Nunca fui santa

Marilyn Monroe is so good here it's startling. Her Cherie (with the accent on the first syllable, remember) is one of the most lovable characters in the history of film. That the rest of the movie is rocky-going and her co-star is no match for her is unfortunate, but not fatal.

Apparently the director, Joshua Logan, was able to create a relatively peaceful environment where Monroe could completely "let go" and allow her natural fragility and sex appeal to take over. When she's on screen it's impossible to take your eyes off her, not just because she's beautiful (what starlet from the 1950's WASN'T beautiful?) but because she's laying bare her character's soul for the camera (and in the process much of her own soul as well). She isn't just reading lines with various inflections or doing bits of business like so many actors do, she's bringing the character to life.

Unforgettable is the moment where she finds herself perched on the shoulder of the crazy, lovestruck cowboy watching a parade and she's trying to pantomime to a friend in the crowd how she wound up up there. Or the way she keeps "shushing" the loud-talking bus driver so that he won't wake up the sleeping cowboy as she's planning her escape. Or the way she can't make eye contact or get her lazy backwoods accent (that is incredibly charming) to sound firm enough when she keeps trying to tell the cowboy to get lost. Her comic timing is just sublime and unteachable.

Don Murray's performance as the cowboy, criminally and inexplicably Oscar-nominated, is cloying, two-dimensional and geared for the stage, not the intimacy of film. He needs to provide some hint of vulnerabilty before he's humbled in the fist fight with the bus driver, but he is tragically not up to the task. His Beauregard is the kind of loud-mouthed, uncouth buffoon that only a greatly skilled comic actor can make sympathetic, and Murray simply doesn't know how to finesse the comic moments and make them work.

Monroe receives fine support from Arthur O'Connell as Beau's older, wiser friend Virgil Blessing, but this is her show all the way. She makes it a good movie, but one can't help imagining how much better it could have been had it been directed by someone like Kazan and co-starred possibly Rock Hudson.

I have to confess that for me Marilyn Monroe, like James Dean, is a screen icon whose charms have yet to live up to their reputation; perhaps unfortunate, since I gather from the other comments that 'Bus Stop' is chiefly of interest as a Monroe vehicle! I approached this film from a different angle, attracted by the apparent similarity in source material to the 1943 'The Lady Takes a Chance', a bus/rodeo-set romantic comedy starring John Wayne, of all people, which to my surprise I had very much enjoyed.

In this case, I was disappointed.

The first ten minutes of the film is pretty fair comedy material; the last thirty finally introduces some much-needed emotional subtlety and character development. The intervening hour constitutes a one-joke wonder - boorish cowboy ropes and carries off woman - that rapidly shades from monotonous to actively annoying.

Frankly, this is the type of film calculated to elicit comments of "I'm not a feminist, but -" By the time it got to the showdown in the cafe, I was almost convinced from the preceding plot-line that young Beau would whip his aging opponent with the brutal strength of youth, then ride off with a suddenly hero-worshipping bride. The fact that events (much to my surprise and relief) *don't* turn out that way is not sufficient to justify the tedium of what has gone before. As others have remarked, it is only from this moment that the characters gain any emotional depth - with the possible exception of Monroe's brittle, damaged Cherie. I'll grant, though, that the final denouement does however manage to be both touching and convincing, which is an achievement under the circumstances.

Personally, I'd say that the entire centre section of 'Bus Stop' is a waste of time. I suspect that a perfectly good film (and one more appropriate to the title!) could have been constructed by omitting all the scenes save those taking place in the bus or 'bus stop' itself, and substituting a brief account of intervening events via dialogue.

The most charitable view I can take of this film is that too long is spent in setting-up for its few worthwhile scenes. The sexual politics shown have nothing to do with the film's era - again, see 'The Lady Takes a Chance' for a superior contemporary take on the clash-of-the-sexes theme - and far more to do with unfunny slapstick humour. And sadly, I can't really say I found Marilyn Monroe as seductive as the screenplay clearly assumes.

An interesting piece for Monroe fans, but lacklustre entertainment.

Bus Stop has been rightly hailed as Marilyn Monroe's breakthrough performance in a movie as a serious dramatic actress. She is absolutely superb here, ditching the breathless dumb blonde of earlier roles and playing a hardened, Southern chanteuse in search of true love. She manages to convey a whole range of emotions which is testament to her time spent at Lee Strasberg's Actor's Studio in New York. As usual she sparkles and it's difficult to take your eyes off her, but there is a depth and sympathy to her playing that makes you take note of the performance and not simply the curves.

However, Bus Stop is a relatively simple picture of unrequited then requited love. The comedy moments don't often work that well and Don Murray's Beau has to be one of the most irritating characters I have ever seen in a film. Him and Cherie coming together at the end of the picture is unbelievable and spoiled the movie for me...I always wanted her to get away!

Bus Stop is more enjoyable from the Monroe point of view as her playing is spellbinding and marked a turning point in her career.

"Bus Stop" is named for the setting of the last half-hour of this film, the bus stop in the snow, somewhere in Wyoming, where Beau finally gets his 'comeuppance', right before he and Cherie reconcile. If this movie had not been made in 1956, but instead in modern times, it would have received a very laughable reception. As it is, I consider it a cult classic in the genre of "The Rocky Horror Picture Show", so horrible and fake are the characters and the dialog.

However, Marilyn Monroe, in her 26th film, playing a simple showgirl from Arkansas, does very well with her role. Don Murray as "Beau", in his very first film, is so obnoxious that by the time he apologises for his bad behavior, we no longer care about him, and "Cherie's" accepting him just doesn't make sense. Hope Lange has a small part as "Elma" on the bus, in this her first film. She and Murray married afterward in real life, but it didn't last. Murray made a number of other films, including the father in "Quarterback Princess" in 1983 with Helen Hunt.

The reason to see this film is Marilyn Monroe in her prime, almost 30, and only 6 years from her death. The story, of the possessive cowboy who decides to marry Cherie and haul her away to his ranch in Montana, is pretty simple and pretty implausible. The scene in the bus stop, where he finally kisses her "for serious", was also featured in an episode of Northern Exposure, with Chris playing Beau and Maggie playing Cherie, for a community theater production they were rehearsing for.

No need to recap the plot. This is a badly flawed movie, despite "That Old Black Magic", though the magic clearly works for Monroe as she croons out the tune. It's clear that as an actress she's most comfortable with musical numbers, where her sparkle really gels.

The basic problem, as I see it, is with the script. There really isn't much story; as a result, something has to be added to hold audience interest besides budding super-star Marilyn. Apparently, colorful character was encouraged to pick up the slack. It looks like TCF found their answer in Murray's ear-splitting version of a Montana cowboy. I guess rural Montana doesn't have any grade schools where basic civility is taught. No need to belabor his maddening effect since others have made the same point at some length. Nonetheless, Murray's witless hollering of every line takes down the entire film. Nor does Monroe's squeaky southern accent that sort of comes and goes help. Nor is the over-extended final scene, where both actors revert to something more normal, enough to compensate for all the gaudiness that's gone before.

All in all, the movie's worth a 3, mainly for its excellent Technicolor staging, Monroe's singing, and the catchy title tune that was a chart-topper at the time. But beware the movie's moral, which seems to be a version of "All some people need in order to straighten out is a good beating"!

(In passing—Despite his misfire here, Murray was an excellent actor. Catch his carefully shaded performance in A Hatful of Rain (1957) or in The Bachelor Party (1957) to sample his true potential.)