Rating: 
Summary: Beautiful Love-Story -- One of Marilyn's Best!
Review: Don Murray (in his film debut) plays a rodeo star who falls head over heels in love with saloon entertainer Marilyn Monroe. You'll spend much of the movie rooting for poor Monroe to escape from the persistant Murray, who insists the two will be married. Eventually the wild cowboy is taught a few lessons in politeness, which endears him to his prospective bride, who is still shaking from his rough manners. When Monroe tells Murray that she is "not the innocent girl he thought she was", Murray figures that between them they have just the right amount of experience. Of course, the pair ride off into the desert sunset together. The title song by The Four Lads is a nice finishing touch to a very pleasant film. Fans of the star are going to like this picture!****
Rating: 
Summary: MARILYN AT HER MOST LOVEABLE
Review: MARILYN PORTRAYS "CHERIE" A GIRL FROM THE OZARKS ON HER WAY TO HOLLYWOOD TO BECOME A CHANTOOSE, LIKE HER IDOL HILDEGARDE. MARILYN PLAYS A HILLBILLY WITH AN ACCENT WHO IS BEING PUSHED AROUND BY A BUNCH OF REDNECKS WHO HAVE NO RESPECT FOR A LADY.ALONG COMES DON MURRAY, A COWBOY NAMED "BEAU" WHO IS CONVINCED THAT CHERIE, WHOSE A NIGHTCLUB SINGER IS HIS "ANGEL" AND THAT HE'S GONNA MARRY HER. MARILYN SINGS "THAT OLD BLACK MAGIC" BUT BEFORE YOU JUDGE HER SINGING YOU MUST REALIZE THAT SHE IS PORTRAYING A GIRL WHO CAN'T SING! I'VE HEARD PEOPLE MAKE COMMENTS BUT ONLY BECAUSE THEY'VE NEVER READ THE PLAY. THE MOVIE IS FROM 1956 WHEN MARILYN WAS STUDYING "METHOD ACTING". SHE WAS NOMINATED FOR AN ACADEMY AWARD BUT UNFORTUNEATLY DID NOT WIN. THIS IS AN EXCELLENT MOVIE AND A FINE VEHICLE FOR MONROE.
Rating:
Summary: This trip's gonna be mighty educational
Review: So says the fatherly Virgil to his younger friend Bo Decker following a conversation where Virgil suggests its time Bo find himself a woman, "a plain looking, little old gal." Bo though wants to find himself an angel. However, the conversation takes a bit of a chauvinistic tone from the green and inexperienced Bo, who is headed to Phoenix to compete in the rodeo. Says Bo, "That steer this moment--he didn't wanna get throwed, did he? Well, I throwed him. Some wild horse you borke in, he don't wanna be broke, do he? But you don't let what he wants stop you. So what makes you think a gal's gonna be any different?" To paraphrase Virgil in a more contemporary way, "Houston, we've got a problem." Bo's other problem is that he tends to overdo everything. He does pushups in the bus, to the surprise and annoyance of the passengers and bus driver. But the worst flaw in his character is that he has no manners. As the bus driver asks him later, "Were you born in a barn?" Well, close, as he has been isolated on a ranch all his life. At the Blue Dragon inn, Bo finds his "angel," a much put-upon singer named Cheri. He falls so in love with her that he announces to a stunned Virgil, and more than stunned Cheri, that he has found his girl and is going to marry her tomorrow. Cheri herself has a long string of boyfriends and lovers, something that the naive Bo is unaware of. In her opening scene, when she's resting on the window sill, she is instantly harassed by rowdy cowboys pawing at her, and then by the manager. She's clearly not lived a happy life, but she does have a dream to go to Hollywood. What she's longing for is to be treated with respect, hence her identifying herself as a chanteuse and reminding Bo that her name is Cheri, not Cherry. Eventually, Bo's faults come to a head at the title place, where he gets a much deserved lesson. I'd find Don Murray likeable if his characterization of Bo wasn't so obnoxious. I detest rude people sans manners and loud, whooping cowboys, and unfortunately, Bo is both. While his meanings are noble, it's the way he does it that caused me to flare in exasperation. Arthur O'Connell is a relief in this picture as the wiser and more maturer Virgil. Virgil gives the fatherly patience and love to Bo, exasperated, angry, and hoping that his young friend grows up. In the scene where Bo gets his comeuppance, he generates a "this is gonna hurt me more than it's gonna hurt you" atmosphere. This is Hope Lange's debut film as Elma, the young girl on a trip to a concert. The woman to woman talk between her and MM in the bus is a standout. And Betty Field stands out as the diner owner Grace, a woman with an Eve Arden-ish sense of humour. Some trivia in this picture. Marilyn had issue with Don Murray, because of his relative inexperience, and she asked for Hope Lange's hair to be dyed a darker shade of blonde, because after all, MM was THE star. A bit of ego there. And the younger LIFE magazine reporter is Casey Adams, who also came out in Niagara as Ray Cutler. Also, this picture was the first with Marilyn's new acting coach, Paula Strasberg, utilizing Method acting. While this film is generally touted as the one where Marilyn finally could act, I take issue. Marilyn was "acting" way before then, from her B+ acting in Don't Bother To Knock to her compassionate blonde goofball in The Seven Year Itch. But if you take into account the strong backwoods accent of an Ozark hillbilly, then yes, her acting is definitely good, but nothing Oscar-worthy here.
