Blogger Caroline Colvin takes a closer look at Gentlemen Prefer Blondes in her RomCom of the Week series, arguing that its portrayal of female sexuality is far more progressive than early critics realised.
“When the film first came out, critics berated Lorelei and Dorothy (and by extension, Monroe and Russell) for their sexual confidence. Their forwardness, by modern standards, however, is considered praiseworthy. It’s two sides of the same coin: either the women’s sexiness makes them solely objects for male consumption or their fearless sex appeal is a mark of empowerment, making them subjects, autonomous, active players in their own adult lives.
Are Dorothy and Lorelei villains of female sexuality, preying on and victimizing men? Or are they modern-day heroes for finessing the patriarchal, capitalist framework they’re living in?
Often, the process of unpacking gendered implications in film is like looking for a diamond in the rough. And as seen with with Gentlemen Prefer Blondes, sometimes, it takes a little extra sifting.”
In recent years, Twentieth Century Fox has released a wide range of products celebrating their greatest star, including calendars, mugs, and most recently, perfumes. Fox was also involved with last year’s Bendigo exhibition. Using original poster artwork from Gentlemen Prefer Blondes and How to Marry a Millionaire, they have now created a series of framed prints (£25 each), as spotted by Immortal Marilyn’s Fraser Penney at TK Maxx in Perth, Scotland.
Some fans have noted that the original movie posters have been altered, removing Marilyn’s co-stars. MM would no doubt raise an eyebrow at this belated recognition from her home studio!
Gentlemen Prefer Blondes gets a one-off ‘singalong‘ screening at London’s Southbank on Monday, March 20, as part of the BFI Flare LGBT Film Festival, with further showings in April. And for those outside the capital, Blondes will also be screened at selected Picturehouse cinemas nationwide next month.
Supermodel Karlie Kloss has recreated Marilyn’s ‘Diamonds Are a Girl’s Best Friend’ (from Gentlemen Prefer Blondes) in a new commercial for Swarovski Crystal, reports Marie-Claire. (In another clip, Karlie imitates Audrey Hepburn in Breakfast at Tiffany’s.)
“What I love most about icons like Audrey Hepburn and Marilyn Monroe is the confidence they bring to every scene and character they played. Like many of my role models, they’ve shown that a woman who is confident and strong-willed will always be in style … being able to evoke their iconic movie scenes and add a modern spin was such a fun experience.”
Marilyn’s hilarious performance as the wide-eyed trickster Lorelei Lee in Gentlemen Prefer Blondes is lauded today in ‘100 More Jokes That Shaped Modern Comedy’, a virtual timeline for the Vulture website.
“Dumb-blonde jokes can be traced back as far as the 18th century, but it was Marilyn Monroe’s portrayal of Lorelei Lee that cemented them in modern pop culture. During this big dance number, Monroe’s iconic look, bleached-blonde and adorned in a thick diamond choker with a tight bright-pink dress, creates the prototype for a dumb blonde. She needs to be flamboyantly feminine, and speak softly and vapidly. As she says in the movie, ‘I can be smart when it’s important, but most men don’t like it.’ Monroe’s quick quips of feigned ignorance are supported by the groundedness of Dorothy Shaw, played by Jane Russell, in a rare-for-the-time female comedy duo. Helmed by Howard Hawks, a director famous for his ‘Hawksian’ tough-talking woman, the movie demonstrates comedy through the actress’s use of sexual agency. Monroe’s femininity is not an object but a tool to get what she wants — famously, diamonds. The sheer size of Monroe’s performance defined this fundamentally American archetype. Without her, there would be no Romy and Michele’s High School Reunion, Cher in Clueless, or Elle Woods of Legally Blonde.”
In the final instalment of LoveMagazine‘s Advent series, supermodel Kate Upton – whose blonde hair and voluptuous curves have been compared to Marilyn’s – sips champagne and frolics in lingerie to the soundtrack of ‘Diamonds Are a Girl’s Best Friend’. However, the short video, directed by Doug Inglish, owes more to the cheeky aesthetic of The Benny Hill Show than the glamour of Gentlemen Prefer Blondes. Judge for yourself here.
