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The movie is based on a play that I haven't read so maybe I'm missing some of the subtext but as pure entertainment I wouldn't recommend this movie. The characters aren't well-defined and are little more than stereotypes, e.g. Grace, the sassy diner waitress, Cherie, the showgirl with a heart of gold. Marilyn Monroe plays the same type of character that she more or less played for her entire career, but she does it very well; she and Hope Lange provide the only good performances. Don Murray's unsophisticated cowboy was so obnoxious he practically ruined any enjoyment to be had from the movie. The supporting players are decent but that's all. It's a shame, this movie could have been pretty good if they had made one or two different casting decisions.

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.

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.

The movie itself is mildly OK. However, this movie shows why MM has been so unforgettable to the American public almost 40 years after her death.

Check out two scenes. First, the justifiably famous rendition of "That Old Black Magic" number. Whether acting or if it's the real Marilyn Monroe, she conveys loneliness in front of a packed saloon; the feeling of recognition and appreciation when the Don Murray (Bo)character berates the patrons to show respect to her while she sings; and the out-and-out sexiness of her when she is lit up in red flames. Wow!!

The second scene is near the end when, standing out in the cold, Bo offers her his coat. The look on her face when she realizes that someone, maybe for the first time, is there to look after her and take care of her is absolutely moving. Again we can see the real Marilyn in the character. She so desperately looked for love and acceptance all through her life.

This is not a great movie. It is a great showcase for one of the most

remarkable personalities in movie history.

'Bus Stop' is a cheerful and romantic old-style film with part of the action centering around a bus stop and bus journey. Bo, a not-very-bright cowboy, does not know anything about love but has his heart set on bringing a woman back home with him. He sees Cherie (played by Monroe) at a bar and falls instantly in love, but she does not quite feel the same way about him. The film explores this romance and the lessons that Bo (and Cherie) has to learn in order to 'grow up'. It takes him several mistakes and character flaws to overcome, but, with the help of Marilyn Monroe, everything comes to a happy (and quick) ending, like most 1950s films.

Overall, 'Bus Stop' is an engaging and funny film and it is worth a watch. However, there are some problems. One of the problems is that I found Bo to be extremely annoying in places. He is too 'in your face'; I am not sure whether Bo's innocence was over-played by the actor or if it was written in the script. The other problem I had was the ending. Older films typically have a rushed ending, at least when compared to the present day. It just seems to abrupt.

The film also has some amuzing adult humor, and this is subtle so there is not a chance of a child picking up on it. (Look at the float in the parade!) Overall, 'Bus Stop' is an all-around enjoyable tale about an age past.

I will start by saying that I am not a fan of Marilyn Monroe and never have been. So, when I decided to sit down to watch this, I was a bit skeptic. However, I was delightfully surprised! This was Monroe's first film after her year long break to attend acting school and one can definitely see the improvement. Although not an Oscar winning performance, the depth of her character surprised me. On a whole, the film itself is quite interesting. The first twenty minutes were a bit rocky for me, but it steadily improved. The last two scenes of the picture were worth waiting for. So beautifully done, with so much tenderness. Again, the film is not a "ten out of ten" but is worth a try...even if you aren't normally a fan of Monroe.

P.S. The theme, which is sung by "The Four Lads," is extremely catchy.

BUS STOP has got to be one of the most enjoyable and entertaining Western/Comedy/Romances that I have ever had the pleasure of watching.

With an excellent cast, showcased by the likes of the voluptuous Marilyn Monroe and the virile Don Murray, BUS STOP is a Western/Romance that's certainly worth a second view.

When husky Montana rodeo-champ, Bo Decker, finds his "Angel", it's love at first sight. Bo instantly falls heads over heels for the sweet'n'sexy Cherie, a fifth-rate nightclub chanteuse.

Bo wants marriage. Cherie wants Hollywood.

For the headstrong Bo, "no" does not always mean "no", especially when it comes to the wishes of his beloved "Angel". And so Bo finds that he must learn the hard way - That he can't just rope a gal the same way one lassos a steer.

When it comes to Bo learning a lesson on sheer stubbornness, it's Carl, the rugged and gallant bus-driver, who must intervene and rearrange Bo's face for him.

Beaten and disgraced in front of his "Angel", everything somehow turns out for the best for Bo Decker. Before you know it, it's suddenly cheers and happy times ahead when Cherie realizes that, yes, she is, indeed, in love with this impulsive, but basically good-hearted cowboy-dude.