Rating:
Summary: One of Marilyn Monroe's finest performances ever!
Review: .
As Cherie, the one-note chanteuse with little talent, Marilyn Monroe creates a character who is both pathetic and poignant. This is considered by many to be Monroe's finest on-screen performance. Many thought she deserved an Oscar nomination for this role. Sadly, Marilyn was highly under-rated as an actress in her lifetime, and didn't even receive a nomination. She did however go on to win more than one Golden Globe for her work after this film. The only thing that bothers me about this film is co-star Don Murray's constant screaming. Murray made his big screen debut in this film, and although he brought a lot of ebullience to the role, he apparently was used to stage work, and thought he had to scream to be heard. On screen, he appears to be in a constant state of pig-calling as he bellows and shouts like a hooligan. I think he should have toned-down his performance altogether, at least vocally. All that screaming opposite Marilyn's breathy whisper of a voice is quite annoying indeed! All-in-all, I would strongly recommend this film for anyone who wants to experience the magic of Marilyn Monroe in a truly great performance. Just be sure to keep the remote handy so you can turn down the volume when Murray is on screen! [Marvelous] Marilyn!
Rating:
Summary: Marilyn Is The Best, But...
Review: I want to start by saying that I absolutely love Marilyn Monroe and she did an excellent job in this movie as in all her movies. I had to give it 4 stars just because she's in it. However, Don Murray, who plays the male lead, in my opinion, ruined it. He is so corny and often downright annoying. He overacts the part and is very unrealistic. I mean, sure he's a cowboy, but a cowboy can be manly and romantic. He is neither. But if you can get past that, the movie is amusing and Marilyn shines. I enjoyed watching it just because it's funny to see her using a hillbilly accent. She actually does it pretty well. If you're a Marilyn fan you will probably enjoy this and want to add it to your collection. Otherwise it may be a little too corny for you. I personally plan to buy it to add to my collection. It is nice that it is coming out on DVD since it is very hard to get on video anymore.
Rating:
Summary: MARILYN AT HER MOST LOVEABLE
Review: MARILYN PORTRAYS "CHERIE" A GIRL FROM THE OZARKS ON HER WAY TO HOLLYWOOD TO BECOME A CHANTOOSE, LIKE HER IDOL HILDEGARDE. MARILYN PLAYS A HILLBILLY WITH AN ACCENT WHO IS BEING PUSHED AROUND BY A BUNCH OF REDNECKS WHO HAVE NO RESPECT FOR A LADY.ALONG COMES DON MURRAY, A COWBOY NAMED "BEAU" WHO IS CONVINCED THAT CHERIE, WHOSE A NIGHTCLUB SINGER IS HIS "ANGEL" AND THAT HE'S GONNA MARRY HER. MARILYN SINGS "THAT OLD BLACK MAGIC" BUT BEFORE YOU JUDGE HER SINGING YOU MUST REALIZE THAT SHE IS PORTRAYING A GIRL WHO CAN'T SING! I'VE HEARD PEOPLE MAKE COMMENTS BUT ONLY BECAUSE THEY'VE NEVER READ THE PLAY. THE MOVIE IS FROM 1956 WHEN MARILYN WAS STUDYING "METHOD ACTING". SHE WAS NOMINATED FOR AN ACADEMY AWARD BUT UNFORTUNEATLY DID NOT WIN. THIS IS AN EXCELLENT MOVIE AND A FINE VEHICLE FOR MONROE.
Rating:
Summary: I'm sorry
Review: First off I am a HUGE Marilyn Monroe fan. I also believe only Marilyn Monroe fans watch this movie. She is great in it. It's one of her best performances. As Cheri, she gives a dazzling performance of 'Black Magic', and it's great listening to her in her hillbilly accent. The final scenes where her face take up the entire screen was great directing and she looked as beautiful as an angel. Her comic timing was delivered perfectly, and the costumes she wore in this movie lead to some of her greatest still photograph. So why only 4 stars? The rest of the cast did a great job, Virg, Elma, Grace, and Carl. Who did I leave out? That's right, Bo. Don Murray single-handedly ruins this movie. His cowboy mannerisms are waaaay over the top, he overacts every scene he's in, he's rude, stupid, and to tell you the truth, Marilyn ending up with him is so unbelievable, it makes you just want to scratch your head. Now I know that Bo was supposed to be an inexperienced cowboy right off the ranch, but no one is going to arrive in a city and acts like he owns the world. Kidnapping a woman (with a lasso of all things) and dragging her on the bus is a stretch, but when Bo finally gets his butt kicked by Carl, and learns a lesson in humility, and then Marilyn falls for him, well... I can't believe someone would give up their Hollywood dreams and go to a ranch with a doous like Bo. Again This was a great performance by Marilyn, watch it for her. I'm sure you will. I've never met a Don Murray fan.
