Gentlemen Prefer Blondes (1953)

Gentlemen Prefer Blondes (1953) is more than just a splashy Technicolor musical—it’s a dazzling, tongue-in-cheek celebration of femininity, friendship, performance, and materialism. Adapted from the 1949 stage musical (itself based on Anita Loos’s 1925 novel), the film pairs two of Hollywood’s most iconic leading ladies—Marilyn Monroe and Jane Russell—in a transatlantic romp that balances cheeky satire with genuine warmth.

Directed with unexpected flair by Howard Hawks, a filmmaker better known for rugged dramas and fast-talking screwball comedies, the film benefits from a light yet knowing touch. It's a musical that understands its own artificiality and uses it to dazzling effect. And at its core lies a story about loyalty between women—far more than just pretty faces chasing diamonds or dates.

Plot Summary

Monroe stars as Lorelei Lee, a curvaceous and seemingly naïve showgirl who is engaged to the sweet but timid millionaire Gus Esmond Jr. Her best friend and fellow performer is Dorothy Shaw (Russell), a witty and more pragmatic brunette who’s less interested in men’s bank accounts than their biceps.

When Lorelei is sent on a cruise to France (without Gus), the pair encounters a shipload of romantic and comic complications: a private detective hired to spy on Lorelei, a lecherous millionaire (Charles Coburn), and a bevy of Olympic athletes whom Dorothy can’t resist teasing. What follows is a glittering comedy of mistaken intentions, gold-digging (real and perceived), and, ultimately, romantic vindication.

Performances

Marilyn Monroe as Lorelei Lee

This is arguably the Marilyn Monroe performance—cementing her image as the ultimate blonde bombshell. But beneath the breathy voice, calculated walk, and hourglass gowns lies a performance of subtle intelligence. Lorelei acts the part of the dumb blonde but is shrewd, strategic, and emotionally aware.

Her delivery of “Diamonds Are a Girl’s Best Friend”—the film’s signature number—is not only iconic but a masterclass in self-aware satire. She’s not merely dazzled by jewels; she’s pointing out that in a world where men objectify women, women can turn the rules to their advantage.

Monroe's physicality, timing, and blend of vulnerability and ambition make Lorelei one of her most enduring roles.

Jane Russell as Dorothy Shaw

If Monroe plays the glittering diva, Russell is the grounded realist. Her Dorothy is sardonic, dry-witted, and street-smart—providing a perfect foil to Lorelei’s dreamy optimism. Russell holds her own spectacularly, not only in the comic scenes but in the musical numbers. Her mock version of “Diamonds Are a Girl’s Best Friend,” where she mimics Monroe’s performance in court, is hilarious and slyly meta.

Russell also handles the romantic subplot with Elliott Reid’s detective character with charm and credibility, offering a more conventional (but no less fun) romantic arc to balance the spectacle.

Supporting Cast

Charles Coburn as Sir Francis “Piggy” Beekman adds comic elegance as the aging millionaire with wandering hands and questionable morals.

Elliott Reid plays the straight-laced private detective with a nice blend of awkwardness and eventual affability.

Tommy Noonan as Gus Esmond Jr. is sweetly clueless, offering Lorelei the unexamined privilege of wealth—until he must be taught to appreciate her brilliance.

Musical Numbers

The film’s songs, originally written by Jule Styne and Leo Robin for the Broadway show, are vivid, character-driven set pieces. They integrate seamlessly into the story and amplify the film’s themes.

“Diamonds Are a Girl’s Best Friend”

Unquestionably the most iconic number. Monroe’s performance—clad in pink satin, flanked by tuxedoed suitors—is not just visually stunning but socially pointed. The song critiques materialism even as it revels in it, delivering a sly commentary on gender roles with every perfectly choreographed step.

“Ain’t There Anyone Here for Love?”

A standout comic moment for Jane Russell, who cavorts among scantily clad athletes in a gym while they ignore her completely. It’s a great reversal of the usual male gaze and underlines the film’s gender satire.

“Bye Bye Baby” and “Two Little Girls from Little Rock”

Both serve as brilliant duets that establish Lorelei and Dorothy’s relationship and musical chemistry. “Little Girls from Little Rock” in particular introduces the theme of survival through wit and charm.

Direction and Style

Howard Hawks brings an unusually wry sensibility to this musical, which might have been fluff in lesser hands. He never lets the film collapse under its own glamour. Instead, he balances glitz with irony, and always centers the relationship between the two women.

Cinematographer Harry J. Wild bathes the film in lush Technicolor that emphasizes opulence without gaudiness. The costumes, especially those by Travilla, are bold, glamorous, and completely iconic—especially Monroe’s pink satin dress, which has become one of cinema’s most recognizable images.

The pacing is tight, the tone playful, and the staging sophisticated without ever becoming overly sentimental.

Themes and Subtext

Though often dismissed in its time as light entertainment, Gentlemen Prefer Blondes is layered with commentary on:

Female Empowerment and Agency

Lorelei and Dorothy know how the world works—and they use that knowledge to survive, thrive, and get what they want without compromising who they are. While Lorelei is often seen as a “gold digger,” she’s honest about it—and in doing so, she reclaims power in a world where women were expected to be ornamental or dependent.

Female Friendship Over Romance

One of the film’s most refreshing aspects is its emphasis on solidarity between women. Lorelei and Dorothy are not rivals; they support, protect, and understand each other completely. This dynamic, rare even in today’s films, gives the film a beating heart beneath the sequins.

Satire of Wealth and Superficiality

While the film revels in fashion and luxury, it’s also gently mocking of high society and material obsession. The men are often clueless, pompous, or easily manipulated, while the women are calculating—but never cruel.

Reception and Legacy

Gentlemen Prefer Blondes was a major box office hit in 1953.

While Jane Russell received top billing, Monroe’s performance and screen presence launched her into full-fledged superstardom.

Today, the film is regarded as one of the great Technicolor musicals of the postwar era and has been preserved by the Library of Congress for its cultural and aesthetic significance.

“Diamonds Are a Girl’s Best Friend” has been endlessly referenced—by Madonna in “Material Girl,” by Beyoncé, Nicole Kidman, and countless others.

Final Verdict

Gentlemen Prefer Blondes is pure cinematic delight—an unapologetically glamorous musical with brains, heart, and more than a little bite. Marilyn Monroe delivers her definitive performance, Jane Russell proves herself a comic powerhouse, and Howard Hawks weaves it all together with style and wit.

It’s not just a movie about gold diggers and showgirls—it’s a sharp, funny, feminist-leaning celebration of female autonomy and sisterhood in a world built by men. Underneath the glitter, there’s a message: being smart, ambitious, and glamorous aren't mutually exclusive—and women can have it all, as long as they stick together.