The Underappreciated Work of Marilyn Monroe

It's time to discuss her acting, I beg.

Marilyn Monroe is a name that has become synonymous with legend.

(Pictured above : Marilyn Monroe, legend)

For much of a century now, she’s been a topic of discourse and conversation to the point she has seemingly always been of interest in pop culture. Most recently, you couldn’t escape discussion of her on social media after The Kim Kardashian Incident which I will never bring up again in this newsletter... or ever, really. (In short, people died.) With such an excess of discussion, it’s hard not to consider how dehumanized she’s both become and was treated in her lifetime. Nowadays, nobody ever focuses discussions of her… on her actual career or talents. My mutual (the brilliant Irene, twitter user writtenbyirene) gave me the idea to actually do a full deep dive into Marilyn Monroe’s filmography and since I now have a platform to discuss it on, what better time than the present?

Marilyn Monroe had finished 29 films in her 15-year spanning career, with one unfinished and abandoned after her tragic passing. I did decide to be selective in what I chose to watch for this. Her early career was reasonably made up of a lot of bit parts as she slowly broke out in the industry but I made executive decisions that basically total up to : if she’s a supporting role, I counted it here and if she’s in a movie for just a few minutes maximum, I didn’t. This made for some judgment calls, but I think I made the decisions that had to be made. The uncredited roles I didn’t even consider. To make this experience full and to make sure I didn’t miss anything, I tried to watch all of the clips of her from the movies I didn’t watch in full. I think I can safely say I’ve seen every moment of her acting on film by now, so trust that I put a lot of consideration into what I included and also trust that I didn’t miss much. I started multiple movies I thought she had a supporting role in just to find out halfway through her supporting role was 2 and a half 30 second scenes. Actually, I watched a few movies in full that I now realize… I didn’t have to do so at all! And I didn’t realize until it was too late. If you think I missed out on anything just let me know! I plan on watching a few more movies later unrelated to any newsletter (All About Eve mainly). Anyways, my selective process lowered my commitment to 17 films. I was more than excited to jump into such an iconic filmography knowing I haven’t seen any of it. Being able to witness her full career with such little prior knowledge feels as though I’m experiencing her true legacy in real time.

I don’t contextualize much about her life or career because I don’t think I’m at liberty to… discuss that. If you came into this newsletter wanting to read about that, well… I’m sure there are better sources you can go to. Mama, let’s research! This is strictly me stanning Marilyn Monroe and gushing over her acting skills for an extended amount of time.

I was going to make this a ranking because that’s just what I tend to do but I have trouble actually ranking her performances and filmography. Partially because of how she was generally treated in the industry. I mean, I don’t actually have much knowledge about her treatment in the industry, I didn’t do that much research nor was I there but I do think it shows in how her characters would be treated. For starters, there’s the infamous “blonde bombshell” typecast that practically became part of her brand over time. That, in itself, isn’t a bad thing. She tended to play ditzy but at times surprisingly cunning women who were at the center of male attraction and she did it with such power and charisma that it never grew old… but in the process, not only did it decenter her characters from the actual narrative, it also lead to a lot of her characters being mistreated, harassed, stalked, literally kidnapped more than once and generally preyed upon. I am not dense, though. Her career was mostly in the 1950s. I didn’t go into her filmography expecting it to be good for feminism. I mention all of that to say that it’s very hard to rank her filmography and her performances because I would be ranking it from a 2022 perspective. Plus, I feel as though looking at her career through ranking would be a weird tasteless choice as I want this to be more of a celebration of her craft. Could I manufacture a ranking if I really tried to? Perhaps, and I actually did keep a running ranking up until I watched the final film, but it’d be pointless.

As I went through her filmography, I would always scroll through the top reviews on Letterboxd and there’d always be a consistent sense of shock for just how good she was. In her many comedy slash musical films, people would applaud her genius in delivery. In her many supporting roles, people would point out how she was a true scene stealer no matter the size of role. In her few chances of playing a more dramatic part, people would celebrate her underrated range and how they’re some of her best performances. Almost all of the time, there was a sense of people fighting against the commonly accepted “truth” that she wasn’t very talented and that she was just famous for being Marilyn Monroe rather than being a true star. I know in your head you probably compare that to modern day celebrities, and though there could be discussions to be had, there is no one quite like Marilyn Monroe.

