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Marilyn Monroe Movies (1 Viewer)

bujaki

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It is Robert Banas, not Robert Morse, though the two resemble each other. Morse starred in HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING on Broadway and in the film. Banas is a dancer featured in many films including WEST SIDE STORY, CAROUSEL, MARY POPPINS, and UNSINKABLE MOLLY BROWN as well as lots of tv shows. Here is a clip of him on tv.

Thanks for the clarification. Oh, poor Morse. He didn't get to kiss MM!
 

Caproni

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Bus Stop.
BUS STOP was the first film Marilyn did after leaving movies for a year to study at the Actors Studio in New York. Twentieth Century-Fox had purchased the rights to the Broadway play with the hope that Monroe would agree to star. She readily agreed, although director Joshua Logan and her co-stars (almost all of whom had fine theatrical training) felt that her performance wasn't going to be very good. Don Murray, who made his film debut as her leading man, later said that he personally didn't feel that she possessed the talent to convincingly pull of the part, but how his opinion changed once the film went into production. He was very complimentary of Marilyn's work.

BUS STOP casts Marilyn as Cherie, a roadhouse torch singer whose dreams of stardom are crushed by harsh realities and as she's slowly trapped in a romance with young fresh-off-the-ranch cowboy named Bo, played by Don Murray. The film was really the first "straight" picture Marilyn had done as a major Hollywood star, and it was definitely her most challenging film role up until that point in her career. She dives into all the layers of Cherie, and she beautifully butchers a rendition of "That Old Black Magic" early into the picture.

When it was released in 1956, BUS STOP was a box office smash. It was one of the highest-grossing movies of the year, grossing around $8 million inside American theaters. Reception of Marilyn's performance was warm, with her constraint, rawness, and depth of character quieting many of her harshest critics. One reviewer proclaimed: "Fasten your seat belts because Marilyn Monroe has finally proven herself an actress" (or something similar), and most others agreed. Her performance was so well-received that some in the industry were somewhat baffled that she did not receive a Oscar nomination.

Even so, the reception of Don Murray's performance was more mixed. Some found his portrayal annoying and tedious, leading one commentator to say of BUS STOP: "Either you'll love it for Marilyn, or hate it because of Don Murray." The general consensus was that Murray's performance was so overbearing and obnoxious that it off-set Monroe's next-to-flawless portrayal.

BUS STOP is a good movie, but it's not one I find myself leaning toward when I need my Marilyn fix. While the film does mark a turning point in Marilyn's career and offers some of her finest on-screen work, I typically shy away from it. That can be contributed to Don Murray, who I can sometimes find quite irritating in the film, and that the film itself is rather lengthy and their seems to be a few spaces where the story is "stretched" and could've possibly moved on a little quicker than it did. It's kind of an outlier in Monroe's filmography, too, which makes it interesting for fans who want to see her in something other than a glittery show-stopping musical or hyperactive sex comedy.

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Jim*Tod

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BUS STOP is generally considered her best performance. I would agree though that the film is overlong and somewhat slow in places. Eileen Heckart gives the movie a lift whenever she is onscreen. I like PRINCE AND THE SHOWGIRL. Apparently Monroe and Olivier did not get along but they are interesting together. She also looks especially luscious as photographed by Jack Cardiff in Technicolor.
 

Caproni

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BUS STOP is generally considered her best performance. I would agree though that the film is overlong and somewhat slow in places. Eileen Heckart gives the movie a lift whenever she is onscreen. I like PRINCE AND THE SHOWGIRL. Apparently Monroe and Olivier did not get along but they are interesting together. She also looks especially luscious as photographed by Jack Cardiff in Technicolor.
I know there's a lot of fans that regard BUS STOP as her finest performance, but I personally think her work in THE MISFITS is better. They both stretch her talents and show that she was fully capable of doing something other than some variation of the dumb blonde stereotype.

THE PRINCE AND THE SHOWGIRL had potential of being great, but falls short because of its length and the lack of chemistry Monroe shared with Sir Laurence Olivier. It is a beautiful movie, however, and I'd personally love to see it released on Blu-ray. I'd buy it just to have it as part of my collection and to watch whenever I needed a really visually beautiful Monroe fix on my 4K television.
 

