More Marilyn at the Academy

We’re back at the Academy Museum of Motion Pictures on Wilshire Boulevard in Los Angeles to see more of the Marilyn Monroe exhibit that is currently being featured until February 28, 2027. I was truly impressed by the display, but also knew enough to carefully read the accompanying small placards to learn whether the item was authentic or a repro. In the deleted scene below from “The Seven Year Itch” (1955), Tom Ewell, Marilyn, and Robert Strauss vamp it up:



This particular William Travilla outfit appears to be mostly original. From the placard:

Monroe wore this “cellophane effect” gown in a scene that was cut from director Billy Wilder’s “The Seven Year Itch.” In the scene, Richard Sherman (Tom Ewell) dreams of Monroe’s character styled like early Hollywood star Mae West. Designer William Travilla micked key elements of West’s typical costuming, which often featured boas and her signature cigarette holder. Monroe admired West in real life, often emulating her sassy persona and irreverent humor for blonde bombshell roles. Synthetic eyelash fabric; non-original boa, jewelry, shoes, and cigarette holder.



Next I saw the famous “subway dress.” Could it be original? Or was that too good to be true for the outfit that was auctioned off for a cool $4.6 million in 2011? The answer is a little muddy; not original, BUT...it was still made by Travilla himself. From the placard:

This replica was made by the original costume designer William Travilla. He often made close copies of his most iconic film looks for publicity purposes. This version has the belt secured in the middle. For the original costume, Monroe tied the belt to the side. Rayon crepe; non-original shoes and jewelry.



 Last one from “The Seven Year Itch” is this silk pajama outfit. From the placard:

One of Monroe’s most successful roles was as The Girl in director Billy Wilder’s “The Seven Year Itch,” a comedy about a restless husband left to his own devices for the summer. These silk pajamas mark a pivotal moment in developing Monroe’s girl next door character: when her scheming neighbor invites her over for a drink, he imagines her arriving in a sexy ensemble. Instead, she appears in casual attire, selected by Travilla and made by Jax—one of Monroe’s favorite clothing brands. Silk; non-original shoes.



 What’s your guess on this one? Real or replica? From the placard:

Director Howard Hawks’s comedy “Gentlemen Prefer Blondes” was the third of eight film collaborations between Marilyn Monroe and costume designer William Travilla. In the movie, showgirls Lorelei Lee (Monroe) and Dorothy Shaw (Jane Russell) are introduced in matching red sequin gowns for the opening song and dance number, a performance that catapulted Monroe from up-and-coming starlet to icon. Travilla used a mix of beige and red sequins that give the costumes extra shimmer on camera. Rayon crepe, sequins, and silk chiffon; non-original hat, shoes, and jewelry.



The jewelry was re-created by Kathleen Lynagh Designs; the hat by Robyn Simms Johnson.



Below you can see Marilyn wearing the costume (sans hat) with Tommy Noonan, who played her nerdy but wealthy suitor:



More Monroe memorabilia to come!

See more Academy Museum photos at my main website.

Monday is for Marilyn: Diamonds Are A Girl’s Best Friend!

One of Marilyn Monroe’s most iconic numbers is from her 1953 film, “Gentlemen Prefer Blondes.” Wearing hot pink satin and covered in diamonds, the actress sang, “Diamonds Are A Girl’s Best Friend,” as shown in my recently created caricature above. It had to be done. At the Academy Museum of Motion Pictures in Los Angeles, they currently have an exhibit titled “Marilyn Monroe: Hollywood Icon.”



The entrance to the exhibit, designed for selfies of course:



One of the most gawked at pieces on display is the pink satin gown, which is an original with the jewelry re-created by Kathleen Lynagh Designs. The gloves and shoes are also reproductions.



William Travilla made the dress using a silk satin called peau d’ange (angel’s skin), chosen for its comfort and flexibility. In person, the fabric was described as pastel, but Travilla knew that Technicolor would boost the vibrancy. He added felt, boning, ostrich feathers, and horsehair to various areas of the dress to help keep its form during the rigorous dance number.



It amazes me how well preserved this costume is. The bow on the back:



This photo shows Marilyn wearing Travilla’s original design for the number:



…a bejeweled black two-piece over a mesh bodysuit. As the film was being finished, scandal broke out when Monroe’s 1949 nude photos resurfaced. The studio asked Travilla to remake the costume, resulting in this pink dress which was designed and completed just before filming.