DISCUSSING THEE FILMOGRAPHY : 

Before we even get into anything else, let me cover the ones I did not watch in full. I did not watch her film debut Dangerous Years (1947). She was credited, yes, but did her airtime in it even surpass a full minute? I watched her very brief scenes and that was it. The same goes for her uncredited projects which are Scudda Hoo! Scudda Hay! (1948), A Ticket To Tomahawk (1950) and Right Cross (1950) and some other credited performances that just simply weren’t real parts : Love Happy (1949), The Fireball (1950), Home Town Story (1951), As Young As You Feel (1951), Love Nest (1951), Let’s Make It Legal (1951) and perhaps more shamefully, The Asphalt Jungle (1950) and All About Eve (1950). I know, I know. I should’ve watched The Asphalt Jungle just for the culture and the fact that it’s been accredited as her star-making role (as seen on a lot of the promotion and posters)... but I went into this solely to watch her work, and I watched her (excellent but few) scenes… I got what I went in for. I do plan on watching it and, especially and as previously mentioned, All About Eve soon but just not part of this marathon.

LADIES OF THE CHORUS (1949).

(Pictured Above : Marilyn Monroe in Ladies of the Chorus, her first leading role)

One of her earliest film credits came her first “leading” role (quotation marks because in initial release Adele Jergens was top billed, but it was subsequently reissued with Marilyn as top billed. I’d say they’re co-leads regardless). Though considered a B-film of the time, I was immediately drawn in by Marilyn’s charisma and performance capabilities. It also works as a fitting first lead role. It being a musical and all when she would soon become iconic for her musical roles, but also the charm that she displays. It almost feels like a blueprint for what would soon become her signature.

The film itself, to me, isn’t a standout in her filmography. It’s only an hour long and easily available to watch, so worth a viewing just to witness Marilyn’s work. Outside of that? Nothing too memorable, but nothing bothersome… well… actually some things were bothersome but nothing that would necessarily make me tell people to avoid it, I guess! The plot involves Peggy (Marilyn Monroe herself) and her mother Mae (Adele Jergens) who both work as burlesque chorus girls, where Peggy finds herself as the star of the show. A mutual attraction between Peggy and a wealthy man becomes the major catalyst for the rest of the film. I don’t do recaps, moving on.

CLASH BY NIGHT (1952).

If you have seen this movie, you are more than likely wondering why I didn’t skip it or why I am even making a point to bring it up individually right now. She was obviously the most supporting role of the entire cast but I can’t deny how much her part in this stuck with me. She had maybe 10 minutes and made them count. None of her other roles are quite like this, as limited as this one may have been. It’s a special credit in her filmography, though probably not a standout overall. The plot itself is a bunch of mess. Relationship drama, affairs, the thrill of it all! Marilyn played Peggy, the girlfriend to the main character’s brother. I didn’t explain much about what made this part stand out to me but seeing her work before she became the star she would become is so fascinating, especially in retrospect after watching all of her credits.

WE’RE NOT MARRIED (1952), MONKEY BUSINESS (1952), O. HENRY’S FULL HOUSE (1952). 

I know, she was busy in 1952! Anyways, I group these together because I definitely didn’t need to watch them. For starters, We’re Not Married and O. Henry’s Full House are both anthology films (a film that is split up into several different shorts, combined into one - typically connected by a theme or topic in which they all derive). Inevitably, she was already going to be a limited part in those movies (especially limited in one). Monkey Business I had assumed her part would be supporting but not too minor, which I guess was true, but she was only in a couple of scenes, most of which were short. I did really love Monkey Business outside of a few scenes and Marilyn was such an insane scene-stealer in that to the point I do not regret watching. She was also notably charismatic in We’re Not Married but I enjoyed that significantly less. Not much to discuss in these movies, though, especially as someone who was only there for Marilyn Monroe.

DON’T BOTHER TO KNOCK (1952).

(Pictured Above : Marilyn Monroe in Don’t Bother To Knock)

The basic premise of this film has Marilyn Monroe playing a shy at first woman who is babysitting for guests at a hotel while they attend a function as a neighboring pilot begins to suspect there is something wrong going on with her and things unfold from there in another very quick watch just over 1 hour. This was nothing I had expected to witness when I went into Marilyn’s filmography and it wholly blew me away.

This is one of the few strictly dramatic performances Marilyn delivered, and she did so with such expertise that makes you wish she had more of a chance to give those types of performances. People who continuously deny or undermine her talent probably need to watch this before speaking on her ever. Subtle but still portraying the layers the part demands expertly. Stunning work.

NIAGARA (1953).

(Pictured Above : Marilyn Monroe in Niagara)

I wasn’t alive in 1953, so I can’t speak for when general audiences became aware of her presence nor could I attest to what made her the icon she is today… but in watching her filmography, this was a moment that struck me. Her star power was put at full force in a way that contextualized her as an it girl in my eyes all these years later. I also think it’s a fair assumption to take this as her career turning point. It is the start of a string of leading roles for her and has a difference in aesthetic that sticks throughout the rest of her career. The second she stepped on the screen, she had something that made her impossible to ignore. And for the record, this remains one of my favorite character styles I’ve ever seen on screen. Just stunning work done all around with this part.