Released in 1956 - BUS STOP is, most definitely, Western/Comedy/Romance at its rootin'-tootin' best!

Rodeo cowboy Beauregard Decker (Don Murray) is a stubborn naive idiot. He takes the bus to Phoenix for the rodeo. His friend Virgil Blessing encourages him to talk to girls but he doesn't have much experience. In Phoenix, singer Chérie (Marilyn Monroe) at the Blue Dragon Cafe, who is aiming to go to Hollywood, is forced to hustle Virgil to pay for her drinks. Bo falls for her right away. She likes him but has no intention of marrying him or going back to Montana with him. He keeps ignorantly dragging her around expecting to get married. She tries to run away to Los Angeles but he literally ropes her like cattle and force her onto the bus to Montana.

This is dumb and dumber, the rom-com. I find Beau to be very annoying in his clueless childishness. First, he's a clingy stalker. Then he becomes a full blown kidnapper. I really feel sorry for Chérie. While I understand the attempt to out-dumb Marilyn Monroe, Beau needs to be a lovable dunce. To top it off, he also has that loud mouth and bad singing. Monroe is relatively good but I just hate him so much. I guess he's playing the fool but he fails to find the balance... any balance... any sense that there is a balance. He is all idiot and no likability.

To the naysayers I say "you missed it" but I guess people either like MM or they do not. I was braced for the 50s-style corn, but not for the underlying sadness of Cherie, as rendered by Monroe, and in the end feel she did an incredibly good job with the role--not a false note anywhere.

An extra star (or two) for that very special performance.

Marilyn Monroe, Don Murray, Arthur O'Connell and Betty Field are all at the "Bus Stop," a 1956 film based on the play by William Inge and directed by Josh Logan. Murray plays a young, ill-mannered, uninhibited cowboy who's never been off the ranch, who comes to town to appear in a rodeo.

When he sees Cherie (Monroe) performing at a club, he decides then and there to marry her - and he's so determined, he kidnaps her to get her to return to Montana with him. They're snowed in, however, and have to stop for the night at a restaurant on the route, run by Betty Field.

Logan seems to have directed this like a play, and Murray's performance through most of the film is very stagy - big and loud. Bo's character was written for the stage; I'm not certain in any hands it would have translated with ease to film. Today it seems overdone.

Marilyn Monroe is fantastic as Cherie, a role done on Broadway by Kim Stanley. She uses a very broad accent - but what she lacks in technique she makes up in charm, beauty and warmth. She creates a wonderful, vulnerable character here that the audience cares about.

The other standout is Betty Field, who does an excellent job as the owner of the restaurant who has a little flirtation going with the bus driver. Hope Lange has a small part as a waitress; I assume this is where she met her husband, Don Murray. Arthur O'Connell is terrific as Bo's friend who tries to keep him in line.

A really good film with a strong cast and a very iconic role for Monroe.

I gave this four stars for two reasons. First, it is one of the most beautiful looking movies I have seen. The quality of the cinematography, particularly in the outdoor shots, is stunning, and is a reminder of the unexcelled quality of the late, lamented, expensive Technicolor process. Throw in the vista of Cinemascope, and we have a first rate example of what Hollywood at its height could produce. The second reason is Arthur O'Connell's performance as Virgil, which exemplifies what a fine supporting actor he was. We are put in remembrance of all his wonderful roles in other movies. The bad news is the story and the acting. This is reputed to be perhaps Marilyn Monroe's finest performance, and it is certainly the best work I have seen from her. Still, she is no Kate Hepburn. And they might have eased off on whatever they painted on her to give her that unearthly pale quality. And then take Don Murray. Please. His cringingly over-the-top performance as Beau can, I suppose, be partly attributed to the script, but some attempt on his part to tamp down the outlandishly aggressive naivete of the character would have been appreciated. This role reminds us why he never attained top stardom. Lastly, there is the story, which has not an iota of credibility. This truly stupid and unbelievable tale of unrequited love defies belief throughout, and the completely phony "resolution" in the last 10 minutes is on a par with the unbelievability of the rest of the movie.

Alternately puzzled, lost, desperate, lonely, confused and unexpectedly radiant with happiness, Marilyn Monroe, with a mixture of humor and pain scores her greatest triumph in Joshua Logan's "Bus Stop" creating a complete and deeply touching character...