In January, exhibitions featuring Milton Greene and Douglas Kirkland’s photographs of Marilyn opened in London and Amsterdam. In New York, the Museum of Modern Art paid tribute to Marilyn’s choreographer, Jack Cole. Also this month, James Turiello’s book, Marilyn: The Quest for an Oscar, was published. And Edward Parone, assistant producer of The Misfits, died.
In April, a special edition of Vanity Fair magazine – dedicated to MM – was published. A campaign to save Rockhaven, the former women’s sanitarium where Marilyn’s mother Gladys once lived – was launched. And actress Anne Jackson – wife of Eli Wallach, and friend to Marilyn – passed away.
In May, Marilyn graced the cover of a Life magazine special about ‘hidden Hollywood’, and Sebastien Cauchon’s novel, Marilyn 1962, was published in France. Cabaret singer Marissa Mulder’s one-woman show, Marilyn in Fragments, opened in New York, while Chinese artist Chen Ke unveiled Dream-Dew, a series of paintings inspired by Marilyn’s life story. The remarkable collection of David Gainsborough Roberts was displayed in London. Finally, Alan Young – the comedian and Mister Ed star, who befriended a young Marilyn – died.
In July, the birthday celebrations continued in Marilyn’s Los Angeles hometown with tributes from painter David Bromley, and another Greene exhibition. A new musical, Marilyn!, opened in Glendale. Rapper Frank Ocean appeared alongside a Monroe impersonator in a Calvin Klein commercial. And Marni Nixon, the Hollywood soprano who sang the opening bars of ‘Diamonds Are a Girl’s Best Friend’, passed away.
August 5th marked the 54th anniversary of Marilyn’s death. Also this month, it was announced that Seward Johnson’s ‘Forever Marilyn’ sculpture may return permanently to Palm Springs. April VeVea’s Marilyn Monroe: A Day in the Life was published, and Marilyn’s role in Niagara was featured in another Life magazine special, celebrating 75 years of film noir.
In September, Marilyn: Character Not Image – an exhibition curated by Whoopi Goldberg – opened in New Jersey. Terry Johnson’s fantasy play, Insignificance, was revived in Wales. Two locks of Marilyn’s hair were sold by Julien’s Auctions for $70,000. And author Michelle Morgan published The Marilyn Journal, first in a series of books chronicling the Marilyn Lives Society; and A Girl Called Pearl, a novel for children with a Monroe connection.
If you’re in Amsterdam this Christmas, don’t miss the Happy Birthday Marilyn: 90 Years Ms Monroe exhibit (featuring the Ted Stampfer collection), on display at De Nieuwe Kerk until next February. And from next Thursday (December 22), the city’s EYE Film Institute will be screening seven of Marilyn’s best movies: Niagara, Gentlemen Prefer Blondes, How to Marry a Millionaire, The Seven Year Itch, Bus Stop, Some Like It Hot and The Misfits.
Comedienne Rachel Bloom has spoofed a classic Marilyn moment from Gentlemen Prefer Blondes in an episode of her musical sitcom, Crazy Ex-Girlfriend (in which she plays Rebecca, a woman in the thrall of romantic delusions), reports the Los Angeles Times. You can watch the scene (from Season 2, Episode 3) in full here.
“‘There was kind of a self-indulgent hubris, where she truly thinks she has two men in love with her,’ said Bloom of her quest to capture the sound of that romantic delusion musically. ‘She thinks she is the center of everything. That’s Diamonds Are a Girl’s Best Friend. That’s Marilyn Monroe. That’s a ’40s song where you’re surrounded by boys.’
So when inspiration struck, she did what any good songwriter on a deadline would do: She reached for her laptop that sat on her bamboo bath caddy and started jotting down lyrics.
