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Marilyn Monroe as Lorelei Lee in “Gentlemen Prefer Blondes” (1954) 💋 Which look is your favourite? Costume Designer | William Travilla Music | Frank Sinatra ― “The Way You Look Tonight”

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Hollywood Golden Age of Cinema

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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!

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Marilyn Monroe in one of the most iconic pop culture images of the 20th century in the form of Monroe standing on a subway grate as her white dress is blown upwards by a passing train in Billy Wilder's classic romcom, The Seven Year Itch (1955). • This footage of Monroe's dress billowing over a subway grate was shot at two locations: first on location outside the Trans-Lux 52nd Street Theatre (then located at 586 Lexington Avenue in Manhattan), then on a sound stage. Elements of both eventually made their way into the finished film, despite the often-held belief that the original on-location footage's sound had been rendered useless by the overexcited crowd present during filming in New York. • Marilyn Monroe's iconic white dress, designed by William Travilla (known professionally as Travilla), set a record when it was auctioned for $4.6 million in June 2011 (rising to $5.5 million after taxes and fees were included), quintupling the previous record for a movie costume ($923,000 for Audrey Hepburn's “little black dress” from Breakfast at Tiffany's (1961) (Hubert de Givenchy ― Principal Wardrobe for Audrey Hepburn; Edith Head ― Costume Supervisor). • Billy Wilder preferred shooting in black and white, but Marilyn Monroe's contract with Fox called for all of her movies to be shot in colour. Monroe always thought that she looked far more attractive and glamorous in color than in black and white.
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Marilyn Monroe in one of the most iconic pop culture images of the 20th century in the form of Monroe standing on a subway grate as her white dress is blown upwards by a passing train in Billy Wilder's classic romcom, The Seven Year Itch (1955). • This footage of Monroe's dress billowing over a subway grate was shot at two locations: first on location outside the Trans-Lux 52nd Street Theatre (then located at 586 Lexington Avenue in Manhattan), then on a sound stage. Elements of both eventually made their way into the finished film, despite the often-held belief that the original on-location footage's sound had been rendered useless by the overexcited crowd present during filming in New York. • Marilyn Monroe's iconic white dress, designed by William Travilla (known professionally as Travilla), set a record when it was auctioned for $4.6 million in June 2011 (rising to $5.5 million after taxes and fees were included), quintupling the previous record for a movie costume ($923,000 for Audrey Hepburn's “little black dress” from Breakfast at Tiffany's (1961) (Hubert de Givenchy ― Principal Wardrobe for Audrey Hepburn; Edith Head ― Costume Supervisor). • Billy Wilder preferred shooting in black and white, but Marilyn Monroe's contract with Fox called for all of her movies to be shot in colour. Monroe always thought that she looked far more attractive and glamorous in color than in black and white.

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