Marilyn had seen Montand in his one-man show on Broadway and was taken by his Gallic charm. The Millers were eager to befriend the Montands, and the four were often seen together when Let's Make Love first went into production in mid-February of 1960. And we can't forget the three unbilled cameos of Milton Berle, Bing Crosby, and Gene Kelly who Montand enlists in his quest to win Marilyn. Their scenes with Montand are the best thing about the film. Appraisals at the time were mixed. The New York Times reviewer wrote that the film was slow going, that Marilyn Monroe looked "untidy", that throughout the film she is "fumbling with things in the sidelines...", and that Montand's accent was so heavy it was not charming, just hard to understand. The direction and script were criticized for not allowing Montand the opportunity to use his Gallic humor. The irony of having Bing Crosby and Gene Kelly brought in to give the pupil further lessons was noted. [10] The direction was further criticized because Monroe's appearance had changed very noticeably during the halt in production and under Cukor the differences had been exacerbated by poor costume, hair and makeup decisions, and by poor direction of the musical numbers. Poor editing was blamed for parts of the film seeming disjointed and for the use of stand-ins being easily noticed. It was reported that Fox executives wanted some of the scenes completely refilmed, but Cukor ignored such requests. After the film was completed, Montand broke off his affair with Marilyn. Apparently, he had no intention of leaving Simone Signoret. Monroe at the Beverly Hills Hotel in 1960 during the filming of Let's Make Love, co-written by Monroe's then-husband, Arthur Miller.

The film's cast included Tony Randall and Wilfrid Hyde-White in supporting roles, and spotlighted Milton Berle, Gene Kelly, and Bing Crosby in cameo appearances as themselves. Whether the two stars began their love affair at this time, or whether it had developed earlier, is unknown. Montand has always claimed that Marilyn was the aggressor; if so, he did little to discourage her. French billionaire playboy Yves Montand (as Jean-Marc Clement) sees voluptuous blonde Marilyn Monroe (as Amanda Dell) rehearsing a "Let's Make Love" song off-Broadway and wants to offer a very affirmative response. Mistaken for an actor, Mr. Montand decides to go along with the ruse and try out for the play. He wants to get close to Ms. Monroe, who isn't impressed with money and correctly realizes "Alexander Dumas" is a noted author. Monroe's co-star and lover Frankie Vaughn (as Tony Danton) falls off the wagon with worry. Public relations man Tony Randall (as Coffman) plays his usual supporting role...Still, according to some accounts, she was taking more drugs than her new California psychiatrist, Dr. Ralph Greenson, thought safe.

The movie starts telling the story of Jean Marc's ancestors, and how his family started to become richer with the time, until his present days as a billionaire. Jean Marc has power,money and also is a 'Casanova', with a new woman to go out everyday. One day, he discovers that he is going to be satirized in an off-Broadway theater, and he goes to see how the play is going to be, until he sees Amanda singing and dancing in a provocative way and the director,who thinks that Jean Marc is an actor trying to take the role of himself,cast him as a member of the show. Decided to go out with Amanda and make her fall for him, he pretends to be someone else,using the identity of Alexander Dumas and acting as a poor actor who wants new lessons from Amanda to improve his acting career. With the time, Jean Marc starts to fall for Amanda, since she is the only woman who was kind to him without expecting money or gifts in return. The problem now is his fake identity. I liked the musical numbers, and watching Yves' face do all its rubbery wrinkling numbers. He may have been a great actor because he could put on so many different expressions, but his best movie was the one where he's trying to run for office in a crooked Banana Republic (sorta like our present government), a Cost-Grava film.If you can live with the plot making absolutely no sense, then you should be able to handle this uneven attempt at being a screwball comedy.” Miller noticed that Marilyn's moods began to shift quite rapidly during this period. Though she seemed to accept the tragedy of her most recent miscarriage, she was not altogether happy with married life. Often, her disappointment took the form of vindictiveness or obvious disrespect toward her husband. However, considering Marilyn's increasingly fragile state and growing tendency to disengage herself from everyday existence, the relationship with Montand was a destructive event in her life.

Let's Make Love is a 1960 American musical comedy film made by 20th Century Fox in DeLuxe Color and CinemaScope. Directed by George Cukor and produced by Jerry Wald from a screenplay by Norman Krasna, Hal Kanter, and Arthur Miller, the film stars Marilyn Monroe, Yves Montand, and Tony Randall. It would be Monroe's last musical film performance. Monroe sat with co-star Montand as he enjoyed a smoke. Only a sliver of Dallinger's output — he shot more than 58,000 photos during a career that lasted until the early 1970s — made it to print, and a vast majority never has been seen. Fox was pressuring her to do a film for the studio before embarking on another independent feature. Marilyn finally agreed to star in a frothy musical comedy entitled Let's Make Love, which apparently was the least objectionable of the scripts Fox had to offer.When Clement needs help in keeping his impostor act going, he secretly uses his money to influence the show in his favor. He buys a fresh joke from a professional joke writer for a thousand dollars to soften up the producer Oliver Burton (Burns) and impress Amanda. His right-hand man, the loyal Wales who helped raise him from childhood, uses Clement’s influence to put the money squeeze on Burton by raising rental fees for theater space and then rescues the show when he buys a controlling interest in it. Wales then hires Gene Kelly to teach Clement to dance, Bing Crosby to teach him to sing and Milton Berle to teach him a comedy act.

On the set, Marilyn cooperated with director George Cukor and other cast members -- agreeable behavior that was in stark contrast to her conduct on her last two productions. It is likely that Marilyn was emulating Montand's professionalism, a quality she admired in him.This has got to be one of the dullest films MARILYN MONROE ever did--and equally dull is her leading man, the French accented YVES MONTAND who must have left his heart and his talents in France for the duration of filming.