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Post by topbilled on May 21, 2024 7:32:11 GMT
Marilyn Monroe‘s hot streak began when she was cast in John Huston’s classic caper THE ASPHALT JUNGLE at MGM. But things really started heating up when she was assigned supporting roles at 20th Century Fox– whether it was playing Charles Coburn’s ditzy secretary in MONKEY BUSINESS or the ‘other woman’ who mixes things up with Macdonald Carey and Zachary Scott in LET’S MAKE IT LEGAL, or a minor yet memorable role on George Sanders’ arm in ALL ABOUT EVE. Soon, Marilyn was getting starring roles, and she was a huge sensation with audiences in productions like GENTLEMEN PREFER BLONDES with Jane Russell and THE SEVEN YEAR ITCH with Tom Ewell. We all know what happened to Marilyn in the 1960s, but for a time, the world of the 1950s was hers.
Check out:
DON’T BOTHER TO KNOCK (1952)
RIVER OF NO RETURN (1954)
BUS STOP (1956)
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Post by I Love Melvin on May 25, 2024 23:38:25 GMT
She's so associated with the studio that it's easy to forget her love/hate relationship with them, particularly with Darryl Zanuck. I don't think Fox truly appreciated the depth of what she was capable of, so that after her big walkout when she decamped to New York, when she re-signed with Fox she made sure she had director approval and that she could pursue projects outside the studio, so much so that at the time of her death she was still trying to fulfill that contract, having spent more time career-wise away from the studio than in Fox projects. Fox has been good at merchandizing and repackaging her films to keep alive the legacy that she was "theirs", but Marilyn spent much of her career trying to show them she was her own person. BUT, the Fox films are a treasure trove and I go back to them often, my personal favorite being the Nunnally Johnson-scripted How to Marry a Millionaire, where Marilyn proved how nicely she could play with others in a great ensemble cast. I wish TCM would spring for more than just the same few.
I like the picture you chose, rather than the formal glamor shots the studio generally favored. She allied herself with some very talented photographers over the years and they really helped hone an image more to her liking.
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Post by topbilled on May 26, 2024 14:10:20 GMT
She's so associated with the studio that it's easy to forget her love/hate relationship with them, particularly with Darryl Zanuck. I don't think Fox truly appreciated the depth of what she was capable of, so that after her big walkout when she decamped to New York, when she re-signed with Fox she made sure she had director approval and that she could pursue projects outside the studio, so much so that at the time of her death she was still trying to fulfill that contract, having spent more time career-wise away from the studio than in Fox projects. Fox has been good at merchandizing and repackaging her films to keep alive the legacy that she was "theirs", but Marilyn spent much of her career trying to show them she was her own person. BUT, the Fox films are a treasure trove and I go back to them often, my personal favorite being the Nunnally Johnson-scripted How to Marry a Millionaire, where Marilyn proved how nicely she could play with others in a great ensemble cast. I wish TCM would spring for more than just the same few. I like the picture you chose, rather than the formal glamor shots the studio generally favored. She allied herself with some very talented photographers over the years and they really helped hone an image more to her liking.
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