Marilyn Gets Full Marks at the Academy

In her all too brief career, Marilyn never won an Oscar, or was even nominated – and she attended the ceremony only once, as a presenter (in 1951.) Nonetheless, a belated nod of recognition has been posted on The Academy blog, listing twelve of best roles – and with some interesting commentary on her performances.

  • ‘Even with a powerhouse cast … there are a few glimmers that Miss Caswell, and by extension Monroe, has more brains and talent than most would give her credit for’ (All About Eve, 1950)
  • ‘When it comes to Monroe, there’s no dulling her shine no matter the size of the part’ (The Asphalt Jungle, 1950)
  • ‘Monroe’s dramatic work is often underrated, and this tense thriller is worth watching to see some of her best dramatic work’ (Don’t Bother to Knock, 1952)
  • ‘Monroe is once again excellent in this darker turn, imbuing the character with passion and intrigue’ (Niagara, 1953)
  • ‘Monroe takes a character most would consider a gold digger, and gives her a heart of gold’ (Gentlemen Prefer Blondes, 1953)
  • ‘Monroe joins two other glamorous silver screen icons … playing possibly her ditziest character’ (How to Marry a Millionaire, 1953)
  • ‘Monroe shines as hat-check girl Vicky, who kind of breaks up the family – but is never painted as any kind of villain’ (There’s No Business Like Show Business, 1954)
  • ‘The film also delves into male fantasies versus reality, both of which Monroe often found herself caught between’ (The Seven Year Itch, 1955)
  • ‘A slightly darker edge under its romantic comedy leanings … it’s a rough road to that happy ending’ (Bus Stop, 1956)
  • ‘Yet another instance of Monroe subtly subverting her public persona as the titular showgirl, Elsie, who is not simply won over by Laurence Olivier’  (The Prince and the Showgirl, 1957)
  • ‘Monroe again proves she’s a brilliant comedic talent … an iconic performance’ (Some Like It Hot, 1959)
  • ‘A final glimpse at her dramatic chops … a melancholic family of sorts, with Monroe at the centre of wanted and unwanted affection, looking for something real’ (The Misfits, 1961)