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By 1953, Monroe was one of the most marketable Hollywood stars. She had leading roles in the film noir Niagara, which overtly relied on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a \"dumb blonde\". The same year, her nude images were used as the centerfold and on the cover of the first issue of Playboy. Monroe played a significant role in the creation and management of her public image throughout her career, but felt disappointed when typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch (1955), one of the biggest box office successes of her career.
The agency deemed Monroe's figure more suitable for pin-up than high fashion modeling, and she was featured mostly in advertisements and men's magazines.[58] To make herself more employable, she straightened her hair and dyed it blonde.[59] According to Emmeline Snively, the agency's owner, Monroe quickly became one of its most ambitious and hard-working models; by early 1946, she had appeared on 33 magazine covers for publications such as Pageant, U.S. Camera, Laff, and Peek.[60] As a model, Monroe occasionally used the pseudonym Jean Norman.[59]
At Columbia, Monroe's look was modeled after Rita Hayworth and her hair was bleached platinum blonde.[75] She began working with the studio's head drama coach, Natasha Lytess, who would remain her mentor until 1955.[76] Her only film at the studio was the low-budget musical Ladies of the Chorus (1948), in which she had her first starring role as a chorus girl courted by a wealthy man.[69] She also screen-tested for the lead role in Born Yesterday (1950), but her contract was not renewed in September 1948.[77] Ladies of the Chorus was released the following month and was not a success.[78]
Monroe's three other films in 1952 continued with her typecasting in comedic roles that highlighted her sex appeal. In We're Not Married!, her role as a beauty pageant contestant was created solely to \"present Marilyn in two bathing suits\", according to its writer Nunnally Johnson.[107] In Howard Hawks's Monkey Business, in which she acted opposite Cary Grant, she played a secretary who is a \"dumb, childish blonde, innocently unaware of the havoc her sexiness causes around her\".[108] In O. Henry's Full House, with Charles Laughton she appeared in a passing vignette as a nineteenth-century street walker.[109] Monroe added to her reputation as a new sex symbol with publicity stunts that year: she wore a revealing dress when acting as Grand Marshal at the Miss America Pageant parade, and told gossip columnist Earl Wilson that she usually wore no underwear.[110] By the end of the year, gossip columnist Florabel Muir named Monroe the \"it girl\" of 1952.[111][112]
While Niagara made Monroe a sex symbol and established her \"look\", her second film of 1953, the satirical musical comedy Gentlemen Prefer Blondes, cemented her screen persona as a \"dumb blonde\".[130] Based on Anita Loos' novel and its Broadway version, the film focuses on two \"gold-digging\" showgirls played by Monroe and Jane Russell. Monroe's role was originally intended for Betty Grable, who had been 20th Century-Fox's most popular \"blonde bombshell\" in the 1940s; Monroe was fast eclipsing her as a star who could appeal to both male and female audiences.[131] As part of the film's publicity campaign, she and Russell pressed their hand and footprints in wet concrete outside Grauman's Chinese Theatre in June.[132] Gentlemen Prefer Blondes was released shortly after and became one of the biggest box office successes of the year.[133] Crowther of The New York Times and William Brogdon of Variety both commented favorably on Monroe, especially noting her performance of \"Diamonds Are a Girl's Best Friend\"; according to the latter, she demonstrated the \"ability to sex a song as well as point up the eye values of a scene by her presence\".[134][135]
Monroe began 1956 by announcing her win over 20th Century-Fox.[189] She legally changed her name to Marilyn Monroe.[190] The press wrote favorably about her decision to fight the studio; Time called her a \"shrewd businesswoman\"[191] and Look predicted that the win would be \"an example of the individual against the herd for years to come\".[189] In contrast, Monroe's relationship with Miller prompted some negative comments, such as Walter Winchell's statement that \"America's best-known blonde moving picture star is now the darling of the left-wing intelligentsia.\"[192]
From the beginning, Monroe played a significant part in the creation of her public image, and towards the end of her career exerted almost full control over it.[289][290] She devised many of her publicity strategies, cultivated friendships with gossip columnists such as Sidney Skolsky and Louella Parsons, and controlled the use of her images.[291] In addition to Grable, she was often compared to another well-known blonde, 1930s film star Jean Harlow.[292] The comparison was prompted partly by Monroe, who named Harlow as her childhood idol, wanted to play her in a biopic, and even employed Harlow's hair stylist to color her hair.[293]
Monroe's screen persona focused on her blonde hair and the stereotypes that were associated with it, especially dumbness, naïveté, sexual availability and artificiality.[294] She often used a breathy, childish voice in her films, and in interviews gave the impression that everything she said was \"utterly innocent and uncalculated\", parodying herself with double entendres that came to be known as \"Monroeisms\".[295] For example, when she was asked what she had on in the 1949 nude photo shoot, she replied, \"I had the radio on\".[296]
Monroe often wore white to emphasize her blondness and drew attention by wearing revealing outfits that showed off her figure.[298] Her publicity stunts often revolved around her clothing either being shockingly revealing or even malfunctioning,[299] such as when a shoulder strap of her dress snapped during a press conference.[299] In press stories, Monroe was portrayed as the embodiment of the American Dream, a girl who had risen from a miserable childhood to Hollywood stardom.[300] Stories of her time spent in foster families and an orphanage were exaggerated and even partly fabricated.[301] Film scholar Thomas Harris wrote that her working-class roots and lack of family made her appear more sexually available, \"the ideal playmate\", in contrast to her contemporary, Grace Kelly, who was also marketed as an attractive blonde, but due to her upper-class background was seen as a sophisticated actress, unattainable for the majority of male viewers.[302]
Although Monroe's screen persona as a dim-witted but sexually attractive blonde was a carefully crafted act, audiences and film critics believed it to be her real personality. This became a hindrance when she wanted to pursue other kinds of roles, or to be respected as a businesswoman.[303] The academic Sarah Churchwell studied narratives about Monroe and wrote:.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}
Dyer has also argued that Monroe's blonde hair became her defining feature because it made her \"racially unambiguous\" and exclusively white just as the civil rights movement was beginning, and that she should be seen as emblematic of racism in twentieth-century popular culture.[315] Banner agreed that it may not be a coincidence that Monroe launched a trend of platinum blonde actresses during the civil rights movement, but has also criticized Dyer, pointing out that in her highly publicized private life, Monroe associated with people who were seen as \"white ethnics\", such as Joe DiMaggio (Italian-American) and Arthur Miller (Jewish).[316] According to Banner, she sometimes challenged prevailing racial norms in her publicity photographs; for example, in an image featured in Look in 1951, she was shown in revealing clothes while practicing with African-American singing coach Phil Moore.[317]
While they haven't all withstood the test of time, for many movie fans, Westerns are classics. Stacker surveyed all Westerns classified as feature films and TV movies with more than 5,000 user votes on IMDb as of April 2022. Films are ranked by IMDb user scores and ties were broken by the number of votes. Read on for the best of classic Westerns directed by John Ford, Sergio Leone, and others, as well as recent revisions of the genre and its themes. See if your favorite made the top 100.
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