It wasn’t long before the show’s music producer, Adam Schlesinger, received a voicemail with Bloom’s bare-bones rendition of this week’s big musical number, ‘The Math of Love Triangles’, which finds Rebecca cooing in a baby-doll voice — a la Monroe in ‘Diamonds’ — about what a hardship it is to have two guys in love with her.
‘The hardest part of writing these songs is landing on the specific idea,’ Bloom said. ‘Once we’ve landed on it, then stuff starts rolling. And there’s editing and there’s tweaking and there’s rewriting. But there’s a kind of rolling down the hill that you feel once you hit on the right comedy premise.’
And a bit of creativity is sometimes needed when trying to get certain aspects of those premises to pass Broadcast Standards and Practices. For example, with The Math of Love Triangles, the line, ‘Are you erect?’ could only pass muster if Bloom’s Rebecca was physically adjusting the posture of a dancer.
On the day of production of The Math of Love Triangles, Bloom was concerned that she might be revealing too much side boob because of her blue strapless gown or that the male dancers should be more expressive with their facial reactions.
After a take was complete, she slipped out of her character’s strappy heels and into some slippers to watch a playback.
‘I think it’s great,’ Bloom said. ‘It all came together!'”
Darryl F. Zanuck may have blamed Marilyn for delays in the River of No Returnshoot, but co-star Robert Mitchum did not, writing on this letter, “Dig!!! Marilyn – my girl is your girl, and my girl is you. Ever – Bob.”
After a bitter legal battle with Twentieth Century Fox, Marilyn returned triumphantly to Hollywood in 1956, armed with a list of approved directors.
Her first project under the new, improved contract was Bus Stop. Several lots of annotated script sides are up for bids this week.
“This is the first film Monroe made after beginning to study at the Actors Studio in New York City with Lee Strasberg, and the notations in these script sides demonstrate her method. Some of the notes are sense memories, like the following notation written after the line ‘I can’t look’: ‘Effective memory (use Lester – hurt on lawn),’ most likely referencing Monroe’s childhood playmate Lester Bolender, who was in the same foster home with Monroe. Another note adds ‘(almost to myself)’ before a line to inform her delivery or ‘Scarfe [sic] around my arms) Embarrassed.'”
Arthur O’Connell, who played Virgil in the movie, sent Marilyn his best wishes after she was hospitalised with pneumonia.
“A collection of Marilyn Monroe envelopes, messages and notes, including a florist’s enclosure card with envelope addressed to Monroe and a message that reads ‘To make up for the ones you didn’t recall receiving at the hospital. Please stay well so we won’t go through this again’, signed by ‘Arthur O’Connell – Virgil Blessing.’ Also included are five handwritten notes in an unknown hand that reference Clifton Webb, Lew Wasserman and Paula Strasberg.”
“The letter is dated simply June 9, and it accompanied the latest version of the script for The Prince and the Showgirl. Olivier discusses Monroe’s dialogue and that he has ‘written some extra dialogue and a direction or two.’ He reports on where they are in the script writing process and that they have cut the script down from ‘well over 3 hours’ to 2 1/2, to 2 hours 10 minutes. He continues about the scenes that were and were not cut, including ‘The Duke of Strelitz is, I think essential, as otherwise they will be saying what’s the matter with them – why the heck can’t they get married, particularly in view of Grace Kelly and all that, and our only answer to that question must be Yes but look at the poor Windsors do you see?’
On an amusing note, Olivier mentions, ‘By the way Lady Maidenhead has degenerated to Lady Swingdale because I am assured the Hayes Office will not believe there is also a place in England of that name.’ He closes ‘I just called up Vivien at the theatre … and she said to be sure to give you her love. So here it is and mine too. Longing to welcome you here. Ever, Larry.'”
Marilyn had many advisors on this film, including husband Arthur Miller who made suggestions to improve the script.
