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Gentlemen Prefer Blondes (1953) Tommy Noonan’s ability to appear completely uninterested in Marilyn Monroe, even as she radiates pure sexual magnetism, stands as one of best examples of acting in cinema history.

The Sting

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Although Howard Hawks is credited as the sole director of "Gentlemen Prefer Blondes" (1953), he did not direct any of the musical numbers. He wasn't even on the set when the scenes were filmed. Choreographer Jack Cole directed the scenes. Hawks later said, "I did a musical called 'Gentlemen Prefer Blondes', and I didn’t do the production numbers. I didn’t have any desire to. I did the little numbers that were part of the story. As a matter of fact, I had an agreement that I didn’t have to use the Fox music department to do it. We did a quiet little song that Marilyn sang, and stuff that Jane Russell and Marilyn did that are scenes with music in them; they didn’t need a lot of choreography or anything like that." ("Working with Complete Fantasy: On the Legacy of Gentlemen Prefer Blondes", Laura Boyes, Roger Ebert(dot)com, 2024 & "Hawks on Hawks", Joseph McBride, 1982) P.S: On this day, 73 years ago, "Gentlemen Prefer Blondes" (1953) premiered in Atlantic City, New Jersey, USA.

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This of shot of Marilyn Monroe, born 100 years ago today, in Niagara (1953), was marketed as the longest walk in cinema history: 116 feet in a single 18‑second shot. It cemented her hip‑swivelling strut in pop culture, and pushed back on the era’s conservative depictions of women

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Howard Hawks on working with Marilyn Monroe: "Marilyn Monroe was the most frightened little girl who had no confidence in her ability. She was afraid to come on the screen. Very strange girl. And yet she had this strange effect when she was photographed. Nobody dated her, nobody took her out, nobody paid any attention to her. She’d sit on the set with practically nothing on, and a pretty extra girl would walk by and everybody’d whistle. But she got out in front of the camera, and the camera liked her, and all of a sudden she was a great sex symbol. Fortunately, I had her in a couple of the first pictures that she did 'Monkey Business' (1952) and 'Gentlemen Prefer Blondes' (1953), when she wasn’t worried. And also I had Jane Russell’s help in making 'Gentlemen Prefer Blondes'. We had a lot of fun doing the picture, but there were a lot of times when I was ready to give up the ghost. Jane Russell would say, “Look at me—all he wants you to do is such-and-such a thing.” And Marilyn would say to her, “Why didn’t you tell me?” But I had an easy time compared to some of the directors who worked with her afterward. Because after she got very important she became more and more frightened, and she just didn’t want to come out and do a scene. She didn’t think she was good enough to do the things that she did. She was always better in fantastic material, wasn’t she? Like in 'Gentlemen Prefer Blondes'? There wasn’t a real thing about her. Everything was completely unreal. They tried to make her play real parts in a couple of pictures, and the pictures were disasters. 'Gentlemen Prefer Blondes' was the first one where she really went good, and then they had no sense to stick with that." ("Hawks on Hawks", Joseph McBride, 1982) P.S: Remembering Marilyn Monroe on her 100th birthday!

Howard Hawks on working with Marilyn Monroe: "Marilyn Monroe was the most frightened little girl who had no confidence in her ability. She was afraid to come on the screen. Very strange girl. And yet she had this strange effect when she was photographed. Nobody dated her, nobody took her out, nobody paid any attention to her. She’d sit on the set with practically nothing on, and a pretty extra girl would walk by and everybody’d whistle. But she got out in front of the camera, and the camera liked her, and all of a sudden she was a great sex symbol. Fortunately, I had her in a couple of the first pictures that she did 'Monkey Business' (1952) and 'Gentlemen Prefer Blondes' (1953), when she wasn’t worried. And also I had Jane Russell’s help in making 'Gentlemen Prefer Blondes'. We had a lot of fun doing the picture, but there were a lot of times when I was ready to give up the ghost. Jane Russell would say, “Look at me—all he wants you to do is such-and-such a thing.” And Marilyn would say to her, “Why didn’t you tell me?” But I had an easy time compared to some of the directors who worked with her afterward. Because after she got very important she became more and more frightened, and she just didn’t want to come out and do a scene. She didn’t think she was good enough to do the things that she did. She was always better in fantastic material, wasn’t she? Like in 'Gentlemen Prefer Blondes'? There wasn’t a real thing about her. Everything was completely unreal. They tried to make her play real parts in a couple of pictures, and the pictures were disasters. 'Gentlemen Prefer Blondes' was the first one where she really went good, and then they had no sense to stick with that." ("Hawks on Hawks", Joseph McBride, 1982) P.S: Remembering Marilyn Monroe on her 100th birthday!

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RIP Bernard Hill. His speech in as King Theoden in RTK will go down as one of the best in cinema history

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