Main Cast: Marilyn Monroe, Laurence Olivier, Sybil Thorndike, Richard Wattis, Jeremy Spenser
Release Year: 1957
Country: UK/US
Run Time: 127 minutes
Plot
The title of the Anglo-American The Prince and the Showgirl could well have alluded to the genuine stations in life of stars Sir Laurence Olivier and Marilyn Monroe. Based on the Terence Rattigan play The Sleeping Prince, the film casts Olivier as Charles, prince regent of Carpathia, who is in London to attend the 1911 coronation of King George V. Monroe is deceptively dizzy American chorus girl Elsie Marina, who while performing in a West End revue catches Charles' eye. The prince arranges for Elsie to attend an "intimate supper" at his hotel suite. Though Elsie successfully wards off Charles' advances, she drinks too much bubbly and ends up falling asleep. Comes the dawn, and Prince Charles is anxious to show the awkward Elsie the door. She, however, has fallen in love with the prince, and sticks around long enough to upset a plan to overthrow the Carpathian throne, and to patch up a feud between Charles and his son Nicholas (Jeremy Spencer). Olivier directed as well as starred in The Prince and the Showgirl; he knew he had his work cut out for him in dealing with the mercurial Marilyn Monroe, but he managed to hold his temper and to extract a delightful comic performance from the actress. Alas, the film was a box-office disappointment, leading many Hollywood insiders to moan and wail that Monroe was "washed up" in films -- at least until her spectacular comeback in Billy Wilder's Some Like It Hot (1959). ~ Hal Erickson, All Movie Guide
Review
The unusual pairing of Marilyn Monroe and Laurence Olivier turns The Prince and the Showgirl into a delightful romantic comedy. With lesser lights involved, Showgirl could have been rather tedious, for it travels over territory we've all visited before. Granted, Terence Rattigan's screenplay is not without charm and the occasional little surprise, but it's also a trifle tired -- enough so that even Monroe and Olivier can't quite push the finished product into the realm of the classics. Still, there are more than enough joys to be found in Showgirl, starting with the showgirl herself. It's possible that Monroe may never have been more attractive than she is here; she glows, shimmers, and radiates practically every moment that she's onscreen. Even more importantly, the actress has rarely given a more delicious, accomplished performance. Monroe could always be counted on to deliver comedy in a sensual vein; what's refreshing here is that the sex takes second place to the comedy, and that the actress gets a chance to play a character with genuine intelligence (as opposed to the instinctual "smarts" that so many of her women possess). It's a lovely performance, full of small surprises. Olivier's performance is not as noteworthy, although it's wonderfully assured and often a treat; his angry outbursts are especially pleasing. More importantly, he develops an all-important chemistry with his co-star, without which the film wouldn't work. But Olivier's real contribution to the film is his direction. While the film tends to drag a bit in a few places, Olivier uses Jack Cardiff and his camera quite well, especially in the coronation sequence and at the ball. (The dancers filling the frame in a swirl of gorgeous color is especially noteworthy.) He also deserves a great deal of credit for getting such a finely modulated performance from Monroe, as well as solid work from the supporting cast. Showgirl is ultimately a trifle, but a very tasty one. ~ Craig Butler, All Movie Guide
Paul Hardwick - Major Domo; Esmond Knight - Col. Hoffman; Rosamond Greenwood - Maud; Aubrey Dexter - The Ambassador; Maxine Audley - Lady Sunningdale; Harold Goodwin - Call Boy; Jean Kent - Maisie Springfield; Daphne Anderson - Fanny; Gillian Owen - Maggie; Vera Day - Betty; Margot Lister - Lottie; Charles Victor - Theatre Manager; David Horne - The Foreign Officer; Gladys Henson - Dresser; Andrea Malandrinos - Valet with Violin
The film is set in London in June 1911. George V will be crowned king on June 22 and in the preceding days, many of the most important dignitaries arrive. Among those arriving are the king of Carpathia, Nicholas and the regent, his father, Prince Charles.
The British government realize that Carpathia is critical to the tension in Europe, and to gain favour with them would be wise. They find that it is necessary to pamper their stay to London and thus the civil servant Northbrook is detached to their service. Northbrook decides to take the Prince Regent out to a musical performance, The Coconut Girl. During the interval, the Prince Regent is taken backstage to meet the cast. He does so, and is particularly interested by Elsie Marina, one of the performers, and has her invited to the embassy for supper. Elsie arrives at the daunting embassy, and is soon joined by the Prince Regent. She expects a party but quickly realises the Princes true intentions, though is convinced not to leave by Northbrook with his promises to provide an excuse for her later. Whilst the Prince and Elsie are trying to have a quiet supper, there are many interruptions, causing much angst. Later on the Prince makes a pass at Elsie which she, giggling with the effect of drinks they have been downing, refuses. She explains how disappointed she was that he wasn't more romantic and the Prince latches onto this, changing his tactics. Eventually, the two, after much discussion, kiss, and Elsie even admits that she may be in love. However, she passes out from the drink and the Prince angrily has her placed in an adjoining bedroom to stay the night.
The next day, Elsie overhears a conversation that concerns the young King Nicolas plotting to overthrow his father. Promising not to tell, Elsie then meets the Queen Mother, who decides that she join them for the coronation in place of her oversized lady-in-waiting. The ceremony passes and afterwards Elsie refuses to tell the Prince Regent details of the treasonous plot, but during the coronation ball (to which she was invited by Nicholas)she manages to persuade Nicholas to draw up a contract in which he confesses his and the Germans intent, but only if the Prince agrees to a general election. The Prince Regent is impressed and realizes that he has fallen in love with Elsie. The morning after the Coronation Ball, Elsie manages to iron out the differences between father and son.
The next day the Carpathians must leave to return home. Elsie is invited by the Prince Regent to come with them, but she stays to fulfil her stage obligations. The Prince Regent suggests that she joins them in Carpathia after the end of her contract. The film ends with both assuring each other to meet again in 18 months time, when the Prince Regent is free of his obligations and she is free of hers.
Marilyn Monroe as Elsie Marina. Elsie is a young showgirl, who is noticed by the Prince Regent, and asked around to the Carpathian embassy for supper. This was one of the few films that Monroe did outside 20th Century Fox.
Laurence Olivier as Charles, the Prince Regent. Charles is the Prince Regent of Carpathia, who insists on formality. Despite his wealth, he is very lonely, and invites Elsie Marina, a young showgirl, to the Embassy for supper. Olivier is considered to be one of the greatest actors of the 20th Century. Some critics considered this to be one of his weaker performances while others believe it is quite charming.
Also Starring
Sybil Thorndike as The Queen Dowager. The Queen is the quite deaf and not always understanding some of the events around her. She has some very witty conversations with Elsie. Thorndike was a veteran British actress of the stage.
Richard Wattis as Northbrook. Northbrook is the unflappable British civil servant, assigned to the Prince Regent of Carpatia for aid. Wattis was a British character actor often cast in the part of meek, long-suffering civil servants and officials.
Jeremy Spenser as King Nicolas. Nicolas is the king of Carpathia, though it is ruled by his father, Charles.
Reception
The Prince and the Showgirl proved less than impressive critically and financially. It profited, but many critics panned it for being slow-moving.
Olivier was reputedly so annoyed by Monroe's behaviour that he practically abandoned directing for the screen, only returning in 1970 to make Three Sisters (1970).
