Much publicized on the Time-Life circuit for its own backstage glamour, then somewhat under-appreciated by the critics, Let's Make Love is a backstage musical full of Sixties flavor, typical of the decade in its marginal cynicism (its "stage" is a satirical, off-Broadway revue) and large-blocked pacing, and typical of director George Cukor in its rich production values. Yves Montand is a lonely billionaire who sets his sights on a struggling showgirl (Marilyn Monroe) whose passions extend no further than her experience - junk jewelry, the singer Frankie Vaughan, and her own underpaid career. Forced to meet her on her own ground or not at all, Montand stoops to conquer, taking a part in the revue satirizing himself, and suffering the attempts of comedians from Milton Berle to Bing Crosby to teach him how to be funny. Hopelessly leaden, and pathetically unequal, for all his riches, to the woman he nevertheless wins, he is definitely the odd-man-out in the lively story; his interest in Monroe - who in this film slides down a pole and croons "My Heart Belong to Daddy" - is on the bizarre side for that. Penelope Houston wrote, at the time of the film's release, "Cukor's old skill is evident in the bits of business he finds for his actors, the touches which build up sympathy, the unobtrusively accurate sense of where to place the camera and how to keep a flow of backstage action and dialogue moving. The best of Let's Make Love has the relaxed and easy look only achieved through a careful attention to detail."