Just saw this again the other day after many years, and was impressed by Monroe's effortless upstaging of Olivier, who gives the most hammy, artificial performance of his career, unsurprising as he is directing himself.<br /><br />If you want to see what star quality means, just watch their scenes together. He is desperately trying to ACT and eclipse her. All she has to do is just BE there in shot.<br /><br />Whenever they are on screen, it is always her that one's eyes are drawn to and she gives such a natural performance throughout it almost seems as if she isn't acting at all. She also copes with some extremely tricky dialogue, giving the lie to her inability to remember lines. These are often done in a single take - one scene in particular, early in the film as she is leaving the house before Olivier arrives home, talking rapidly to Richard Wattis as they walk down the long staircase, is outstanding.<br /><br />So, the film is worthwhile in showing Monroe as the great star she was - and revealing Olivier to only be capable of mere caricature (that fake German accent is so awful) without a strong director to rein him in.