The film itself is about couples who are vacationing in Niagara Falls where secrets are brought to the surface and things take a turn. I am both being purposely vague to avoid spoilers and also out of personal disinterest in contextualizing all of these films.

GENTLEMEN PREFER BLONDES (1953).

(Pictured Above : The iconic and instantly recognizable scene from Gentlemen Prefer Blondes)

If there were to be a definitive film from Marilyn Monroe’s filmography, I elect it would be this one. Undeniably iconic and it still has its grip on pop culture to this day. The ‘Diamonds Are A Girl’s Best Friend’ scene alone would be enough to propel Marilyn to pop culture icon status in today’s society. Aside of the impact it had, this was my favorite film of her catalog and became an all time favorite for me. I mean, it was a musical with a pink aesthetic starring Marilyn Monroe and an equally as excellent Jane Russell. Do you know me? Of course it’s my favorite. The humor was brilliant, the music was iconic, the fashion was flawless. I knew I’d love it going in, but it consistently stuck with me throughout my marathon. I almost rewatched it a few times throughout, but had to stop myself!

I don’t think I’ll even describe the plot to you right now because I feel as though this is iconic enough to stand by its own merit (a.k.a : I don’t want to) but let me give a resounding recommendation to this movie if not solely for Jane Russell and Marilyn Monroe’s performances. They work insanely well together.

HOW TO MARRY A MILLIONAIRE (1953).

Though I didn’t credit this movie as a favorite of mine, I can’t deny its massive appeal. I mean I changed my profile picture on twitter to an iconic screenshot of Marilyn in it. Lauren Bacall was also marvelous in her part and they make the film well worth watching together. I mentioned before Marilyn got boxed into a typecast at time of the Blonde Bombshell going hand in hand with the ditzy blonde trope oftentimes focused on wanting rich men to take interest in her and buy her diamonds specifically and I wouldn’t call How To Marry A Millionaire my favorite example of that part for her. I already told you that it was Gentlemen Prefer Blondes. Don’t confuse me saying this isn’t my favorite with me saying this is a bad use of time. It was actually very fun.

This movie is about three women played by Lauren Bacall, Betty Grable and Marilyn Monroe, who all do iconic comedic work, on a mission to marry a millionaire. The women make the movie worth it and it reminds me of some of those comedies about a group of women friends we used to get up until the mid 2010s. I can’t remember the last time we got one of those. Let’s bring those back, I say!

RIVER OF NO RETURN (1954).

I actually have nothing to say about this one as a film. I didn’t like it very much. Sorry if there are any major River Of No Return stans, that’s my bad. It already was not my thing and then they had an assault scene thrown in there (which was used as the poster, I guess, for some reason) and then it ended with a kidnapping… but I guess she agreed to it… so a consensual kidnapping. I guess that can’t be called Stockholm syndrome? Again, this was 1954, I emphasize that I didn’t expect a feminist masterpiece. I am just saying this was not an enjoyable watch to me and that is part of the reason why. Cinephiles and straight people on Film Twitter, do know that I am not criticizing this movie from 1954 in regards to modern feminism. I am not a 1950s critic, it doesn’t matter anymore. Moving on… I have to say I loved Marilyn Monroe’s work here. It was a Western, so seeing her Blonde Bombshell act in a Western setting was very exciting. I mean, I don’t like Westerns, but seeing her in a Western was exciting! It played to her musical talents with a song being her introductory scene and also her allure throughout but placing it in a completely different setting makes her performance here stand out all the more. Also points for her long hair in this, now that’s iconic cinema.

THERE’S NO BUSINESS LIKE SHOW BUSINESS (1954)

I mentioned earlier that Niagara was the start of her long line of lead roles… I lied. This is a part of her filmography and she definitely is a supporting role here. But I think the difference being, in her early careers, her roles were unceremonious and passive, this was anything but. A true glamorous part for a glamorous person. The film itself was not my favorite, but the musical numbers were marvelous and Marilyn had quite a few to make it worth a watch. Her musical performance of ‘Lazy’ was such a good use of her seemingly endless charisma.

THE SEVEN YEAR ITCH (1955)

(Pictured Above : Thee scene from The Seven Year Itch)

Next to Gentlemen Prefer Blondes, this may be her most iconic performance. The white dress. The subway grate. It’s been referenced and recreated time and time again to the point of timelessness. This was another great style movie for Marilyn, everything she wore was excellent to me and performance wise it was one of her more acclaimed works, scoring her first of 2 BAFTA nominations.

The film is about a man who has been married for 7 years and has been faithful all this time, but when his wife goes away on vacation he finds himself tempted by a new neighbor played by Marilyn Monroe. The way it’s made keeps it so interesting throughout with how it goes from reality to portraying his imagination. One of my favorite parts of the movie. Marilyn’s acting choices as well made it irresistible. The script gives her very little depth (as little depth as you’d expect for a character who is practically a figment of the protagonists imagination, never even getting a name besides “The Girl”) and I genuinely don’t think the part would be as compelling to watch if not for what she brought to it. She is what makes this movie iconic, after all. That isn’t unique to this part, though, I think every part Marilyn played in her career was made iconic due to her delivery and the choices she made.