Only the shorts and fan are known to remain of this original version which took months to create and cost about $4,000 at the time to produce (roughly $48k today!).



This unused pink bodice, which mirrors the chorus girls’ costumes, was archived and labeled with Monroe’s pink dress. It’s believed to have been made as Travilla explored options for the new design, though Monroe has never been pictured in it or described as wearing it.



A screenshot showing the chorus girls/dancers in the background:



This silverplate ring of elaborate links with a braided design, inlaid with shining clear gemstones, can be seen in the black and white photo showing Marilyn wearing the original outfit. Created by Joseff of Hollywood, it came up for auction recently:


Final photo for today is another screenshot of Marilyn performing the number that has been often imitated (but never improved upon!):



See more Marilyn Monroe photos at my main website.

Cement of the Stars

Most movie fans are aware of Grauman’s Chinese Theatre on Hollywood Boulevard and the time-honored tradition of the stars putting their hands, feet, and various other parts into wet cement so that us regular mortals can pay tribute to these fabulous gray slabs that they leave behind. This 1954 image shows “Prince Valiant” on the Grauman's marquee; a feature film starring Robert Wagner and Janet Leigh (in case you didn't get enough of her yesterday).

This rare shot shows the cement being prepared for a ceremony in the forecourt of the theatre; I wonder what star it was for? Based on the information I have, it was taken by a gentlemen who was stationed at Camp Pendleton from 1951-1953. He would often go to Hollywood while on leave.



Could it have been Marilyn? We may never know, but for purposes of this story, let's just say yes!



See more Graumman’s Chinese Theatre photos at my main website.

Dreams For Sale, Pt. 3

Yet another post highlighting items from the upcoming November 23rd Turner Classic Movies (aka TCM) and Bonhams Treasures From The Dream Factory auction. Hope you're not sick of these yet! Today's theme is Marilyn…as in Monroe. A few original movie posters to get things started for you. Expect to cough up at least $1000 for this original 1955 "The Seven Year Itch" one sheet, 27" x 41". That might fill up a living room wall.

Have more space? A 40" x 60" "Some Like It Hot" poster might be better…but the extra real estate is going to run you $4000-6000. Yikes.



Photographs of Marilyn are always coveted; this Bert Stern signed print is expected to bring in $1000-1500.



An original costume from "Gentlemen Prefer Blondes":



Check out the detailing on the collar:



A shot of Marilyn wearing the outfit, standing next to costar Jane Russell:



If that's not enough "GPB" for you, here's an original 1953 poster heralding the movie:



If Marilyn isn't your style, maybe a smoldering Argentinean 1946 poster of Rita Hayworth from "Gilda" is what you'd rather have:



Not sure about the face though; not necessarily very flattering to Rita:



And you can't go wrong with Lana:



More nostalgia at my main website and see more vintage and current photos.

Favorite Movies: The 1950's

Welcome back to my Favorite Movies series. It is extremely difficult for me to narrow each decade down into a manageable offering, but here goes, starting with Disney's "Cinderella" (1950). Watching it again on its recent Blu-ray release, I realized that Cinderella herself was quite a departure from the previous heroines/princesses. Even 60+ years later, she still seems fresh. Although a sweet young lady, she still shows real characteristics of a woman who has endured an awful existence. The voice and animation make you feel that she chooses to be positive about her situation, rather than being blissfully unaware.



Lady Tremaine is one of Disney's most deliciously evil villainesses; of course I would expect no less from the talented actress Eleanor Audley, aka the voice of Maleficent and Madame Leota.





For pure escapist musical fare, Judy Garland's final MGM film, "Summer Stock" (1950) serves up delight in spades. Whether it's Judy and Gene dancing "The Portland Fancy" together or the heart tugging "Friendly Star" vocal solo of Judy, this film is a breezy delight from start to finish. A more than apt "farewell" to Judy's illustrious MGM years.





"An American in Paris" (1951) is another Technicolor musical bon-bon from the MGM library. The plot is fairly predictable, and I really can't say much for Gene Kelly's acting talents, but thanks to the fresh-faced beauty of Leslie Caron, Vincente Minnelli's direction, and Kelly's choreography, this movie is a winner.





"Singin in the Rain" (1952) is the definition of cinematic perfection. The bright color, the memorable songs, the humor, the talent...there is not a single minute that I would trim from it. This is one of the few movies that I feel Kelly's performance seems real, rather than phoned in. An Jean Hagen...one of the most memorable supporting roles in film history. She practically steals the show.