Rating:
Summary: This trip's gonna be mighty educational
Review: So says the fatherly Virgil to his younger friend Bo Decker following a conversation where Virgil suggests its time Bo find himself a woman, "a plain looking, little old gal." Bo though wants to find himself an angel. However, the conversation takes a bit of a chauvinistic tone from the green and inexperienced Bo, who is headed to Phoenix to compete in the rodeo. Says Bo, "That steer this moment--he didn't wanna get throwed, did he? Well, I throwed him. Some wild horse you borke in, he don't wanna be broke, do he? But you don't let what he wants stop you. So what makes you think a gal's gonna be any different?" To paraphrase Virgil in a more contemporary way, "Houston, we've got a problem." Bo's other problem is that he tends to overdo everything. He does pushups in the bus, to the surprise and annoyance of the passengers and bus driver. But the worst flaw in his character is that he has no manners. As the bus driver asks him later, "Were you born in a barn?" Well, close, as he has been isolated on a ranch all his life. At the Blue Dragon inn, Bo finds his "angel," a much put-upon singer named Cheri. He falls so in love with her that he announces to a stunned Virgil, and more than stunned Cheri, that he has found his girl and is going to marry her tomorrow. Cheri herself has a long string of boyfriends and lovers, something that the naive Bo is unaware of. In her opening scene, when she's resting on the window sill, she is instantly harassed by rowdy cowboys pawing at her, and then by the manager. She's clearly not lived a happy life, but she does have a dream to go to Hollywood. What she's longing for is to be treated with respect, hence her identifying herself as a chanteuse and reminding Bo that her name is Cheri, not Cherry. Eventually, Bo's faults come to a head at the title place, where he gets a much deserved lesson. I'd find Don Murray likeable if his characterization of Bo wasn't so obnoxious. I detest rude people sans manners and loud, whooping cowboys, and unfortunately, Bo is both. While his meanings are noble, it's the way he does it that caused me to flare in exasperation. Arthur O'Connell is a relief in this picture as the wiser and more maturer Virgil. Virgil gives the fatherly patience and love to Bo, exasperated, angry, and hoping that his young friend grows up. In the scene where Bo gets his comeuppance, he generates a "this is gonna hurt me more than it's gonna hurt you" atmosphere. This is Hope Lange's debut film as Elma, the young girl on a trip to a concert. The woman to woman talk between her and MM in the bus is a standout. And Betty Field stands out as the diner owner Grace, a woman with an Eve Arden-ish sense of humour. Some trivia in this picture. Marilyn had issue with Don Murray, because of his relative inexperience, and she asked for Hope Lange's hair to be dyed a darker shade of blonde, because after all, MM was THE star. A bit of ego there. And the younger LIFE magazine reporter is Casey Adams, who also came out in Niagara as Ray Cutler. Also, this picture was the first with Marilyn's new acting coach, Paula Strasberg, utilizing Method acting. While this film is generally touted as the one where Marilyn finally could act, I take issue. Marilyn was "acting" way before then, from her B+ acting in Don't Bother To Knock to her compassionate blonde goofball in The Seven Year Itch. But if you take into account the strong backwoods accent of an Ozark hillbilly, then yes, her acting is definitely good, but nothing Oscar-worthy here.
Rating:
Summary: LOVE ON A BUS
Review: Very funny adaptation of the William Inge play finds Marilyn Monroe romantically abducted by country bumpkin who has fallen in love with her. Monroe is ravishing and sympathetic as the saloon girl Cheri turned unwilling fiance and Don Murray in a debut performance as the hardheaded Bo finds a great mix of whooping and hollering and real romantic depth. Some of Bo's manhandling of Cheri gets a bit harsh in accordance with cinematic sexual mores of 1956; a skirt tail is ripped off, she is helplessly hoisted upon his shoulder, but this is effectively an innocent and touching film with just the right amount of naivete.
Rating: 
Summary: A wretched adaptation of a great play
Review: Yes Monroe gives one of her greatest performances (the other being in THE MISFITS). However, after directing two different productions of the William Inge's excellent character driven play of the same title, I must say that I cannot objectively judge this wretched adaptation. Gone is all of Inge's carefull character sketches and complex study of human nature. BUS STOP as a story has never been solely star vehicle. Cherie is but a small part of an ensemble cast. Gone in this film version is Dr. Lyman and his resurrection in the hands of the neophyte Elma. Gone too is the sexual dynamics of bus driver Carl and the lonely Grace. The setting change from Kansas to Idaho loses so much of the midwestern heart that drives Inge's central narrative. Again, the film is worth watching for Monroe's fine star making performance, but if anyone has read, scene or produced the heart-breakingly beautiful original play, the movie adaptation just doesn't add up.
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