Singing 'That Old Black Magic' to a noisy crowd of cowpokes who couldn't care less about her efforts to entertain them, Cherie is pleased to discover a fan in Bo, a young and innocent cowboy who has come to make his fortune at the Rodeo and finds himself an Angel to take back to his Montana ranch...The kiss she gives him in appreciation, determines him then and there to be his beloved wife...

Logan gives Don Murray his first and best-remembered screen role, as the gauche simple-thinking cowboy who romances the glamorous 'chantoose'... Marilyn succeeds in making him say "please" which is the point of the whole thing... Murray was Oscar-nominated for his performance...

There are other fine performances in the movie: Arthur O'Connell, delightful as the cowboy's pal who big-brothers him with loving patience; Eileen Heckart amusing as the old time friend; Betty Field, strong enough as the bus stop owner; Robert Bray, firm as the driver of the bus and Hope Lange, so auspicious in her screen debut whom Cherie reveals details of her past...

With a modern Western background and rodeo atmosphere, and with panoramic long shot and overwhelming close-ups in color and CinemaScope, "Bus Stop" is a comedy-drama very well done, and a modest entertainment in familiar American vein...

The film had one of Monroe's most touching songs: 'That Old Black Magic' was as funny as it was heartbreaking

I recently saw a tribute to Marilyn Monroe and it was mentioned that Marilyn called "Bus Stop" her favorite film in which she acted. She thought she did her best work in that film and it legitimized her as a serious actress. This was one of the few films of hers I had never seen so I was very anxious now to see this, especially on widescreen. Well, it was disappointing: not because of Marilyn - she was fine - but the story was incredibly stupid.

Part of the problem might be the way our society has changed, although I doubt even 50 years ago - when this film came out - a guy could do what "Bo Decker" (Don Murray) did in here and get away with it. Nonetheless, to watch this brainless idiot - in a crowded nightclub - chase a woman down, rip off half of her dress, break into her dressing room, follow her out the window to a bus station, lasso her and kidnap her by dragging her onto the bus.....and have NOBODY even attempt to stop him during all of this (and more) is a real insult to any viewer's intelligence. No police? No security? No harassment, et al?

The story, like Murray's character who has fewer brains than the rodeo animals he's battling, is just plain dumb. Monroe ("Cheri") and friend Eileen Heckart ("Vera") are fine, as is the other main character, "Virgil" (Arthur O'Connell) but Murray is so loud, abrasive and stupid that he ruins the movie. He - not Monroe - dominates the film, unfortunately.

Thankfully, Monroe is.....well, Monroe, so all is not lost watching this movie but this screenplay is so dated and so moronic you'll cringe watching the film.

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.

A year after his success with "Picnic", director Joshua Logan held the reins for another film adaptation of a William Inge play this time adapted by comedy veteran George Axelrod. The 1956 result is a far more rambunctious and comic story than "Picnic" but no less dependent on rural stereotypes to inhabit it. The slight story focuses on a dim-bulb, no-talent singer named Cherie (pronounced by her as Share-REE) who tries to avoid the advances of horny rodeo cowboys in a cheap Phoenix dance hall. However, Cherie is hardly an innocent as she is not above hustling unsuspecting cowboys out of their money to fulfill her dream of getting to Hollywood. Enter Beauregard Decker, "Bo" for short, a loudly energetic, self-confident but thoroughly naïve young buck. He is in town to not only win the big rodeo competition but also find himself an "angel". Once he sets his eyes on Cherie, he is convinced she is his angel and manhandles her to marry him. The rest of the story is really about his pursuit as Cherie tries unsuccessfully to escape from Bo's persistent efforts, and it all ends up in a snowbound diner on the way back to Bo's Montana ranch.

Kim Stanley played Cherie to great acclaim on Broadway, but it's safe to say Marilyn Monroe makes the role her own. After a brief break from the screen when she went to New York to study at the Actor's Studio, Monroe threw herself into the part with raw vulnerability and instinctive flair, something she would not replicate fully until her last film, John Huston's "The Misfits". It's sometimes a bit studied, but her work here is among her best. Monroe manages a poignant scene with a very young Hope Lange on a bus where she talks about what kind of man she wants, and her faux-pathetic, self-lit version of "That Old Black Magic" is classic. Don Murray does well as Bo, though the character gets so obstinate as to throw off the balance of the story. "Picnic" veterans Arthur O'Connell and Betty Field lend fine support as Bo's mentor Virgil and sassy diner owner Grace. Eileen Heckart is also terrific as Cherie's only friend Vera. The 2002 DVD, released as part of the Marilyn Monroe Diamond Collection, offers a stills gallery as its one extra.