Caproni

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Every once in a while, I get the itch to watch some of Marilyn's earlier pictures. I was lucky enough to find a copy of LADIES OF THE CHORUS, the only film Monroe did for Columbia Pictures during her brief contract with the studio in 1948. It is a low-budget musical that barely runs an hour, but she's beautiful in it. Columbia apparently had plans of molding her into a successor for Rita Hayworth, which kind of be seen in some of the ways she wears her hair in the picture. LADIES OF THE CHORUS was a B-movie and did not generate much exposure for Marilyn and her contract was soon dropped.

I find LADIES OF THE CHORUS a cute and enjoyable little picture. She and Adele Jergens do well together as a mother-daughter duo (even though Adele was not that much older than Marilyn) and I really wish someone at Columbia Classics would get around to officially releasing this property on DVD. They're really missing a market.

Isn't she beautiful?

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There's a trio of second-rate comedies that Marilyn did in 1951 that occasionally cling to. In LOVE NEST, she plays an ex-WAC who moves in upstairs in the apartment her old army buddy and his wife now own. It's a delightful little comedy starring a beautiful June Haver, one of Fox's big stars of the late 1940s, making her penultimate and only B&W film. Monroe has a few good scenes with comedian Jack Paar.

Then there's AS YOUNG AS YOU FEEL, a Monty Woolley vehicle that casts Marilyn as a sexy secretary to Albert Dekker. Her screen time is limited, as was typical of her career then, but she does have a few good bits. I enjoy the scene where she and her boyfriend from work run into their boss at a restaurant and make a quick getaway once their spotted. The movie itself is a humorous little outing and I enjoy it a lot.

Finally, she turned up in LET'S MAKE IT LEGAL, which was ultimately branded the "worst comedy of the year" by critics. The film stars Claudette Colbert in one of her final roles, with her leading men being Macdonald Carey and Zachary Scott. The story concerns a man whose wife wants an divorce all the while her old flame comes back to win her affections. Marilyn shows up in a few scenes as a gold-digging model Macdonald Carey has been palling around with. This is the weakest of the three films, but it was the first one I bought. It's kind of weird and drab in some spots, but I like it nonetheless.

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Matt Hough

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One of the best things about that 1963 compilation film Marilyn is that it did give a nod to Marilyn's key supporting turns in Fox movies before her big breakthrough in Niagara. Monkey Business, O Henry's Full House, Love Nest, and We're Not Married were all included showing Marilyn paying her dues as a supporting player.
 

Caproni

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One of the best things about that 1963 compilation film Marilyn is that it did give a nod to Marilyn's key supporting turns in Fox movies before her big breakthrough in Niagara. Monkey Business, O Henry's Full House, Love Nest, and We're Not Married were all included showing Marilyn paying her dues as a supporting player.
I watched the MARILYN documentary once many years ago when it was on YouTube. It was well-produced, but I cannot really remember enough about it to say how much I liked it.
 

Matt Hough

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It gives you a generous taste of Marilyn's career trajectory and points you toward her Fox career highlights should you want to explore further. Of course, since she worked for other studios, too, you don't get to see some other great highlights of her career including The Asphalt Jungle, The Prince and the Showgirl, Some Like It Hot, and The Misfits. To its credit, it does give us a peep at her work in Something's Gotta Give though that 45- minute featurette showing all of her filmed scenes is much more comprehensive.

It would be great to have Marilyn back in circulation even if it's just a streaming version of the movie.
 

Caproni

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It gives you a generous taste of Marilyn's career trajectory and points you toward her Fox career highlights should you want to explore further. Of course, since she worked for other studios, too, you don't get to see some other great highlights of her career including The Asphalt Jungle, The Prince and the Showgirl, Some Like It Hot, and The Misfits. To its credit, it does give us a peep at her work in Something's Gotta Give though that 45- minute featurette showing all of her filmed scenes is much more comprehensive.