“Some of your dialogue is stiff. Also some expressions are too British. If you want me to, I can go through the script and make the changes – – in New York. I think the part – on one reading, is really the Best one … especially with you playing it. You are the one who makes everything change, you are the driving force … The basic problem is to define for yourself the degree of the girl’s naivete. (It could become too cute, or simply too designing.) It seems to me, at least, that they have not balanced things in Olivier’s favor. … It ought to be fun to do after BusStop. From your – (and my) – viewpoint, it will help in a small but important way to establish your ability to play characters of intelligence and cultivation. … Your loving Papa – (who has to rush now to make the plane – see you soon! – free!) – Art.”
Marilyn had strong opinions about the casting of Some Like It Hot. In the minutes from a business meeting at her New York apartment, it is noted that “MCA on the Coast has told [Billy] Wilder that there are ‘legal technicalities holding up her decision’ so as not to offend Wilder. Actually, she is waiting for [Frank] Sinatra to enter the picture. She still doesn’t like [Tony] Curtis but [Lew] Wasserman doesn’t know anybody else.”
This short note penned by Marilyn is thought to be a response to Tony Curtis’ notorious remark that kissing her was “like kissing Hitler.”
Novelist Truman Capote wanted Marilyn to star as Holly Golightly in Breakfast at Tiffany’s. However, her own advisors deemed George Axelrod’s watered-down adaptation unworthy of her talents. The film was a huge hit for Audrey Hepburn, but Capote hated it.
“A clean copy of the screenplay for Breakfast at Tiffany’s written by George Axelrod and dated July 9, 1959. Monroe was considering the part, and she sought the opinions of her professional team including the Strasbergs, her husband, and management team. The script is accompanied by a single-page, typed ‘report’ dated September 23, 1959, which also has the name ‘Parone’ typed to the left of the date. Literary luminary Edward Parone was at the time running Monroe’s production company and most likely is the one who wrote this single-page, scathing review of the script, leading with the simple sentence, ‘I think not.’ It goes on to criticize the screenplay, determining, ‘I can see Marilyn playing a part like Holly and even giving this present one all the elan it badly needs, but I don’t feel she should play it: it lacks insight and warmth and reality and importance.’ It has been long reported that Monroe declined the part upon the advice of Lee Strasberg, but this document provides further evidence that other people in her inner circle advised her not to take the role. Together with a four-page shooting schedule for November 4, 1960, for the film.”
Marilyn was generous to her co-stars in Let’s Make Love, giving a framed cartoon to Wilfrid Hyde-White on his birthday, and an engraved silver cigarette box to Frankie Vaughan. She also asked her friend, New York Times editor Lester Markel, to write a profile of her leading man, Yves Montand. “He’s not only a fine actor, a wonderful singer and dancer with charm,” she wrote, “but next to you one of the most attractive men.”
A handwritten note by Paula Strasberg reveals how she and Marilyn worked together on her role in The Misfits. “searching and yearning/ standing alone/ mood – I’m free – but freedom leaves emptiness./ Rosylin [sic] – flower opens bees buzz around/ R is quiet – the others buzz around.”
In 1962, Marilyn began work on what would be her final (and incomplete) movie, Something’s Got to Give. This telegram from screenwriter Nunnally Johnson, who was later replaced, hints at the trouble that lay ahead.
“The telegram from Johnson reads ‘In Revised script you are child of nature so you can misbehave as much as you please love – Nunnally.’ Monroe has quickly written a note in pencil for reply reading ‘Where is that script – is the child of nature due on the set – Hurry Love & Kisses M.M.’ ‘Love and Kisses’ is repeated, and additional illegible notations have been crossed out.”
“Raw footage of Monroe performing with the children in Something’s Got to Give exists, and Monroe’s notations are evident in the footage. The top of the page reads ‘Real Thought/ Mental Relaxation/ substitute children – B & J if necessary/ feeling – place the pain where it is not in the brow.’ B & J likely refers to Arthur Miller’s children Bobby and Jane. Another notation next to one of Monroe’s lines of dialogue reads simply ‘Mona Lisa’, which does in fact mirror the expression she uses when delivering this line. Even the exaggerated ‘Ahhhhh—‘ that Monroe does at the beginning of each take in the raw footage is written on the page in her hand, reading in full, ‘Ahhh–Look for the light.'”