"Beauregard 'Bo' Decker" (Don Murray) is a young cowboy who was born and raised on a ranch in Montana and has never set foot off of it his entire life. As a result, while he knows everything there is to know about horses and cattle, he is absolutely clueless about life in general. So when his guardian and mentor "Virgil Blessing" (Arthur O'Connell) decides to take him on a trip to Phoenix to participate in a rodeo he tells Bo that he should also consider finding a woman to marry while they are there. Unfortunately, having no real understanding of human nature he immediately becomes attracted to a bar girl by the name of "Cherie" (Marilyn Monroe) who resists his clumsy attempts at courtship which only exacerbates the overall problem. Now rather than reveal any more I will just say that I saw this movie many years ago and have always had a fondness for it. However, upon seeing it recently I must say that it hasn't really aged well and wasn't nearly as funny or entertaining as I remembered. Even so, Marilyn Monroe put on a fine performance and for that reason alone I figure this picture is worth a look and I have rated it accordingly. Slightly above average.

"Bus Stop" is the story of a twenty-one-year-old young man who spent his entire life on a ranch where there are no women. Now, with his friend/guardian, a man who is a kind of replacement for his father (the nature of their relationship is not explained in the film), he goes to Phoenix for a rodeo. Bo is naive and childish, without real life experience, but at the same time a capable, strong man, used to adapting things to himself, even by force. When he sees a pub singer in Phoenix, he recognizes the woman who is destined for him and decides to marry her, without stopping for a moment to ask himself if that desire is mutual.

Chérie is a girl who decided to escape from the nowhere where she grew up, and set out for Hollywood in search of a career and happiness. On the long journey to Los Angeles, she had several stops along the way, where she did side jobs that she is not really proud of. But Chérie is determined in her intention and ready to do anything to reach her goal.

Phoenix is a place where the paths of these two intersect into an unusual romantic comedy.

Opinions about this achievement of Joshua Logan are divided. While some believe that Marilyn Monroe's performance, with a forced southern accent, would have been tragic if it had not been overshadowed by Don Murray's catastrophic overacting, others consider this film one of her better achievements, and Don was even nominated for an Oscar for Best Actor in a Supporting Role.

I could agree with the former if this were a serious drama, but this film doesn't take itself seriously, so why should I. This is a comedy and it is more than obvious that the acting is as it is intentionally and purposefully. And, at least in my case, that goal has been achieved. I had a lot of fun, and at times I burst out laughing.

I can't judge Marilyn Monroe's performance with confidence, because apart from "Some Like It Hot", I haven't seen any of her films so far. But Don Murray's performance is so over-the-top that it is literally impossible that it is not intentional, and then, by analogy, it follows that the same is true for Marilyn. Their mutual chemistry is fantastic, and their overacting and insane behavior are hilarious.

However, it is not clear to me how an actor who plays the main character, around whom the entire film revolves, and whose performance is his strongest asset, can be nominated for a supporting role. It would be logical for Marilyn to play the main female role and Don the main male role. And if I had to choose, I'd rather say that Marilyn plays support for Don, than the other way around.

I found "Bus Stop" on Filmsite's list of 300 Greatest films. I wouldn't go so far as to call it a masterpiece, because this film is not top-notch in any of its technical or essential aspects, but the mass bashing in reviews on film sites is really unfair. Rating a film one or two out of ten just because you don't like a certain style or its sense of humor doesn't match yours is pretty lame.

If you embark on this adventure without excessive expectations and prejudices, a solid and, on top of that, very unusual and original film awaits you, a real refreshment in a sea of similar romantic comedies of its era.

7/10.

While I'm in agreement with the consensus view on Bus Stop that it is one of the better films with Marilyn Monroe, and I like Monroe as much as the next classic film fan, or as much as the next guy with overactive hormones, I've noticed a relative downplaying of Don Murray's work in the film--often critics outright dismiss him, characterizing Bus Stop as a film that works "despite Murray's character and performance". I couldn't disagree with that more strongly. Not to detract from Monroe, but what really pushed Bus Stop over the top for me in terms of quality--in addition to the fine, allegorical story--was the hilariously over-the-top performance of Murray and the sheer absurdity of his character.

