{"id":1129,"date":"2026-06-01T16:07:58","date_gmt":"2026-06-01T16:07:58","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=1129"},"modified":"2026-06-01T16:07:58","modified_gmt":"2026-06-01T16:07:58","slug":"marilyn-monroe-at-100-reckoning-with-her-legend-and-legacy","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=1129","title":{"rendered":"Marilyn Monroe at 100: Reckoning With Her Legend and Legacy"},"content":{"rendered":"
\n<\/p>\n
\n

\n\tWhat is it \u2014 even still \u2014 about Marilyn Monroe?<\/p>\n

\n\tA century after her birth, the woman born Norma Jeane still has American culture hanging on her every breathy vocalization. Monroe remains the ultimate standard-bearer of Hollywood glamour \u2014 a woman who died (in 1962, at the tragically premature age of 36) before the sexual revolution but who helped usher in a revved-up sensuality onscreen. The era she inaugurates lives on: A certain stripe of actress will inevitably be compared, first, to Monroe. The star has been the butt of too many mean jokes, the object of veneration and a muse for film and literary retellings that have elevated her into the realm of myth.<\/p>\n

Read more How \u2018Backrooms\u2019 Producers Helped 20-Year-Old YouTuber Kane Parsons Create the Summer\u2019s Most Surprising Box Office Smash<\/a><\/p>\n

\n\tConsider some of those adaptations of her story, to understand why it is that Monroe still compels us. In the 2011 film \u201cMy Week With Marilyn,\u201d for instance, Monroe is near the end of her life, and nearer the end of her career. Trudging through production of the vexed project \u201cThe Prince and the Showgirl,\u201d Monroe \u2014 who would reignite things briefly with her next, ebulliently witty performance in Billy Wilder\u2019s 1959 classic \u201cSome Like It Hot\u201d \u2014 is wounded and addled. Played by Michelle Williams at her most tremulous, this Marilyn is something like a butterfly that Hollywood wants to pin to a board and display. The project honors Monroe, but sees her, first and almost exclusively, as a victim, one who Eddie Redmayne\u2019s gentle production assistant tries and fails to save.<\/p>\n

\n\tSome 11 years later, Ana de Armas assumed the role in \u201cBlonde,\u201d a project that director Andrew Dominik had tried to put together for years with reported leading ladies Naomi Watts and Jessica Chastain falling into and out of the cast. \u201cBlonde\u201d was a tough sell; based on Joyce Carol Oates\u2019 expansive imagining of Monroe\u2019s inner life, the script depicts sexual degradation (including at the hands of President John F. Kennedy) and a grasping pool of need. And de Armas, born in Cuba, was an unlikely choice, but \u2014 as she told Variety<\/em> upon the film\u2019s release \u2014 she leveraged her own feelings of nervousness and insecurity to more thoroughly inhabit Monroe. \u201cUsing my emotions \u2014 how I felt about playing the role \u2014 was the way I approached the entire film,\u201d she said, \u201cembracing my fears and my vulnerability, my feeling uncomfortable and my insecurities.\u201d<\/p>\n

\n\t\u201cBlonde,\u201d running almost three hours, gave de Armas every opportunity to use that vulnerability. But it also shows us precisely what made Monroe great. If, in \u201cMy Week With Marilyn,\u201d Monroe is only a shade of what she was and could be \u2014 a faded talent in need of protection \u2014 \u201cBlonde\u201d depicts the star as just that: A star, as in an incandescent ball of flame. This Monroe is fueled by insecurity, yes, but by rage and discontent at the fact that she isn\u2019t seen for all that she can do, that she\u2019s treated merely as a sex object by the men in her life and by an industry in which she stood out but never, when alive, received respect. It\u2019s a remarkable tribute, and terribly hard to watch, in part because one wishes Monroe could have been quite so venerated in her 36 years.<\/p>\n

