Marilyn Monroe (Michelle Williams) was at the peak of her illustrious career in 1956 when she came over to England to make a film with Sir Laurence Olivier (Kenneth Branagh), which is the setting for Colin Clark’s account of his wonderful week with the sexually iconic sensation. Based on Colin’s diary accounts of the events, the film shows his bewitchment and Monroe’s reciprocal intrigue, which leads to a romantic relationship when Monroe’s husband, Arthur Miller, returns to America.

Clark becomes enamoured with Monroe and is led into the beguiling trap that captured so many men. Williams plays Marilyn exquisitely, conveying her trademark sex appeal and flirtatious innocence. There is subtlety to the character and the performance, as she shows the duality of fame and celebrity. She is nervous and insecure, despite her glamorous façade, but instinctively both Monroe the character and Williams the actor deliver vibrancy on screen.

Naturally, Clark is drawn to her and becomes closer to her throughout the film. He is innocent and charming, and so intended to be empathised with. However, their relationship is not the most interesting aspect of this story. Branagh fittingly plays Olivier marvelously with truly Shakespearean vigour, juxtaposing Monroe’s dainty mannerisms. His cutting remarks produce the funniest material in the film. He is a theatrically trained thespian who lacks patience with the young movie star. Their exchanges highlight the difference between stage and screen, old and new.

Monroe is an American Hollywood starlet who cannot understand the classical acting that Olivier tries to impose on her. The conflict is amusing and intriguing throughout the filming of The Prince and the Showgirl. They show the tension and fundamentally different approaches of acting in plays and acting in films in a crucial point where one is declining whilst the other flourishes, much like Olivier and Monroe.

Light hearted and fun, the film also manages shows that dualities of celebrity and acting. However, it continues to be a little lackluster in the emotional depth of Monroe and Clark’s relationship, which the film perhaps is punching for.