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Marilyn Monroe reportedly suggested the line "I can be smart when it's important, but most men don't like it." When told she was not the star of the film, Marilyn Monroe was quoted as saying: "Well, whatever I am, I AM the blonde." Film: Gentlemen Prefer Blondes

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"I can be smart when it's important, but most men don't like it." Gentlemen Prefer Blondes (1953)
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Marilyn Monroe and Jane Russell in the 1953 film “Gentlemen Prefer Blondes.” “Seared upon the memory of cinematic film as a most memorable entrance into a scene. The composure and elegant gait of both, striding in style and a fashionable manner ― is transfixing alone simply for
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"I was told [I am] too old for Hollywood" EastEnders' actress, Michelle Collins, is swapping the square for the stage as she makes her Edinburgh Fringe debut in Motorhome Marilyn. It's in a show that she came up with herself, about a woman obsessed with Marilyn Monroe. But it means a month-long break from Eastenders.
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"I was told [I am] too old for Hollywood" EastEnders' actress, Michelle Collins, is swapping the square for the stage as she makes her Edinburgh Fringe debut in Motorhome Marilyn. It's in a show that she came up with herself, about a woman obsessed with Marilyn Monroe. But it means a month-long break from Eastenders.

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Every outfit Marilyn Monroe as Lorelei Lee wore in the 1953 musical comedy “Gentlemen Prefer Blondes”. Designed by William Travilla, this movie would give us one of the most iconic Marilyn looks of all time, the pink “Diamonds Are a Girl’s Best Friend” dress.👀
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Every outfit Marilyn Monroe as Lorelei Lee wore in the 1953 musical comedy “Gentlemen Prefer Blondes”. Designed by William Travilla, this movie would give us one of the most iconic Marilyn looks of all time, the pink “Diamonds Are a Girl’s Best Friend” dress.👀

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Jack Lemmon on working with Marilyn Monroe in Some Like It Hot (1959) During the filming of Some Like It Hot, Marilyn Monroe was facing intense personal struggles, including anxiety, depression, pregnancy complications, and increasing marital strain. These difficulties contributed to chronic lateness, forgotten lines, and numerous retakes, resulting in significant production delays and increased costs overall. For example, the line “It’s me, Sugar” reportedly required 47 takes. “She had a kind of elegant vulgarity about her. That, I think, was very important. And she automatically knew where the joke was. She did not discuss it. She came for the first rehearsal, and she was absolutely perfect, when she remembered the line.” — Billy Wilder
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Jack Lemmon on working with Marilyn Monroe in Some Like It Hot (1959) During the filming of Some Like It Hot, Marilyn Monroe was facing intense personal struggles, including anxiety, depression, pregnancy complications, and increasing marital strain. These difficulties contributed to chronic lateness, forgotten lines, and numerous retakes, resulting in significant production delays and increased costs overall. For example, the line “It’s me, Sugar” reportedly required 47 takes. “She had a kind of elegant vulgarity about her. That, I think, was very important. And she automatically knew where the joke was. She did not discuss it. She came for the first rehearsal, and she was absolutely perfect, when she remembered the line.” — Billy Wilder

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A young 22-year-old Marilyn Monroe sings “Anyone Can See I Love You” in the 1948 film “Ladies of the Chorus”. It is considered the first major film role of her career. It was thought of as a “B” film by Columbia at the time of its release, with a runtime of just over one hour. It was shot in only ten days.
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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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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 as Lorelei Lee performing “Diamonds Are a Girl's Best Friend” in “Gentlemen Prefer Blondes” (1953), directed by Howard Hawks. For the “Diamonds Are a Girl's Best Friend” musical number, Marilyn Monroe was originally going to be dressed in nothing but bands of black velvet and masses of rhinestones, creating the illusion of a woman-sized diamond necklace. However, this design was deemed too revealing and vetoed by the studio in favour of the now-iconic pink dress.
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Marilyn Monroe as Lorelei Lee performing “Diamonds Are a Girl's Best Friend” in “Gentlemen Prefer Blondes” (1953), directed by Howard Hawks. For the “Diamonds Are a Girl's Best Friend” musical number, Marilyn Monroe was originally going to be dressed in nothing but bands of black velvet and masses of rhinestones, creating the illusion of a woman-sized diamond necklace. However, this design was deemed too revealing and vetoed by the studio in favour of the now-iconic pink dress.

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A relatively unknown Marilyn Monroe makes a cameo appearance in the musical comedy film, “Love Happy” (1949). Groucho Marx told an anecdote ― both on a '60s Today Show segment and in print ― that the movie's producer Lester Cowan asked three aspiring actresses to walk seductively past Marx. Whomever Marx decided was the best walker would play opposite him in the film. When the third girl walked past, Marx asked the producer, “How could you possibly choose anyone but that last one?”. Marx had chosen Marilyn Monroe for the film.
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A relatively unknown Marilyn Monroe makes a cameo appearance in the musical comedy film, “Love Happy” (1949). Groucho Marx told an anecdote ― both on a '60s Today Show segment and in print ― that the movie's producer Lester Cowan asked three aspiring actresses to walk seductively past Marx. Whomever Marx decided was the best walker would play opposite him in the film. When the third girl walked past, Marx asked the producer, “How could you possibly choose anyone but that last one?”. Marx had chosen Marilyn Monroe for the film.