\n\tThat\u2019s the magic, too, of Elton John\u2019s \u201cCandle in the Wind,\u201d a hymn to Monroe that was later rewritten as a tribute to Princess Diana \u2014 another maltreated blonde icon who died at 36 under horrific circumstances, and whose legacy was only seen clearly after she left us. The original \u201cCandle in the Wind,\u201d released in 1973, addresses Monroe from the perspective of a fan, \u201cthe young man in the 22nd row,\u201d who refers to the actress as \u201cNorma Jeane\u201d and reassures her that though her flame has been extinguished, she would be remembered fondly.<\/p>\n

\n\tMonroe seems to draw tributes like this, ones that honor her victimization as part of the legend. (\u201cBlonde,\u201d which began its creative life as a shrewdly appraising novel by the cerebral Oates, avoids this trap.) \u201cHollywood created a superstar \/ and pain was the price you paid\u201d is one illustrative lyric; the 1997 rewrite, which addressed a far more recent loss, tended to avoid such reflections on the cost of fame in favor of a more general tribute to Diana\u2019s strength and elegance. And yet the original \u201cCandle in the Wind\u201d is written with such evident affection \u2014 and performed with such humane sympathy \u2014 that what might otherwise enter the realm of pathos is, instead, received as an act of love.<\/p>\n

\n\tPart of its trick, and why it\u2019s entered into the canon of Marilyn tributes, is the manner in which it mirrors back Monroe\u2019s own best qualities. Onscreen, Monroe has a sort of radical openness. \u201cSome Like It Hot,\u201d for instance, might collapse like a poorly cooked souffl\u00e9 if Monroe\u2019s Sugar Kane were able to detect the obvious, that the two men in misjudged drag accompanying her are not in fact her two new best girlfriends. Sugar is sweetly naive, but never dumb; her falling for the act can be taken as a sign of her big-heartedness, her willingness to suspend suspicion in favor of extending the benefit of the doubt.<\/p>\n

\n\tWe, in the 22nd row and all those around it, can\u2019t help but swoon. In \u201cSome Like It Hot,\u201d too, there\u2019s the unforgettable moment when Sugar, frustrated at her poor luck, mopes, \u201cI always get the fuzzy end of the lollipop\u201d \u2014 a childlike formulation to which anyone can relate. Monroe can, to those viewing her work uncharitably, get knocked for seeming to project a sort of foolishness, but the sharper read may be that she was a master at calibrating kindness and warmth, and inviting the audience along for the journey. Her seeing her dress blown up by a subway grate in \u201cThe Seven Year Itch\u201d or, perhaps more infamously, her birthday serenade to Kennedy, were shrewd jokes that Monroe herself was in on.<\/p>\n

\n\tAnd, in an era less sexually open than this one, they represented beckoning gestures toward the audience. Hollywood had, for decades, been governed by the restrictive Hays Code, which attempted to push moviemaking into Puritan morality. But, for Monroe as performer, sexual innuendo need not be taboo or even scary. It could, if deployed with a knowing wink and a sense of joy, even be fun.<\/p>\n

\n\tIt\u2019s this quality of knowingness that elevates Monroe\u2019s extended come-ons to the audience into the realm of art; Monroe was in control of her instrument even as, sadly, she lacked control over so much else in her life. And we owe it to Monroe not to allow that quality of her work to get lost. The sad fact of her victimization and her struggles in life can threaten to blot out the subtler, trickier elements of her magic. Hollywood did indeed, as Elton John sang, put Norma Jeane on a treadmill; she emerged from it, though, a legend for reasons beyond her tragic fate.<\/p>\n

\n\tThis alchemical balance between the sorrow of what became of Monroe and the glory of what she was able to achieve may account for why Monroe has no true heir. Many estimable actresses have elements of her fame, or have sought to capture her essence; no less a talent than Lindsay Lohan, certainly no stranger to tabloid infamy, restaged Bert Stern\u2019s famous \u201clast sitting\u201d nude photoshoot in 2008, generating sparks but nowhere near the fire Monroe at her peak might have.<\/p>\n