"Gentlemen Prefer Blondes" (1953) is Marilyn at her best. She and Jane Russell are wonderful together, charming the men and singing/dancing their way across the Atlantic on a cruise ship.



This is the movie that Marilyn sings one of her signature numbers, "Diamonds are a Girl's Best Friend." Sorry Madonna; your tribute ("Material Girl") pales in comparison.



"Peter Pan" (1953) succeeds because of its characters and flights of fancy. Tinker Bell, Pan, and Hook are some of the most memorable Disney animated characters and still charm audiences today. The thought of being youthful forever is still an appealing theme to many, making this film resonate still sixty years after its release.



"The Long, Long Trailer" (1954) is much more than just a cinematic version of "I Love Lucy." It is a tad darker and grittier, showing some cracks in the marriage of its main characters, Nicky & Taci. Still, you also see the genuine love between Lucy and Desi, especially in the dramatic final scene. It is a refreshing movie expertly directed and handled by Vincente Minnelli. The trailer itself is a memorable character, providing many nailbiting moments as it travels across the country.



If you love 50's glossy soap operas, then "All That Heaven Allows" (1955) is your type of movie. Thanks to Douglas Sirk, there are so many subtexts to this movie that you can't help enjoying it more than once. Rock Hudson and Jane Wyman provide the romantic interest of two people from different sides of the social strata, doing their best to bridge the gap. Still a relevant tale about the ills of gossip and stereotypes.



I'm not a huge John Wayne buff, but I do enjoy "The Searchers" (1956), which is a beautifully told story of love, bigotry, and determination (what a combination!). The natural beauty of Monument Valley helps makes this widescreen film a must-see.



"An Affair to Remember" (1957) is a guilty delight that will drain your tear ducts dry. Even though it is predictable and so obviously shot on Hollywood sound stages, this movie endures as one of the best romantic films ever made. It succeeds thanks to the performances and chemistry of Cary Grant and Deborah Kerr as well as the snappy writing of Delmer Daves, Donald Ogden Stewart, and Leo McCarey.





"Vertigo" (1958) is one of Alfred Hitchcock's most personal as well as oddest films. The first time I saw it I couldn't stand it; but like so many of Hitch's films, it grew exponentially on me each time I watched it. Jimmy Stewart is wonderful as the man sadly obsessed by (what he believes to be) a dead woman (Kim Novak). The beauty of San Francisco and Bernard Herrmann's lush score add to the pleasure of watching this movie over and over again.

"North By Northwest" (1959) is Hitchock's most perfect film. Witty dialogue, well-paced action, and a memorable romantic pairing of Cary Grant and Eva Marie Saint elevate this thriller to one of the most beloved movies ever made.



"Imitation Of Life" (1959) can be challenging to watch at times.



It is definitely a product of the 1950's and is sometimes weighted down by its artificial old-Hollywood style, but for the most part, its gritty handling of the race issues that were prevalent at the time make it a riveting albeit glossy drama. The friendship between Lana Turner and Juanita Moore anchors the movie and will have you running for the kleenex at the end of the movie. If that doesn't occur, you might want to check your pulse.



"Some Like It Hot" (1959) is marketed as a Marilyn Monroe movie, while in actuality, her part is much smaller than those of Tony Curtis and Jack Lemmon. Curtis is a bit annoying and I never lose the feeling that he will continue to be a slime ball as a boyfriend to Monroe, but thanks to Lemmon's comedic style, Curtis' shortcomings are quickly forgotten.



Marilyn is so vulnerable and lovable as the singer in an all-girl band who tends to fall for the wrong guy. Who can't relate to having a bad picker?



My favorite scenes are those between Lemmon and Marilyn, as well as those that show the "romance" between Joe E. Brown and Lemmon.



"Sleeping Beauty" (1959) is the most beautiful and cinematic of all the Disney animated films. It is like a classic painting come to life, thanks to the backgrounds by Eyvind Earle. Aurora carries on where Cinderella left off, providing a more spunky modern day heroine, and favorite Disney villain Maleficent will keep you hissing.





"Pillow Talk" (1959) is the best of the Rock Hudson/Doris Day pairings. Doris is wholesome as ever, but you definitely feel her romantic longings burning beneath her squeaky clean exterior. Hudson's character makes it his goal to stoke the flames, and he succeeds very well. It is a total joy to watch the interplay between the two.



What are some of your favorite 1950's films? Come back tomorrow for the 1960's!

See more classic Movie & TV photos on my regular web page.