Many people seem to focus, understandably, on Marilyn Monroe in their response to this film, but actually Jane Russell is just as good and together they make one of the best double acts in all cinema. The Monroe role could easily seem calculating in other hands, whereas here Lorelei manages to be - against all the odds - likeable as well, because she is so transparent, and shows a mixture of dimness with the odd flash of insight that is really quite endearing. It's an amazing thing to pull off, as is Russell's much more wised-up turn, which keeps the whole film grounded - even though we are on a boat for much of the time! The unlikelihood of such a friendship is actually one of the more realistic aspects of the whole caper, because all of it is really very camp and silly, right down to the outfits - although these are beautifully colour-coordinated. A high point in this department is Russell's swimsuit with matching short coat she wears on deck, or Monroe's bright orange number she wears for dinner, causing 'Piggy' to stop mid-sentence at the table and causing his wife to interject matter-of-factly: Finish your story, dear ... with a marvellous 'turning a blind eye' knowingness in her tone. Or there are the priceless flesh-coloured shorts worn by the entire Olympic swimming team as Russell swishes her tennis racquet and prances about between rows of bending and stretching athletes and sings Ain't there anyone here for love? It is her romantic feeling for the understated detective (Elliott Reid), who is clearly enamoured of her too, that gives the film its only 'real' feeling, and this is beautifully judged, as is the performance by Charles Coburn which stays just on the right side of sleazy. All credit must go to Anita Loos as well for writing such great lines, and the musical numbers are superb - the whole film sparkles from start to finish.