It would be great to have Marilyn back in circulation even if it's just a streaming version of the movie.
I've got almost all of Marilyn's movies on either DVD or Blu-ray. The only ones I'm missing are:

DANGEROUS YEARS
SCUDDA HOO! SCUDDA HAY!
LOVE HAPPY
RIGHT CROSS
THE FIREBALL
A TICKET TO TOMAHAWK

I've got all the rest of them. I'm very familiar with her work in every aspect of her film career. There was a time in my life when my favorite past time was learning as much as I possibly could about Marilyn, her life and career. She was beautiful and I love her movies.
 

jayembee

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I've got almost all of Marilyn's movies on either DVD or Blu-ray. The only ones I'm missing are:

DANGEROUS YEARS
SCUDDA HOO! SCUDDA HAY!
LOVE HAPPY
RIGHT CROSS
THE FIREBALL
A TICKET TO TOMAHAWK

I've got all the rest of them. I'm very familiar with her work in every aspect of her film career. There was a time in my life when my favorite past time was learning as much as I possibly could about Marilyn, her life and career. She was beautiful and I love her movies.

Much the same, here. I do have the Olive Blu-ray of Love Happy, and have Right Cross on an SVHS recording from Turner Classic Movies from 15-20 years ago. In addition to the others you are missing, I'm also missing The Shocking Miss Pilgrim, Ladies of the Chorus, Home Town Story, and O. Henry's Full House.
 

Caproni

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Much the same, here. I do have the Olive Blu-ray of Love Happy, and have Right Cross on an SVHS recording from Turner Classic Movies from 15-20 years ago. In addition to the others you are missing, I'm also missing The Shocking Miss Pilgrim, Ladies of the Chorus, Home Town Story, and O. Henry's Full House.
Well, there are many dime store releases of HOME TOWN STORY out there. You could just pick which DVD cover tickles your fancy because all the prints are going to be basically the same. HOME TOWN STORY has been in the public domain, and it's recycled and sold a lot.

I believe LADIES OF THE CHORUS was released on the Columbia Classics label overseas, but it hasn't made it to the United States yet. I got a bootleg copy for like $10.00 on one of those no-name websites. It's a decent print, but the whole movie itself is available to view on YouTube.

Earlier this year I finally bought O. HENRY'S FULL HOUSE. It was Marilyn's only other 1952 movie that I didn't have on my shelf. I bought it simply to have it, but I haven't even watched it yet. She's only in it at the very beginning and isn't on screen no more than a minute or so.

I don't usually consider THE SHOCKING MISS PILGRIM a part of Monroe's filmography. He appearance isn't even verified. There was a long time that I included as a part of the "must have" Monroe films, along with GREEN GRASS OF WYOMING and YOU WERE MEANT FOR ME, two other films she allegedly appeared in as an extra. Those appearances have no solid references, however.
 

Osato

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Well, there are many dime store releases of HOME TOWN STORY out there. You could just pick which DVD cover tickles your fancy because all the prints are going to be basically the same. HOME TOWN STORY has been in the public domain, and it's recycled and sold a lot.

I believe LADIES OF THE CHORUS was released on the Columbia Classics label overseas, but it hasn't made it to the United States yet. I got a bootleg copy for like $10.00 on one of those no-name websites. It's a decent print, but the whole movie itself is available to view on YouTube.

Earlier this year I finally bought O. HENRY'S FULL HOUSE. It was Marilyn's only other 1952 movie that I didn't have on my shelf. I bought it simply to have it, but I haven't even watched it yet. She's only in it at the very beginning and isn't on screen no more than a minute or so.

I don't usually consider THE SHOCKING MISS PILGRIM a part of Monroe's filmography. He appearance isn't even verified. There was a long time that I included as a part of the "must have" Monroe films, along with GREEN GRASS OF WYOMING and YOU WERE MEANT FOR ME, two other films she allegedly appeared in as an extra. Those appearances have no solid references, however.

home town story is on prime for free to stream too.
 

jayembee

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I have a line on a copy of Fox's Cinema Classics Collection edition of O'Henry's Full House. I knew she wasn't in it much, as it's an anthology film, and she's only in one of the five stories.
 

Caproni

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I have a line on a copy of Fox's Cinema Classics Collection edition of O'Henry's Full House. I knew she wasn't in it much, as it's an anthology film, and she's only in one of the five stories.
I bought a copy of O. HENRY'S FULL HOUSE off eBay earlier this year. It was in fairly good condition. When I received it, I opened it and looked at the little pamphlet in it, then placed in order on my shelf. Haven't looked at it since. I just wanted it to have it.
 

Osato

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Looking for cd album recommendations for marilyns work. Thanks.

Lots of cheaply made label ones out there.
 

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