\n\tBut then, the culture had shifted, too: Part of Monroe\u2019s essential quality is that she seemed to see around a corner, toward a time when sex was not taboo. If everything is within bounds, then a contemporary star has less to push back against. If a contemporary movie showed its star\u2019s dress being blown in the wind, would anyone bat an eye? We have OnlyFans now.<\/p>\n

\n\tThe culture has shifted, too, away from a subtle understanding that people contain multitudes. Monroe was pilloried, in her moment, but she was also allowed by Hollywood to test her talents in a manner that, decades later, actresses known for their physicality still struggle to do. \u201cThe Prince and the Showgirl\u201d was a tough shoot, but it paired Monroe with no less a legend than Lawrence Olivier; Arthur Miller, Monroe\u2019s third husband, was already a Pulitzer winner for \u201cDeath of a Salesman\u201d when he wrote her a star vehicle, \u201cThe Misfits.\u201d<\/p>\n

Read more Emilia Clarke Film \u2018Next Life\u2019 Snapped Up for U.K. and Ireland by Vertigo Releasing (EXCLUSIVE)<\/a><\/p>\n

\n\tThat became Monroe\u2019s final film, and was another painful and challenging shoot for Monroe \u2014 but also stands as proof of her ambition. Monroe was perceived as a light comedy actress, but how does that jibe with her attempting to surmount a script by Miller?<\/p>\n

\n\tThis, too, deserves to be part of the Monroe legacy \u2014 and a trait that those stars still in her wake might emulate. Monroe didn\u2019t have the option of creating opportunities by executive producing her own projects or finding great material. Her only option was to gut it out, finding her way forward both by serving the audience what they might not even have realized they wanted and by perfecting her craft. Too infrequently discussed as a part of Monroe\u2019s story is the fact of her intensive study of method acting with the Actors Studio\u2019s Lee Strasberg. (This came after Monroe had already established her fame with films like \u201cHow to Marry a Millionaire\u201d and \u201cGentlemen Prefer Blondes\u201d \u2014 she needn\u2019t have bothered, but for the fact that she genuinely cared.) In another era, Monroe might have been one of the stars on \u201cInside the Actors Studio,\u201d interviewed by James Lipton in front of a group of students eager to hear her wisdom. In her own time, Monroe\u2019s study became a footnote. What she learned, though, infused her work.<\/p>\n

\n\tThat work remains \u2014 though Monroe\u2019s name and image are known even to those for whom the title \u201cThe Seven Year Itch\u201d means little more than a painful-sounding malady. One might say that her true work was the art of fame, even as it was often constructed for her by others. (Andy Warhol\u2019s silkscreened images of Monroe, produced shortly after her death, reframed her as a candy-colored avatar of celebrity, a figure of campy glamour whose essential dignity manages to permeate the frame even despite the neon tone.)<\/p>\n

\n\tBut there are plenty of Old Hollywood stars whose names and whose reputations persist. But there\u2019s something about Monroe that\u2019s just special. People don\u2019t feel essentially close to Bette Davis or Lana Turner or Katharine Hepburn in quite the same way. Her tragic fate is a part of the story, but perhaps because it places us all in the 22nd row with Elton John: How might someone so tapped into her humanity have suffered so grievously?<\/p>\n

\n\tBecause that\u2019s the essence of Marilyn \u2014 her sorrow and her beauty and her wit and her extensive acting training collide in the form of a woman utterly in touch with her humanity and able to convey it through the screen. She may always have gotten the fuzzy end of the lollipop. But she knew how to share its sweetness with all of us, too.<\/p>\n

