A fun and smart satire of 50's corporate ambition, celebrity obsession, advertising, and artificiality in general. Mansfield makes a pretty good ersatz Marilyn, Randall is a natural in his role, and it's great to see Joan Blondell still hanging in there. There's a lot of double-entendre, amusing wordplay, and clever fourth-wall breaking, especially the witty opening. Some of the gags fall flat, though, and there are a couple of moments where the actors seem to be awkwardly pausing for laughs.

Still-relevant satire of advertising and consumerism from Frank Tashlin makes virtuous use of the wide-screen and manages to sneak in plenty of dirty double-entendres. Also, the answer to the title's question is "no."

Probably seemed a lot sharper and more witty at the time of its release than it is apt to now. Amongst a bevy of good performances, Blondell's was particularly fun. "An Academy Award winner who had me polishing his Oscar"...wow.

Long before the AMC-series crazy-comedy genius Frank Tashlin put the 'M' in Mad Men. Tony Randall is hilarious ("I thought a pipe would give me the successful Gregory Peck-look") as well is Jayne Mansfield who wasn't just a pair of ti..

Partly dated, partly fun.

Laugh out loud funny with some of the most bizarre cinematic characters since My Man Godfrey. However, there are too many technical issues (Badly and obviously looped lines, lighting setups that make the actors cast four different shadows) to prevent me from giving the film a higher score.

I'm a bit biased in favour of this kind of comedy, where the jokes often come from unexpected places and the layers of self reference and innuendo build as it progresses. It felt a little off it's game at times but for the most part it was quite funny, if never hilarious, and pretty sharply written.

An outrageously charming mess of a film with the oddest bunch of characters I think I've ever seen. Great satire, brilliant, seemingly dated gags that films decades later would still try to imitate and just fantastic fun overall.

While there are perfectionists in cinema, it would appear that the director of this piece, Frank Tashlin, is definitely not one of them: this is a miasma of subplots disappearing and reappearing erratically, bizarre metajokes and probably something resembling a message there too (and Jayne playing, well, herself). But sometimes against all odds these ramshackle affairs hold up surprisingly well. And "Success will fit you like a shroud" is one of my favorite movie quotes of all time.

I wasn't emotionally connected to anyone. But the entertainment and commodity commentary were amusing. Also, Rock's excitement at getting to use more exclusive bathrooms was hilarious.