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.

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.