![]() ![]() It had to be an exact match to the photograph we were basing it on,” costume designer Jennifer Johnson told Vanity Fair at Blonde’s Hollywood premiere. “Building the William Travilla dress was the hardest to make. In real life, Monroe later said DiMaggio blamed the scandalous sequence, “exposing my legs and thighs, even my crotch” for being “the last straw.” They would announce their split three weeks later.įor the Blonde team, replicating the flowing skirt responsible for one of pop culture’s most enduring images was no easy feat. Shot from several unflinching angles by Dominik, Monroe’s iconic skirt-blowing scene in The Seven Year Itch is shown as a catalyst for her divorce from the press-weary baseball player Joe DiMaggio. The Seven Year Itch’s Infamous Grate Scene Years later, Monroe would voice her displeasure that Elizabeth Taylor was making a million dollars for Cleopatra, while she was paid only $100,000 for Something’s Got to Give, her final, uncompleted film. But hers was a lifelong struggle for parity. She’d go on to coproduce 1956’s Bus Stop and independently produce 1957’s The Prince and the Showgirl. ![]() ![]() But I’d like to do, also, dramatic parts too,” she told Edward R. “It’s not that I object to doing musicals or comedies. Monroe was subsequently emboldened to start her own namesake production company. In 1954, she would clash with Fox over her pay for the musical The Girl in Pink Tights, brandishing her copy of the script with the word “trash.” After learning that her costar Frank Sinatra would earn more than three times her salary, she walked off the set and was temporarily suspended by the studio. In the film, Monroe refuses Fox’s terms, declaring: “I’m the blonde in Gentlemen Prefer Blondes!” One of Blonde’s only moments of levity comes when Monroe is offered $500 a week to star in 1953’s Gentlemen Prefer Blondes, while her costar Jane Russell is paid $100,000 because she’s on loan from another studio. As noted in CNN’s docuseries Reframed: Marilyn Monroe, the star reportedly rejected Cohn’s invitation to his yacht, by quipping, “Will your wife join us?” For a time, she also lived with her decades-older agent and lover, Johnny Hyde, who helped secure her a seven-year contract with 20th Century Fox. That contract was reportedly not extended after Monroe allegedly refused sex with studio president Harry Cohn in his office. All the poses had to be reclining, although the words I was reading didn’t seem to call for that position.”Īccording to one of Monroe’s friends, per biographer Charles Casillo, she had an arrangement with film executive Joe Schenck, in which she would “service” him for career advancement, including a six-month deal with Columbia Pictures. He gave me a script to read and told me how to pose while reading it. In it, she wrote, “The first real wolf I encountered should have been ashamed of himself, because he was trying to take advantage of a mere kid…. Zanuck.ĭuring her tenure in Hollywood, Monroe was subjected to predatory behavior at the hands of other powerful men, she revealed in a 1953 article titled “Wolves I Have Known,” as told by journalist Florabel Muir. Z character is an invention of Oates’s novel, the closest real-life proxy is likely 20th Century Fox Studio head Darryl F. Later in the film, when Monroe is asked by Joe DiMaggio ( Bobby Cannavale) how she got her start in movies, she appears disturbed and flashbacks of the assault play in her head. Marilyn’s Big BreakĪt the start of her career in show-biz, Blonde’s Monroe is raped by a man referred to as “Mr. But how many of the show-biz stories in Dominik’s Blonde are true to how they really went down? Below, a breakdown of the filmmaking fact vs. Viewers are offered snippets of Monroe’s career-her first major performance as a deranged babysitter in 1952’s Don’t Bother to Knock, her fight for pay parity ahead of 1953’s Gentlemen Prefer Blondes, and turbulent days on 1959’s Some Like It Hot. In his review for Netflix’s Blonde, starring Ana de Armas and based on Joyce Carol Oates’s best-selling 2000 novel, Vanity Fair’s Richard Lawson points out that filmmaker Andrew Dominik “offers precious little of at work.” Her 15-year career in Hollywood-in which Monroe was first an underestimated studio contract player, then the world’s biggest movie star, and later a liability-is largely sidelined in favor of plots featuring a talking fetus and her high-profile marriages. ![]()
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