The Prince and the Showgirl (1957)

The Prince and the Showgirl is a unique cinematic artifact, notable not only for its content but for the behind-the-scenes drama that surrounds its production. Directed by and starring Laurence Olivier and co-starring Marilyn Monroe, the film represents a collision of Old World theatrical gravitas and New World Hollywood charisma. Adapted from the stage play The Sleeping Prince by Terence Rattigan (who also wrote the screenplay), the film tells the story of a staid Carpathian prince and a vivacious American showgirl during the coronation of King George V in 1911 London.

Though the film received mixed reviews upon release and is often overshadowed by the real-life clash of temperaments between its stars, it remains a curious and sometimes charming blend of romantic comedy, political satire, and star vehicle.

Plot Summary

Set in pre-World War I England, the story follows Elsie Marina (Marilyn Monroe), a spirited American showgirl performing in a London revue. One night, she is unexpectedly invited to dine with Charles, the Grand Duke of Carpathia (Laurence Olivier), a stiff and humourless royal in London for the coronation of the British monarch. What begins as an apparent attempt to seduce Elsie quickly unravels into a series of farcical events, as Elsie’s candour and wit challenge Charles’s sense of decorum.

Through the course of a single day and night, Elsie unwittingly becomes entangled in Carpathian political intrigues, including tensions between Charles and his revolutionary-minded son (Jeremy Spenser), and diplomatic manoeuvrings that may impact broader European alliances. Ultimately, Elsie's warmth and honesty bring about a transformation in Charles, suggesting that love—and laughter—might be the best tools of diplomacy.

Performances

Marilyn Monroe as Elsie Marina

Monroe delivers a characteristically luminous and sympathetic performance. Despite reported difficulties on set—her tardiness, insecurity, and dependence on acting coach Paula Strasberg—Monroe’s screen presence is undeniable. She imbues Elsie with charm, vulnerability, and surprising emotional intelligence. Her comic timing is sharp, and she deftly oscillates between playful coquettishness and deeper moments of sincerity. This role plays to her strengths and offers subtle commentary on the dichotomy between Monroe the persona and Monroe the person.

Laurence Olivier as Charles, the Grand Duke

Olivier is predictably precise, embodying the stuffy, aristocratic formality of his character with theatrical precision. Yet, he also allows glimmers of warmth and levity to seep through as Charles begins to thaw under Elsie’s influence. Some critics have argued that Olivier underplays the role too severely, but this restraint arguably serves the narrative contrast between him and Monroe. That said, Olivier’s discomfort with Monroe’s style of Method acting is apparent in moments where their chemistry feels more intellectual than romantic.

Supporting Cast

Dame Sybil Thorndike shines in a small but delightful role as the Queen Dowager, providing comic relief and a sense of affectionate chaos. Richard Wattis is equally amusing as the bumbling Northbrook, the Prince’s secretary, who can barely manage protocol amid the escalating absurdities. Jeremy Spenser is serviceable as the Prince’s rebellious son, though his subplot is underdeveloped.

Direction and Style

Olivier’s direction is restrained, even conservative, with an emphasis on theatrical staging. Long takes and fixed camera setups allow the actors room to perform, but the film occasionally feels static and overly polite. While this reflects the tone of Rattigan’s original stage play, it can make the pacing feel sluggish. Nonetheless, Olivier does manage to construct a coherent and visually polished film, aided by Jack Cardiff’s lush cinematography and the meticulous period detail in the production and costume design.

The film’s visual appeal cannot be understated. London’s Edwardian opulence is rendered with sumptuous care, and Monroe’s costumes (by Beatrice Dawson) are dazzling. Cardiff’s color work, especially in the dinner scenes and ballroom sequences, elevates what might otherwise be stagy dialogue scenes into glamorous cinematic moments.

Themes and Interpretation

At its core, The Prince and the Showgirl is a story about emotional openness overcoming rigid formality. It’s also a subtle satire of European politics and monarchy, with the Grand Duke’s obsessions with etiquette and diplomacy gently mocked by Elsie’s disarming realism. The film questions the value of tradition for its own sake and proposes that sincerity and human connection are more valuable than titles and treaties.

On another level, the film is a metafictional comment on performance itself—both political and theatrical. Monroe’s Elsie performs both as a showgirl and as a woman navigating the expectations of court life, just as Monroe herself was performing both for the camera and for the gaze of her exacting director.

Behind-the-Scenes Drama

The tension between Monroe and Olivier during filming has become legendary, even inspiring the 2011 film My Week with Marilyn. Monroe, committed to Method acting, clashed with Olivier’s classically trained, structured approach. Olivier reportedly found Monroe exasperating, while she felt disrespected and creatively stifled. These tensions manifest in the onscreen dynamic, which can feel both electric and uneasy—sometimes lending authenticity, sometimes detracting from cohesion.

Reception and Legacy

Upon release, The Prince and the Showgirl received mixed reviews. Critics praised Monroe’s performance but often felt the film was too talky or lacked emotional resonance. Over time, however, reassessments have been kinder, particularly as Monroe’s legacy has been re-examined through a more sympathetic lens. The film also holds historical significance for its snapshot of post war Anglo-American cultural exchanges and the tensions between star power and auteur control.

While not a major box office hit, the film was nominated for five BAFTAs and won Monroe the 1958 David di Donatello award for Best Foreign Actress. It remains a must-see for fans of Monroe, Olivier, or mid-century romantic comedies with a historical twist.

Conclusion

The Prince and the Showgirl is a flawed but fascinating film. At times sparkling, at others stilted, it is best appreciated as a study in contrasts—between two stars, two acting styles, and two cultural sensibilities. Though it may not fully realize the potential of its cast or story, it offers moments of considerable charm, memorable performances, and the bittersweet pleasure of watching two legends on screen at a unique crossroads in their careers.

Recommended for: Fans of Monroe, British stage adaptations, and romantic comedies with historical flair.