When looking at older films, they usually fall into one of two broad categories: the films that stand the test of time and become beloved classics, and those that may not be particularly bad but lack some quality that keeps them in the conversation, usually having them fall into slight obscurity. This is only a surface-level analysis, but it helps categorize the history of cinema to create a general definition of what has maintained its reputation or even grown in status, and what is ripe for rediscovery with modern audiences. Then there are those films that have not only withstood the challenges that come with time but have become iconic to the point where just the mention of the title evokes imagery that has become so intrinsically tied to this particular film. One of the most intriguing examples is Gentlemen Prefer Blondes – the image of Marilyn Monroe in a shimmering pink dress, surrounded by suitors as she sings the timeless classic “Diamonds Are a Girl’s Best Friend” has in itself become one of the most recognizable images in the history of cinema, one of the many unforgettable aspects of this film. Based on the musical revue by Joseph Fields and Anita Loos (who collaborated with Jules Styne and Leo Robin on the songs), the film was brought to the screen by Howard Hawks, who adapts the tale of two ditzy but streetwise young chorus girls that go on a cruise in search of romance amongst the crashing waves, only to find themselves encountering a range of mishaps and misadventures along the way, punctuated with several of the most memorable musical numbers in Hollywood history. Hilarious and engaging, and secretly quite subversive, Gentlemen Prefer Blondes is unquestionably one of the defining musical films of the 1950s, and even nearly three-quarters of a century since its release, it has maintained a level of sophisticated glamour that has yet to be replicated, which is a credit to all those involved with this outrageous but brilliant adaptation that proves there is always value in taking a few risks since it can always produce a work that becomes iconic and sets the foundation for an entire genre to flourish and become one of the most profitable in the history of the industry.

One of the peculiarities of a film like Gentlemen Prefer Blondes is that when asked to summarize the plot of the film, even its most dedicated supporters will struggle to pin down a single-sentence premise. This is certainly not a criticism of the film at all, nor a suggestion that it is poorly written or badly-made in any way – instead, it is a statement on the fact that it is mostly plotless, in the sense that the underlying story exists only to string together the elaborate musical numbers. It is neither the first nor the last time such a technique has been utilized, and it certainly isn’t the most egregious example. If anything, it is a resounding celebration of the fact that if there is a strong enough concept and a range of other elements that can captivate the audience, an iron-clad storyline is not always compulsory, despite common sense indicating that a film can only succeed with a strong premise. Hawks was a very gifted filmmaker, but he inherited the challenge of turning a stage revue into a narrative feature, which is not impossible, but certainly had many obstacles that needed to be overcome – but who better to take on the task than someone whose entire career not only proved his immense talents but helped define Hollywood filmmaking? It’s not entirely vacant in terms of a story, but it is essentially a secondary factor, the amusing interludes between magnificent musical numbers that drive this film and keep it extremely engaging in a way that has understandably been celebrated across the generations. This film is the perfect example of escapist cinema – it doesn’t take itself too seriously and is built along what is usually referred to as the “let’s put on a show” technique, in which the driving impetus behind a production is simply to offer an entertaining experience that is invigorating and memorable, rather than intending to be particularly thought-provoking or daring. If it is narrative complexity that the viewer is looking for, it’s not going to be found in Gentlemen Prefer Blondes, which functions much better as a brilliant diversion constructed through the process of taking a simple concept and allowing it to grow into an impressive, truly enjoyable spectacle of a film, an incredible achievement that has allowed this film to remain wildly entertaining seventy years since its release.

