Gentlemen Prefer Blondes
by Anita Loos
1925
What a marvellous novella this turned out to be. Smart, engaging and uproariously funny – another great summer read for me.
Gentlemen Prefer Blondes was the debut novel of the American screenwriter and author Anita Loos. (You can read a little more about her career here.) The book was an instant success on its release in 1925 – the individual sections had previously been published in Harper’s Bazaar, so the market was ripe for its appearance as a complete text.
Blondes features Lorelei Lee, a young American girl about town, and her best friend, Dorothy Shaw. Lorelei and Dorothy are very different from one another. At first sight, Lorelei – a blonde – appears rather witless and ditzy, while Dorothy – a brunette – seems sharper, more outspoken and more irreverent in her views. Lorelei likes to think of herself as being very refined, someone who is part of a particular social set along with everything this confers – more of that later…
So Mr Eisman gave me quite a nice string of pearls and he gave Dorothy a diamond pin and we all went to the Colony for dinner and we all went to a show and supper at the Trocadero and we all spent quite a pleasant evening. (p. 18)
The book’s main action really gets going when one of Lorelei’s male friends, Mr Eisman, ‘the Button King’, sends Lorelei to Europe with a view to broadening her horizons – a means of furthering her education if you like. Naturally, Dorothy accompanies our narrator on her trip, and their story is presented as a series of entries from Lorelei’s diary, a sequence of amusing vignettes as the girls make their way from New York to London to Paris and beyond.
It soon becomes clear that Lorelei has little interest in gaining a ‘traditional’ education while abroad. In fact, she seems far more concerned with shopping, drinking champagne and collecting valuable trinkets than taking in the famous sights. The majority of these attractions fail to impress her anyway, especially once she compares them to the buildings back in the US.
In London they make a very, very great fuss over nothing at all. I mean London is really nothing at all. For instants, they make a great fuss over a tower that really is not even as tall as the Hickox building in Little Rock Arkansas and it would only make a chimney on one of our towers in New York. So Sir Francis Beekman wanted us to get out and look at the tower because he said that quite a famous Queen had her head cut off there one morning and Dorothy said “What a fool she was to get up that morning” and that is really the only sensible thing that Dorothy has said in London. So we did not bother to get out. (p. 40)
Money, expensive jewellery and the good things in life are all important to Lorelei – she likes nothing more than a glamorous diamond bracelet and a delightful glass of champagne or two. Men are the main providers of these things with Lorelei attracting a trail of suitable admirers wherever she goes.
That said, Lorelei isn’t particularly interested in getting involved in any amorous romances. Unlike Dorothy, who falls in love relatively easily, Lorelei doesn’t become emotionally attached to any of these men. Instead, she sees them more as forms of light-hearted amusement and entertainment, just as long as they can furnish her with stylish gifts. As soon as Lorelei gets bored with her current beau, she demonstrates her readiness to move on to the next – providing he has enough money to keep her in the manner to which she has become accustomed.
So the French veecount is going to call up in the morning but I am not going to see him again. Because French gentlemen are really quite deceiving. I mean they take you to quite cute places and they make you feel quite good about yourself and you really seem to have a delightful time but when you get home and come to think it all over, all you have got is a fan that only cost 20 francs and a doll that they gave you way for nothing in a restaurant. I mean a girl has to look out in Paris, or she would have such a good time in Paris that she would not get anywhere. So I really think that American gentlemen are the best after all, because kissing your hand may make you feel very very good but a diamond and safire bracelet lasts forever. (p. 55)
By the way, these misspellings and the rather childlike phraseology are all part of Lorelei’s charm; Loos’ prose has a natural rhythm all of its own.
Gentlemen Prefer Blondes is a short book, but the girls’ adventures rattle along at quite a pace. There is a brief encounter with the Prince of Wales, a contretemps over a diamond tiara that Lorelei has her eye on, and plenty of other vignettes aside. We even get a peek at Lorelei’s backstory – an incident involving a shooting, a charge of which our heroine was rather demurely acquitted.
The two women make ideal foils for one another – in many ways, they are complete opposites. Lorelei struggles to understand why Dorothy can fall for a man who has no money, while Dorothy herself is dismayed at Lorelei’s willingness to accept a life without love. However, a man’s monetary wealth and resources are more valuable to Lorelei than any emotional or physical connection. She is very single-minded in her approach.
You might feel you know the story of Lorelei and Dorothy from the 1953 Howard Hawks film – also titled Gentlemen Prefer Blondes – but Loos’ original novel feels like a different creature altogether. There is something rather knowing about the book, something much sharper and more satirical going on underneath the outwardly frothy surface. It’s all very cleverly done. Whatever level you choose to read it on, it’s a real treat.
