Marilyn monroe: beyond the icon, a pioneering force emerges
The enduring mystique of Marilyn Monroe, perpetually refracted through the lens of tragedy and sensationalism, is undergoing a vital reassessment this summer. Two major exhibitions, spearheaded by leading British cultural institutions, are stripping away the layers of myth to reveal a far more complex and, frankly, revolutionary figure: a savvy performer, a shrewd architect of her own image, and a woman who fundamentally altered the landscape of female stardom in Hollywood.
A retrospective at the bfi unearths a dynamic talent
The British Film Institute’s (BFI) sweeping two-month season, dubbed “the summer of Marilyn,” offers a comprehensive look at Monroe’s filmography, moving beyond the familiar tropes of bombshell and victim. Kimberley Sheehan, the BFI’s lead programmer, asserts, “She was the original triple threat and deserves much credit for crafting her own image and stardom.” The season is structured around three compelling narratives: “Star Attractions,” showcasing her dazzling musical and comedic performances; “Dramatic Turns,” highlighting her serious roles; and “Scene Stealers,” spotlighting her impactful, albeit smaller, appearances. From the effervescent charm of Gentlemen Prefer Blondes to the heartbreaking vulnerability in The Misfits, Sheehan encourages audiences to rediscover Monroe’s captivating presence and range.
But the re-evaluation extends beyond mere performance. Monroe's career, spanning from her early work in Ladies of the Chorus (1948) to her final, unfinished project Something’s Got To Give (1962), demonstrates a persistent struggle against the constraints of the studio system. She challenged substandard scripts, and, perhaps most remarkably, became the first woman since the silent era to establish her own production company—a bold, and then-unheard-of move. This ambition, often dismissed or ridiculed at the time, now appears strikingly prescient.
The national portrait gallery chronicles the construction of a legend
Complementing the BFI’s cinematic exploration, the National Portrait Gallery's exhibition, Marilyn Monroe: A Portrait, delves into the meticulous crafting of her image. Featuring works by celebrated artists and photographers like Andy Warhol, Pauline Boty, and Richard Avedon, the exhibition illuminates Monroe’s deliberate engagement with visual culture. Unseen photographs from Life magazine, captured by Allan Grant just days before her death in 1962, offer an intensely personal glimpse into her final days in Los Angeles.
The exhibition isn't merely a retrospective; it’s an examination of agency. Monroe wasn't a passive recipient of fame; she actively shaped her persona, directing photoshoots and rejecting images that didn't align with her vision. As Sheehan notes, “One of the greatest things she ever did was create the persona of ‘Marilyn Monroe,’ but it was also one of her biggest challenges, because she spent much of her later career trying to break away from it.” Her attempts at reinvention, met with skepticism and derision during the 1950s, now resonate with the contemporary efforts of stars like Taylor Swift and Madonna.
The re-release of The Misfits, directed by John Huston and co-written by Arthur Miller, Monroe’s then-husband, underscores this re-evaluation. It’s a potent reminder that behind the icon lay a complex artist grappling with personal demons and creative aspirations. The film, set against the stark backdrop of the Nevada desert, showcases Monroe’s dramatic depth opposite Clark Gable. It's a film that, in Sheehan’s words, reveals “the real human performer.”
Today, Monroe’s image is ubiquitous, exploited even in AI-generated content. But revisiting her films, and understanding the battles she fought for creative control, allows us to see past the commodification and appreciate the pioneering spirit of a woman who dared to challenge the norms of her time. The summer of Marilyn isn't just about remembering an icon; it’s about finally recognizing a visionary.