But maybe my different view on this, and why I love the film so much, is because I'm a huge fan of absurdism. Bus Stop is the tale of Beauregard "Bo" Decker (Murray) and Virgil Blessing (Arthur O'Connell). They're headed from their ranch in Montana to Phoenix, Arizona to participate in a rodeo. Bo is quite skilled at ridin' and rustlin', so Virgil is taking him "off of the farm" for one of the only times in his life to give the rodeo a shot, and more importantly, to get him a bit more worldly experience, especially with women. Bo's experience with the fairer sex had been pretty much limited to pictures in magazines. Virgil seems to just want Bo to lose a bit of his innocence, but Bo has in his mind that he's going to find "an angel" and take possession of her. Because he's only been on a ranch, that's the only way he knows how to relate to anything. He figures once he finds an angel he'll just rope her up like a calf and take her home. As we see from the beginning of the film, Bo has a tendency to be brash and yell at everyone, like he's hollerin' instructions across the range at his partner before they lose control of their cattle.

Enter Monroe as showgirl "Cherie". She's a hillbilly (heck, we learn that she even almost married her cousin) from Arkansas whose made it as far as Arizona, where she's playing a dive girlie club in Phoenix, trying to earn enough money and gumption to one day make it to L.A. Once Bo sees her, he decides she's his angel. Needless to say, that doesn't go over so well.

The bulk of the film consists of Bo trying to ride everything in the world like a bucking bronco while others, including Cherie, try to figure out what's wrong with him. For me, this material was gut-bustingly funny. I had to hit pause on the DVD player a number of times because I was laughing so hard.

This is not to say that Monroe doesn't turn in a great, nuanced performance--she does, despite the reported difficulties filming her. According to scriptwriter George Axelrod, she would repeatedly break out in tears, become extremely frustrated, forget her lines, yell profanities, and director Joshua Logan couldn't call "cut" during her scenes or she'd take it as a personal affront, so Logan would let 900 feet of film just run out while he talked to her, coaxing a performance out of her. And it's not to say that Monroe and Murray do not have chemistry together--they do; if they hadn't, the film wouldn't have worked.

But without Murray's bizarre but funny character, which he plays to a tee, I'm not sure I would have thought Bus Stop was a 10. In fact, there was one section where I felt that score might be in jeopardy--during the latter part of the relatively quiet climax set in Grace's Diner/Bus Stop, when Murray tones down a bit. The film is still good at that point--still definitely a 9, but I found myself slightly missing the hyperactive comedy of the earlier scenes.

The story for Bus Stop was originally a one-act play by William Inge called People in the Wind. Inge later adapted People in the Wind for a larger scale production on Broadway, now retitled Bus Stop. It opened at the Music Box Theater in New York City on March 2, 1955 and ran for 478 performances. It was quickly adapted for film by Axelrod, who changed the play quite a bit, including dropping major characters.

The cinematography in the film is lush, and evidences that we're still in the early days of the anamorphic widescreen process known as Cinemascope. Logan makes use of some broad landscapes and wide shots of the rodeo, crowd and such, but the best uses of widescreen in the film are subtler. Probably the best shot arrives in that "quiet" section mentioned above, when Cherie has her head on Grace's bar, her torso stretched horizontally. Bo ends up putting his head on top of hers, aligning his body similarly, and together they fill the screen, naturally conforming to the aspect ratio. Logan's direction is great throughout, both for camera work and his actor's performances.

As for Monroe, perhaps reflecting (barely) offscreen problems at the time, she easily paints a complex, almost tortured soul. Her performance underscores one of the main subtexts of the film--loneliness accompanied by a kind of melancholy hope. Every character who has more than a couple lines is experiencing this in some way--even Bo, who is covering it up with his boisterousness. Logan and Axelrod also emphasize ironies--one beautiful instance is when Bo announces Cherie as his angel while she's singing "That Old Black Magic" in a very suggestive costume. And there are nice, unrealized (by the characters) parallels in their quests--in their loneliness and hope, they're really all looking for their own angels, often not recognizing when they're right in front of them.

Just saw this Movie for the first time a few days ago. All the yelling gave me a headache. Marilyn looked bloated and unhealthy, especially in the bus when she sat down next to the younger Hope Lange who had a normal looking complexion. All that white makeup made her look like a ghost. After all the film is almost 60 years old. The culture has changed a lot. The boorish but likable hooligan is not exactly in vogue these days. Did I say likable. There's nothing likable about this cowboy. Its just too unbelievable even for 1957. In my opinion, the sweet last scene in this movie is not enough to save the painful 95% of the time taken up but the unbelievable over the top acting & lousy screen play. Sorry but I was not entertained.

