, its difficult to not be entirely beguiled by this kind of approach, which is the main reason behind this film, and many others like it, becoming true classics, works of art that are regularly revisited or experienced for the first time, which is always a wonderful moment, since there’s something so beautifully enigmatic about these old-fashioned comedies that keep them refreshing and captivating, over half a century since their initial release.

There was quite a formidable production history that started to define the film from even before the cameras started rolling, with Bus Stop having a very interesting journey to the screen. The film was based on the play by William Inge (who had previously had terrific success with adaptations of Come Back, Little Sheba and Picnic, the latter of which was directly responsible for this film), who told the story of a naive young cowboy who falls in love with an enigmatic singer, who is not particularly receptive to his attempts to romance her, leading to something of a chase throughout the American Southwest, culminating in a lengthy sequence at the titular bus stop. Joshua Logan, who is still considered one of the great directors of both stage and screen, was brought on to helm the production, his prowess as a filmmaker being reflected in every frame of the film, even if he was reluctant to attach himself to what he perceived was possibly going to be a failure. These suspicions were proven wrong, because while it may not be revolutionary, Bus Stop has the kind of genuine heartfulness and complexity that we often didn’t see from mainstream romantic comedies. Its a story of love that is equal parts hilarious and melancholic, and only someone with as firm a grasp on both style and substance as Logan could have possibly made the film in a way that felt profoundly cinematic, but didn’t lose the very gritty lustre that made the original stage production so impactful. It’s not the most revolutionary of narratives, but it has nerve and charisma, enough to justify its existence, as well as giving the audience enough valuable entertainment to keep us engaged and invested in this very conventional but incredibly delightful work of sincere romantic comedy.

The original cast of the Broadway production of Bus Stop was not courted to return (which is understandable but slightly upsetting, solely because the astonishing Kim Stanley originated the lead role, and she remains one of the most underrated actors to ever work in the craft of acting), which was mainly due to Marilyn Monroe taking control as the de facto producer, choosing to assert her status as the head of her own production company, which was likely an effort to ensure that she was given a role that was worthwhile and not simply utilizing her as a sex icon. The results speak for themselves – while she is as effervescent and delightful as ever, Monroe’s performance here is absolutely stunning in terms of her ability to work with a deeper set of ideas, defining that character more than just the “blonde bombshell” she had so frequently been typecast as over the previous few years. Unfortunately, her status as a sex symbol and cultural icon sometimes makes us forget that when she got down to it, Monroe was one of the most magnetic, charming performers to ever work in the medium, someone who could run the gamut of emotions and still have time to be funny and insightful. It’s one of her finest hours, and a terrific reminder that she could do much more than people both at the time and in the contemporary idea may give her credit for. She was someone who enjoyed proving cynics wrong, and Bus Stop affords her that opportunity, even to the point where the notoriously cynical and stubborn Logan admitted that she exceeded his expectations, and proved to be a shrewd and gifted producer alongside her stunning talents, leading to one of her very best performances, and a role that should be seen as one of her signature portrayals, both for the complexity of the character, and her skillfulness at managing to find nuances in such a thinly-constructed individual.

There’s a certain timelessness to Bus Stop that is difficult to pinpoint, especially since this is (by design of the entire story), a film that should technically be awfully dated. On the surface, it seems like a relatively conventional story of clearly-defined gender roles (plucked from the very conservative standards of the time) and precise, mandated humour that has to follow a particular pattern for the sake of the censors in charge of ensuring it maintains decency, which means having some of the more intriguing ideas left out. However, it is well-documented that Bus Stop was much more progressive than this – firstly, as we noted already, Monroe worked laboriously to ensure that the depiction of women in this film was thorough and meaningful, rather than just being a work that objectifies them. Every female character we encounter is steadfast, earnest and genuinely believes in her worth, which they all acknowledge is not based around whether or not men find them desirable, while the men are ill-mannered but not entirely chauvinistic to the point where their behaviour is deplorable. It’s a fascinating contrast that Logan manages to effectively highlight, and allows the film to have a sense of modernity, since this is essentially the story of a female character standing up for herself in a society that objectifies women and makes them out to be some kind of prize or tool to help men in their sexual awakening. It’s not difficult to see why Monroe was attracted to this material, since it offers her the chance to produce a film that contains strong female characters, and while there is a slightly cliched happy ending, it feels earned and genuine, rather than just existing to tie up the loose ends and give the film a satisfying conclusion, which has always been far too common with romantic comedies.

Bus Stop is a terrific film – a complex character study masquerading as a hilarious romantic comedy, taking us on a journey into small-town America, where we encounter a range of eccentric characters, each one well-formed and intriguing, rather than just being thinly-constructed archetypes. A lot of this credit must go to the actors, who help elevate the film from its stagebound origins, but still pay attention to the development of their characters, making it a terrific piece of acting from all involved (which is not only restricted to Monroe, but to the likes of Don Murray, Eileen Heckart and Arthur O’Connell), and a worthwhile entry into all their respective bodies of work. Logan is fully in control of the production, creating a film that is equally dedicated to realizing the narrative as it is manifesting a colourful, beautifully poetic corner of the world, one that is as visually stunning as it is deeply sentimental in terms of the emotions being explored. It’s an intriguing piece of cinema, a charming comedy with a lot of depth and a strong perspective on concepts of romance, which may not be shown in a particularly experimental light here, but at least carries with it a genuine sense of humanity that is different from the more conventional love stories being made at the time. Bus Stop is quite simply terrific, a lovable and enticing comedy with serious underpinnings, great performances and a strong story, enough to be the kind of riveting diversion that we don’t come across very often, but when we do, its absolutely magnificent, and lingers with us long after the film has ended.