\n\t***<\/p>\n

\n\t\tThe Seven Year Itch\t<\/h2>\n

\n\tWhen it was released in June 1955, \u201cThe Seven Year Itch\u201d was an instant smash. The Billy Wilder comedy earned $12 million at the box office and boosted Marilyn Monroe\u2019s career even higher.<\/p>\n

\n\tIn the mid-1950s, there was no bigger star. \u201cNiagra,\u201d in 1953, cemented her sex symbol status, but with such films as \u201cGentlemen Prefer Blondes\u201d and \u201cHow to Marry a Millionaire,\u201d she slyly upended the \u201cdumb blonde\u201d trope. By 1955, she was marked by various \u201cdecency\u201d leagues as a threat to all mankind, and one particular image in \u201cItch\u201d gave naysayers more grist for their mills \u2014 and gave the world an iconic image, but it\u2019s not what you think.<\/p>\n

\n\tIn the film, as Monroe and co-star Tom Ewell walk down a New York sidewalk, she rushes over to a subway grate and says, \u201cOoh, can you feel the breeze from the subway? Isn\u2019t it delicious?\u201d as the camera pans down and her dress blows up, only rather modestly exposes her legs.<\/p>\n

\n\tIn the film, as Monroe and co-star Tom Ewell walk down a New York sidewalk, she rushes over to a subway grate and says, \u201cOoh, can you feel the breeze from the subway? Isn\u2019t it delicious?\u201d as the camera pans down and her dress blows up, only rather modestly exposes her legs.<\/p>\n

\n\tBut what became iconic are the staged photos taken later on, showing her whole body and a lot more thigh as she fights to keep her dress down. That\u2019s the image that has played in the imaginations of ad men, the fashion biz, pop stars, artists and countless others in the last 70-plus years. It\u2019s also the scene that, it\u2019s said, led to her divorce from Yankee legend Joe DiMaggio. He was on set that day in New York, along with hundreds of onlookers, and was mortified how his wife was exposed in the scene. They divorced shortly after filming wrapped.<\/p>\n

\n\tBut her star rose and that joyful, beautiful, rather guileless young woman trying to stay cool in a hot city summer lives forever. \u2014 Carole Horst<\/em><\/p>\n

Read more How a 10-Minute Short Film Landed Luke Barnett a Role in \u2018Dark Winds,\u2019 a Feature in Development and More: \u2018It\u2019s Had a Far Greater Impact Than Anything Else I\u2019ve Done\u2019<\/a><\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Everyone from Lindsay Lohan to Ana de Armas has been inspired by Marilyn Monroe \u2014 here’s why we still care so deeply.<\/p>\n","protected":false},"author":1,"featured_media":1128,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1129","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film"],"yoast_head":"\nMarilyn Monroe at 100: Reckoning With Her Legend and Legacy - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=1129\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Marilyn Monroe at 100: Reckoning With Her Legend and Legacy - Relocation Observer\" \/>\n<meta property=\"og:description\" content=\"Everyone from Lindsay Lohan to Ana de Armas has been inspired by Marilyn Monroe \u2014 here's why we still care so deeply.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/relocationobserver.com\/?p=1129\" \/>\n<meta property=\"og:site_name\" content=\"Relocation Observer\" \/>\n<meta property=\"article:published_time\" content=\"2026-06-01T16:07:58+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=1129#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=1129\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/#\\\/schema\\\/person\\\/2243ff062b31c5195cd0d9f83884e83e\"},\"headline\":\"Marilyn Monroe at 100: Reckoning With Her Legend and Legacy\",\"datePublished\":\"2026-06-01T16:07:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=1129\"},\"wordCount\":2284,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=1129#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/relocationobserver.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/e5a38f86d3f14d37a133335cb6229917.webp\",\"articleSection\":[\"Film\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/relocationobserver.com\\\/?p=1129#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=1129\",\"url\":\"https:\\\/\\\/relocationobserver.com\\\/?p=1129\",\"name\":\"Marilyn Monroe at 100: Reckoning With Her Legend and Legacy - 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