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Rare video footage of Marilyn Monroe and Jane Russell the day they placed their handprints, footprints and signatures in cement when they immortalised in the forecourt of the famous Grauman’s Chinese Theatre on Hollywood Boulevard on June 26, 1953. Marilyn also made an imprint of her earring in the cement. Jane Russell said, “I’ll never forget Marilyn saying, “It’s for all time, isn’t it?” “Yes,” I told her, “it’s for all time, or as long as the cement lasts.” She made me cry, she was so sweet. I believed in her. We made a hell of a team and I wish we had done another picture together.”

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Released on this day in 1961, The Misfits is steeped in tragedy. Arthur Miller wrote it for his wife, Marilyn Monroe, but their marriage fell apart during production. It was also the final film for Clark Gable and Monroe—Gable died 10 days after filming, and Monroe a year later.

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She was, and remains, one of cinema's most brilliant stars. Norma Jeane Baker, known to the world as Marilyn Monroe, died in 1962 at age 36, but she left a legacy of classic films, fashion and a carefully-crafted celebrity image. To mark the centenary of her birth, Academy Museum of Motion Pictures is launching an exhibition, "Marilyn Monroe: Hollywood Icon." Tracy Smith talks with those studying the sex symbol's life and career and those who are preserving her film persona.
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She was, and remains, one of cinema's most brilliant stars. Norma Jeane Baker, known to the world as Marilyn Monroe, died in 1962 at age 36, but she left a legacy of classic films, fashion and a carefully-crafted celebrity image. To mark the centenary of her birth, Academy Museum of Motion Pictures is launching an exhibition, "Marilyn Monroe: Hollywood Icon." Tracy Smith talks with those studying the sex symbol's life and career and those who are preserving her film persona.

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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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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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When I was a child, I, like many Iranians, saw the puppet film "City of Mice" from the 80s. I remember being terrified of the black cat villain in the movie, but could not remember anything about it. Rewatched it for the first time in 20 years and I am more scared of the cat now
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When I was a child, I, like many Iranians, saw the puppet film "City of Mice" from the 80s. I remember being terrified of the black cat villain in the movie, but could not remember anything about it. Rewatched it for the first time in 20 years and I am more scared of the cat now

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Ginger Rogers on working with Cary Grant, Howard Hawks & Marilyn Monroe in "Monkey Business" (1952): "All any producer ever had to do was to tell me his proposed film had Cary Grant as the male star, and I’d be there with bells on! Then, if the director was Howard Hawks, it was a certainty I’d say yes, because I’ve always loved Howard’s films. I knew he would bring out every comic detail of the Ben Hecht/Charles Lederer/I. A. L Diamond script of 'Monkey Business'. Cary played an absent-minded professor whose employers want him to find the fountain of youth. I played his long suffering wife, Edwina. She and the professor unknowingly drink some of the potion mixed by a laboratory chimp, and they revert back to childlike behaviour. Even though it had been almost ten years since Cary and I had worked together, it felt as if we had been together only yesterday. When you know somebody that well, it’s easy to pick right up again. (...) Marilyn Monroe had a role in 'Monkey Business'; she played the secretary to Cary’s boss, Charles Coburn. There is a delicious moment in the film when Coburn hands Marilyn a paper and says, “Find someone to type this.” Marilyn exits and Cary looks at Coburn quizzically. Coburn replies, “Anybody can type!”" ("Ginger: My Story", Ginger Rogers, 1992)
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Ginger Rogers on working with Cary Grant, Howard Hawks & Marilyn Monroe in "Monkey Business" (1952): "All any producer ever had to do was to tell me his proposed film had Cary Grant as the male star, and I’d be there with bells on! Then, if the director was Howard Hawks, it was a certainty I’d say yes, because I’ve always loved Howard’s films. I knew he would bring out every comic detail of the Ben Hecht/Charles Lederer/I. A. L Diamond script of 'Monkey Business'. Cary played an absent-minded professor whose employers want him to find the fountain of youth. I played his long suffering wife, Edwina. She and the professor unknowingly drink some of the potion mixed by a laboratory chimp, and they revert back to childlike behaviour. Even though it had been almost ten years since Cary and I had worked together, it felt as if we had been together only yesterday. When you know somebody that well, it’s easy to pick right up again. (...) Marilyn Monroe had a role in 'Monkey Business'; she played the secretary to Cary’s boss, Charles Coburn. There is a delicious moment in the film when Coburn hands Marilyn a paper and says, “Find someone to type this.” Marilyn exits and Cary looks at Coburn quizzically. Coburn replies, “Anybody can type!”" ("Ginger: My Story", Ginger Rogers, 1992)

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