BUS STOP (1956)

The entire plot of this movie is that Marilyn Monroe is kidnapped by a man who wants to marry her… mind you, it’s a romantic comedy. I already went into how I feel about how her characters were constantly treated in these movies so I won’t get into that again, but at this point I was exhausted for her, it was so… much!

This was one of her most acclaimed performances, earning her a Golden Globe (her co-star got an Oscar nomination, which is annoying) and yet again, she deserves all the praise imaginable. Did I like the movie? Can’t say that I did, but she was the saving grace, showcasing range and capability in a film that I can’t very well say deserved it. She had an accent and her character felt multi-faceted from her work done here more than anything else.

THE PRINCE AND THE SHOWGIRL (1957)

Her second BAFTA nominated role and some of the most charming work of her career. Some of the shots of her in this made my jaw drop. Stunning work, stunning style, stunning in every sense of the word and in every way. It also has a number of iconic scenes, a standout being Marilyn’s little dance scene which was recreated by Michelle Williams in My Week With Marilyn (2011), a biopic that took place during the filming of this very film.

The plot is a blueprint for several Netflix films and Wattpad stories to come of the Prince character going to the theater and falling for a performer as played by the ever radiant Marilyn. The reviews are typically mixed and the production itself was borderline infamous for being “nightmare”ishly difficult, I will not go further into that because I simply did not read further into it. If you go in blind such as me this is a great time and a more than worthwhile viewing experience.

SOME LIKE IT HOT (1959)

(Pictured Above : Marilyn in Some Like It Hot)

This is probably her most critically acclaimed film. Of course that may be a subjective claim, but if there is a consensus to be had, this is not only considered one of her best films, some would argue it to be one of the best films of all time. It’s a true classic and no small part of that is due to what Marilyn brings to the table in terms of charm, talents and appeal. Tony Curtis and Jack Lemmon give the parts their all as well, for what it’s worth.

The film is about two musicians who witness a Mafia murder and go on the run by disguising themselves as women who join an all-woman band where they become infatuated with Marilyn Monroe because…. who wouldn’t be. Antics ensue. A comedy classic and quite deserving of the hype. I already told you Gentlemen Prefer Blondes is my favorite of this marathon, but I think this is the one I would need to revisit the most.

LET’S MAKE LOVE (1960)

This is notable as Marilyn Monroe’s last musical film performance - stream “My Heart Belongs To Daddy” - and she is ever wonderful in the part. Not much of this stands out amongst her filmography though, I would need to google the plot if I were to recap it for you right now but I did love her work in it specifically. A few great moments stick with me, her style certainly lives in my head and it was all around a pleasant watch. That’s all I can bring myself to say about it right now on this day.

THE MISFITS (1961)

Going into this, Marilyn Monroe’s final completed film, I was scared. It is another Western and if you remember from a few paragraphs ago… I did not get a good first impression of old cinematic Westerns. I was concerned it would be more of the tropes I saw in River Of No Return and although this wasn’t my favorite by any stretch, I was pleasantly surprised by this one. Marilyn played a character that tapped into a whole different side of her range that makes me wish she had more chances to do that throughout her career.

The plot follows a woman in the midst of a divorce who meets a cowboy and an aviator who develop interests in her and things go off from there. Marilyn plays a character who, although still remains the center of male adoration, is less reliant on her flirtatious and naturally comedic nature and gets to display a range that wasn’t even fully explored in River of No Return. This film wasn’t the biggest success upon release but has since been dubbed a masterpiece by some and I will now be one of the ones who recommend it!

SOMETHING’S GOT TO GIVE, unfinished

Perhaps you know, perhaps you don’t, Marilyn started filming this, got fired and then rehired but then passed before filming finished, leading to the project to be scrapped altogether. A simplification of the production, but that’s generally what happened. The footage of this film was largely unseen for decades but then eventually got edited and released as an incomplete project.  Of course, since it was never actually complete, I can not… give much of a review. But it immediately had such a classic feel to it that I could tell it would’ve been a favorite of mine and Marilyn always managed to steal every second she was on screen. 

There will never be another Marilyn Monroe. In every single role she did, down to the smallest of parts, it’s impossible to take my eyes off of her when she’s on screen. She had a star quality that doesn’t even come once in a generation, it was all entirely her own. Witnessing her filmography for the first time is mesmerizing and it’s clear how she became the pop culture legend she is now. I can only wish more people would pay attention to her filmography rather than the mythos that came from her celebrity.