This is a pretty good film with an astonishing performance from Marilyn Monroe. Don Murray is more than a little irritating as the naïve, over enthusiastic young cowboy but it's all eyes on the star. Monroe achieves our attention from her first appearance, sitting on the window sill, her red high heels to the fore. Her wonderful turn in the bar does nothing to distract us and even throughout the crazy antics of the young cowboy we remain spellbound. The rodeo is a slight diversion but even here she is prominent up in the stands and then drastically crossing the arena. For the main it is a restrained and low key performance as fitting the little girl lost who is trying to escape her past and become a star, but she is nevertheless radiant in every frame. Considered by many a key movie for her in that she is moving from the more frothy roles to the more intense, she herself seems aware too in that she seems to give so much to what could have been such a mundane character part.

It is amazing how profound and complex one can look as a person in photographs taken by professionals, no matter how you really are in life or profession. Marilyn Monroe looks sultry, steamy, sophic, luminous and ebullient in her photos, especially in those collected in Life in Pictures autobiography that I expected wonders from her on screen. A celebrated sex symbol and a known method actress are two opposite poles for an actress, and Marilyn has the reputation for earning both the titles. What did I get after watching her on Bus Stop and Prince and the Showgirl back to back? Certainly a top-class bust and a show-stopping backside but other than that, it was disappointment.

Marilyn Monroe looks pretty, but there are actresses that are possess a lot more grace than her. Her face lights up on the screen but it never allure, and she has a twittery voice that grates most of the time (especially on Bus Stop, where she was accompanied by Don Murray, who surpassed her in loudness). I admit I see the method acting qualities in her, but she seldom succeed in holding it together, going all over the place and seeming forced. If she had a deeper tonal quality, she would have gone further as an artist but she still would've had to work a lot on her acting process. Marilyn seems like a woman who was very keen on acquiring acting prowess, but never could, even though she tried hard. This may be a reason she was preferred so much in Hollywood, but watching her take acclaim for acting is shocking.

In Bus Stop, her name pops up first in red and big font size even though her role is tinier compared to Don Murray's. Don plays a cowboy nicknamed Bo who enters a rodeo competition along with his companion Virgil (Arthur O'Donnell). They take the bus to the city but Bo's rustic background makes him appear boorish and obstinate to others. Virgil advises Bo to look for a gal, but Bo is dreams for an angel. Bo meets the woman of his dreams named Cherie (Marilyn) in a bar, and instantly decides to marry her and take her with him back to his hometown. After announcing his plans to Cherie and practically everyone around him, he abducts her when she tries to escape.

This movie has probably the most disgusting and disparaging treatment of a woman I have seen. It doesn't give Cherie any importance and makes her look so demeaning in front of the men. Bo tells Virgil of tying the animal while imagining it were Cherie, Bo abducting her without anyone stopping him and Cherie running away without informing the goddamn police that there was a stalker after her are some of the pathetic parts in the movie. All men laugh at Cherie, treat her like a w—re and watch her getting manhandled by Bo, the women don't protest when Cherie is going through all this while the children just watch happily – was this supposed to be funny? I remember a line from Singin in the Rain when the sound video was first shown to the audience in the film and one actress remarked "It's vulgar!"; ditto for Bus Stop's plot. Apart from being vulgar, the plot is paper-thin and never uses its potential in the desired way. I expected Bus Stop to be a comedy drama where dramatic elements were focused more upon, not some sketchy vile humorless drivel.

The acting is atrocious; Don Murray's character is badly written and badly played – it had to potential to show a person's obsession for another but it never happens. It is impossible to endure him as the film progresses and his character becomes miserable for the audience. Arthur O'Donnell is equally over-the-top and acts miserably when his character opposes Bo. Marilyn puts on a deeply irritating Texan accent while butchering every scene of hers by spitting out her poorly written lines even more cornily. All the actors fail with their poorly outlined characters; much of the blame goes to the script. I skipped the last four chapters on my DVD because I knew it was going to be the 'All's well that ends well' ending. As I expected, it was.

There are many great films that were made in the forties and fifties with very talented actors and actresses and I advice everyone to watch those movies rather than spending two hours on Bus Stop. It conjures a relationship of love between a stalker and his victim, something that is thoroughly frightening. If Bo were an actual person living in America today, he would've rightfully been in the mental asylum along with Madonna's and Jodie Foster's stalkers.

My Rating: 2 out of 10