Gentlemen Prefer Blondes would arguably not have been even partially as successful had it not been for the two actors cast in the leading roles, since even at their most straightforward, these are characters that require the utmost dedication and sincerity that can only come from truly exceptional performers. There is a vocal faction that considers this Marilyn Monroe’s best performance (I can’t subscribe to that idea, since Bus Stop is one of the most extraordinary pieces of acting from any performer), especially since it is actively focused on pandering to her public persona in a very clever and insightful way. She certainly had the monopoly on playing these airheaded, congenial young women, but she did so in a way that was smart and subversive, and it doesn’t take too much time to realize that it’s an act that she was putting on to harness a particular persona, which was wildly successful, to the point where such roles seemed to define her in a way that could be viewed as slightly restrictive. Nonetheless, she is terrific here, and she proves that she has a tremendous set of skills that make for profoundly captivating viewing. She is joined by the equally talented Jane Russell, who can stand shoulder-to-shoulder with Monroe, being just as captivating to see on screen, especially since the two are playing such different versions of the same archetype, working together to create a hilarious duo that is only amplified by their terrific chemistry. On the surface, Gentlemen Prefer Blondes seems like a very simple film, but we soon discover that there is something much deeper to these characters, and both Monroe and Russell work laboriously to ensure that we are thoroughly entertained and deeply compelled by the many terrific ideas embedded in this very charming musical comedy that is primarily a showcase for their effortless charisma and interminable talents.

If there is one lesson we can take away from Gentlemen Prefer Blondes, it is that audiences love being distracted, and if you present them with 90 minutes of colourful entertainment, they will be truly satisfied, lost in the world you are showing them and thankful for the opportunity to have experienced it for themselves. It is a skill that not many directors have been able to harness without coming across as gaudy or manipulative, and Hawks shows that he has mastered his craft by doing something quite different from any of his previous films but still producing something magnificent in the process. The success of this film is not only rooted in the performances but also in the style that we find defines the film. Hawks and the producers refuse to spare any cost when it comes to realizing the vision of this musical – they were already slightly disadvantaged in the sense that they were adapting a stage production, which brings certain challenges. However, this was barely an obstacle, since the adaptation by masterful screenwriter Charles Lederer (who had some experience with stage-to-screen work, such as both early versions of The Front Page, including the one directed by Hawks) is quite precise in how it approaches the original musical,and covers the narrative deficiencies brought by the existing text quite well. A great deal of effort is put into the creative aspects of the film, primarily in the collision of visual and aural elements, which are perhaps the most memorable qualities of the entire film. The costume design is impeccable, and the construction of the sets is remarkable – the cruise ship that serves as the dominant setting is somehow reconfigured into an expansive, never-ending labyrinth of luxury, stretching the limits of the imagination in ways that are entirely consistent with the film as a whole. This naturally culminates in the musical numbers, which are fresh, funny and beautifully made, with Hawks’ direction being sharp and well-defined, proving that he could easily work within a genre that many would not imagine he could have mastered.

Whether we are looking at just a segment from the film, or looking at it holistically as a production from beginning to end (following the progression of the story and its relationship with the more abstract elements of the film), there is very little chance we can feasibly deny the impact Gentlemen Prefer Blondes had at the time, and continues to have as time progresses. The reality is that most of us step into the world of this film for the spectacular musical numbers, which are so well-crafted, that they stand on their own in a way that is quite rare for these classic era musicals, as they are the main attraction and the primary reason why this film has remained so relevant. However, other components warrant the same amount of tension, those small details that appear in between the major moments, which are often the elements that make the film cohesive. Without a screenplay that seems quite simple but is covertly layered with wit and wisdom, the film would not be nearly as successful, and many may be surprised at how well-composed this screenplay is, which is always a great moment to discover in a film that has usually be dismissed as being overly reliant on the style more than the substance. They often say that the best films are those that don’t rely on a predictable formula to be successful – Gentlemen Prefer Blondes is an example of how a good formula can give a film a great advantage, especially when it finds ways to be quite experimental, infusing it with a subversive sense of humour and a broader set of concepts that ultimately work to give us a thrilling and fascinating experience. Hawks was a master of his craft, and even though we wouldn’t normally associate him with musical comedies, this film proves that he could take on that genre with nothing but the most sincere dedication, composing an effortlessly fun film that offers us exactly what we hoped to find, and gives us an enthralling experience that is simultaneously enjoyable and oddly moving in ways we may not have initially expected.