The Penguin Classics edition comes complete with a series of charming illustrations by Ralph Barton. Here’s an example from the Paris section of the story.
To finish, a brief note about Irmgard Keun’s 1932 novel, The Artificial Silk Girl, a book that would make an interesting partner to Gentlemen Prefer Blondes – you can read my post about it here. Reputedly inspired by the Loos, Keun set out to write a response from the German perspective, something that ultimately illustrated the darker side of life which lay beneath the glamour of the capital city of Berlin. It’s an excellent book, one that features a narrator whose voice I found utterly engaging from the start. Highly recommended reading.
JAQUIWINE JOURNAL |
| Marilyn Monroe Gentleman Prefer Blondes |
Gentlemen Prefer Blondes
An attractive screen tintuner has been fashioned from the musical stage hit and it's a flashy film show with enough s.a. and escapism to rate its full share of the boxoffice. Surefire casting of Jane Russell and Marilyn Monroe to project the physical and dialog lines should test theater cooling systems and give the ticket windows a good run for the money.
By William Brogdon
An attractive screen tintuner has been fashioned from the musical stage hit, “Gentlemen Prefer Blondes,” and it’s a flashy film show with enough s.a. and escapism to rate its full share of the boxoffice. Surefire casting of Jane Russell and Marilyn Monroe to project the physical and dialog lines should test theater cooling systems and give the ticket windows a good run for the money.
The Joseph Fields-Anita Loos stage original has been modernized in the slick Sol C. Siegel production, but the general theme and principal characters are intact. Only three of the stage tunes by Jule Styne and Leo Robin are used, but two numbers were cleffed by Hoagy Carmichael and Harold Adamson so that five songs, plus reprises, are spotted during the 91 minutes of footage.
A strong play to the sophisticated dialog and situations is given by Howard Hawks’ direction and he maintains the racy air that brings the musical off excellently at a pace that helps cloak the fact that it’s rather lightweight, but sexy, stuff. however, not much more is needed when patrons can look at Russell-Monroe lines as displayed in slick costumes and Technicolor.
Together, the two femmes are the picture’s outstanding assets for exploitation purposes and entertainment. Miss Russell is a standout and handles the lines and songs with a comedy flair she has previously demonstrated. Miss Monroe matches with a newly displayed ability to sex a song as well as point up the eye values of a scene by her presence. Made well worth listening to by the star team are “Two Little Girls from Little Rock,” a revised version of the stage original; “Bye, Bye, Baby” and “Diamonds Are a Girl’s Best Friend,” plus the new songs, “Anyone Here for Love,” a production number socked by Miss Russell, and “When Love Goes Wrong,” sold by both.
The big production number in the presentation is “Diamonds,” flashily presented by Miss Monroe and a male line against a vivid red backdrop. Piece gets a reprise by Miss Russell, who takes off the Monroe voice and blonde charms during a Paris courtroom scene. Choreography by Jack Cole puts the emphasis on a wiggling type of terps, a form of movement, which the Misses Russell and Monroe sell with plenty of bounce.
Miss Monroe, a blonde who likes diamonds, and Miss Russell, a brunet who likes men, sail for Paris and fun when Tommy Noonan, the blonde’s lovesick millionaire, is unable to make the trip. Noonan’s pop, Taylor Holmes, who would like to bust up the son’s attachment, sends Elliott Reid a private eye, along to keep an eye on the girls. When he’s not acting like a male for Miss Russell’s benefit, Reid’s busy making notes on a diamond-inspired shipboard romance between the blonde and Charles Coburn, an English gent with a mine full of the precious stones. Tape recordings and photogs, plus a missing diamond tiara, are among the complications aimed at amusing while things are kept going until each girl gets what she most wants. Yarn could have used some schmaltz in the form of heart tugs to get deeper into an audience, but the script by Charles Lederer makes excellent use of zippy lines and the two femmes sell them strongly.
Coburn is in fine form as the diamond tycoon with an eye for dames. Reid and Noonan carry off the romantic male spots nicely. Little George Winslow’s big voice in a little body provides a comedy contrast to Miss Monroe’s little girl voice in a big girl’s body for his two scenes with her. Marcel Dalio, Holmes, Norma Varden, Howard Wendell and Steven Geray are among the others doing their share of the comedy work.
Picture bears evidence of having been pruned considerably from its original length and the deep cuts have resulted in some continuity choppiness. Harry J. Wild’s camera work adds to the picture’s visual stimulation. Lionel Newman’s musical direction and the Travilla costumes are among the other assets.
