Greg Ferrara cites Marilyn’s performance in The Misfits as a prime example of an actor expanding their range and exceeding expectations, in an article for Filmstruck.
“It’s obviously a tragedy in countless ways that we lost Monroe so soon but adding to that tragedy is the fact that her performance in THE MISFITS showed she was ready to move into middle age and take on roles outside of what studio executives thought of her. It was already clear that Monroe could play a wide range long before this, but THE MISFITS really put into perspective just how wide-ranging her future career would be. This one hurts more than most because it shows so much potential without leading to anything else.”
Marilyn is the latest cover girl for Noir City, a digital quarterly published by the Film Noir Foundation. Inside, there’s an eight-page illustrated article, with Jake Hinkson analysing her diverse roles in The Asphalt Jungle, Clash by Night, Don’t Bother to Knock and Niagara. Fellow bombshells Diana Dors and Gloria Grahame are also profiled in this issue. To subscribe to Noir City, join their mailing list and donate $20 or more to the foundation, who host regular screenings across the US and a yearly film festival, and also publish an annual print round-up of the best features.
A preview clip of the new short film, It’s Me, Sugar, set during production of Some Like It Hot and starring Gemma Arterton as Marilyn, is now on Youtube. Heading the new season of Urban Myths on the UK satellite television channel, Sky Arts, It’s Me, Sugar will be broadcast on April 12. If you’re in the UK but not a Sky subscriber, Sky Arts is also available on the Now TV streaming service.
The series has a somewhat checkered history: the last season included an episode featuring actor Joseph Fiennes as Michael Jackson, which was pulled after accusations of whitewashing. Further episodes will cover a wide range of celebrity subjects. ranging from the disappearance of Agatha Christie to the Live Aid concert in 1985.
At first glance, It’s Me, Sugar seems to perpetuate the myth of Marilyn as a dumb blonde, playing an even dumber blonde. It will be interesting to see if it covers the theory proposed by author Donald Wolfe, who witnessed her playing the scene, that Marilyn ‘played dumb’ and blew her lines on purpose, to wear down director Billy Wilder into letting her play it her way.
Gentlemen Prefer Blondes will be screened in the San Antonio Botanical Gardens tomorrow (March 23), as part of the Starlight Movies in the Garden series. Gates open at 6:30 pm, with the film starting at dusk – and best of all, admission is free.
Carl Rollyson, author of Marilyn Monroe: A Life of the Actress, has set out his thoughts on Arthur Miller: Writer, the new documentary made by Miller’s daughter Rebecca, now on HBO in the US.
“It is a remarkable revelation of the man, but it is also a very limited view. How could it not be? It is his daughter’s film , and she could not, for example, bring herself to interview him about his institutionalized Down’s syndrome son. The film is really a memoir, and not a biography.
But I am going to concentrate on the treatment of Marilyn Monroe. For the most part, she is treated as rather pitiful, with Miller spending his time propping her up. He wrote very little while married to her but does not mention the countless hours locked away in a room trying to write. More importantly, he gives a very distorted view of what happened during the shooting of The Misfits. He says she doubted she could perform in a serious role. This is a staggering lie, or an example of self-delusion. Monroe was upset about the script and was shut out from the Miller-Huston deliberations about how to fix it. She wasn’t happy that her husband was treating her as a myth, not a real person. If he was going to give her lines that she actually had spoken, then he was obligated to give the full context in which such lines were spoken.
The most telling moment occurs earlier when Miller mentions Elia Kazan as telling him what a great play Death of a Salesman was. Kazan may have been the first one to say so to Miller. Miller trusted Kazan’s judgment and his sincerity. But when it comes to The Misfits, Miller does not mention the letter [Elia] Kazan sent him detailing the faults with the character of Roslyn that Monroe had to play. And those faults were exactly the ones Monroe had identified.
Another telling moment in the film is when Tony Kushner analyzes After the Fall and says Miller was afraid of Monroe. Just so, she had a much more capacious sensibility than he did, and he did not know how to respond to her. The same is true with Ted Hughes and Sylvia Plath. When she died, Hughes said, ‘It was her or me.’ In both cases, these men simply could not come up to the level of their wives, and afterwards suggested that was because the wives were doomed. And that is the impression Miller conveys in his daughter’s film.”
Actress Riley Keough makes a splash in the trailer for upcoming movie, Under the Silver Lake, a comic thriller set in Los Angeles and directed by David Robert Mitchell (It Follows), as Alex McLevy reports for AV Club. The clip appears to be an homage to Marilyn’s famous ‘pool scene’ in her unfinished last film, Something’s Got to Give – even her breathless invitation, ‘Come on in!’, is repeated. Miss Keough is, incidentally, the granddaughter of Elvis Presley, and Under the Silver Lake will be released in the US in June.
After a CD release in 2016, the Soundtrack Factory label has now reissued Alfred Newman’s instrumental score for The Seven Year Itch on vinyl. (This doesn’t include the other Fox soundtracks added to the CD.) MM superfan Johan says this deluxe gatefold LP is ‘great’, apart from a factual error in the sleevenotes (Natasha Lytess was Marilyn’s coach for the movie, not Paula Strasberg.)
As reported last week, Don’t Bother To Knock has been released on Blu-Ray. Film critic Kim Morgan a longtime friend of this blog, has reviewed it for the latest issue of Kill Or Be Killed magazine, which you can order here.
“It’s a heartbreaking portrait, and a movie that sympathises with Nell [Monroe], but the moral of the story comes somewhat at Nell’s expense – Widmark’s Jed becomes the decent man for not giving in to temptation with the damaged woman. He finally shows an ‘understanding heart.’ It’s almost heroic because in real life many men wouldn’t be sensitive enough to resist. And you know that Nell will learn that soon enough. Likely, she already has.”
The Asphalt Jungle will be screened at the Andrew Carnegie Free Library and Music Hall in Carnegie, Pittsburgh on April 6. Doors open at 6 pm for this ‘Noir Night Out’, with a chili dinner plus drinks on offer, and the movie starts at 7 pm. Tickets can be purchased here.
The event is hosted by the former Friends of the Hollywood Theater, as the Dormont venue was purchased by the Theatre Historical Society of America in February – a contentious move, as the FOTH had been raising funds and making improvements in the hope of buying it, Maria Sciullo reports for the Pittsburgh Post-Gazette.
Insignificance, the 1985 fantasy imagining a meeting between Marilyn, Einstein and other icons of 1950s America, is ranked sixth among director Nicolas Roeg’s thirteen films, in an article by Shane Scott-Travis for Taste of Cinema.
“These recognizable popular culture figures, in typical Roeg fashion, riff on grandiose ideas and floundering emotions. What begins as trivial digressions gains momentum and significance, buoyed by stellar performances (like Tony Curtis’s Senator McCarthy, witch-hunting endlessly in his mind, or Theresa Russell’s Monroe, who, despite her ditzy dilettante routine can still teach Einstein a thing or two about relativity).
On the surface Insignificance may not be the exacting pedigree of Roeg’s recognized masterpieces, but it’s still a vast, ingenious allegory on fame, life, love, obsession, jealousy, and substantially so much more.”