Impact Of Hollywood Studio System On Marilyn Monroe

As Richard Dyer has observed in Stars, films play a fundamental role in the construction of a star’s image. Such films, fashioned by the studios to associate stars with certain characters or genres, would be identified as ‘star vehicles’ (1998, 61-62). Taking Dyer’s argument as a starting point, discuss the screen persona of one Hollywood film musical star of your choice with reference to no more than two film musicals. You may choose musicals screened as part of the module.

Richard Dyer’s theory on stars, simply states that performers contracted under the Hollywood studio system in the 1950s were manufactured to reap as much financial gain as possible from their overall image and on-screen persona. The very reason an on-screen persona is developed by the studio system is, of course, to foster certain patterns and trends to generate profit and marketability of a star, hence why ‘star vehicles’ are first and foremost commodities. They are fundamentally a construction to idealise a glamorised version of what society promotes since ‘entertainment offers the image of ‘something better’ to escape to, or something we want deeply that our day-to-day lives don’t provide. Alternatives, hopes, wishes – these are the stuff of utopia, the sense that things could be better, that something other than what it can be imagined and maybe realized.’ (Butler, 1994). This is made most evident through the introduction and enforcement of the Motion Picture Code in 1934, which explicitly banned what it deemed to be morally unacceptable content such as expressions of sexual acts and realistic portrayals of violence including vulgar dialogue. Dyer also discusses how the process of the stars marketability is planned greatly ahead of time, it’s a basic mechanism of promoting the star and their image gradually, methods which are ‘concocted by studio publicists, a series of glamour pictures sent to all the print media, a rumoured romance with another star already well known to the public, or a rumoured starring role in a major film’ (Dyer and McDonald, 2011). I will be analysing how Marilyn Monroe’s persona has been constructed in her most classic motion picture as Lorelei in, Gentleman Prefer Blondes (Hawks, 1953) and maintained throughout the years through Nicole Kidman’s character Satine in the Moulin Rouge! (Luhrmann, 2001).

The Hollywood studio system managed its performers from the early 1920s to the late 1960s. It publicized and controlled the public life of its stars that were under contractual obligation to carry out their duties on behalf of the studio as a way of promoting themselves and their motion picture films to the general audience. It becomes clearly evident that Marilyn Monroe herself was a product of this carefully constructed system in order to promote and capitalize on her overall image as the ‘blonde bombshell’. Louis B. Mayer, the co-founder of Metro-Goldwyn-Mayer studios in 1924 even quoted that “A star is made, created; carefully and cold-bloodedly built up from nothing” and that “all I ever looked for was a face. If someone looked good to me, I’d have him tested. If a person looked good on film, if he photographed well, we could do the rest” (Hollywoodlexicon, 2020) Stars received rigorous training in things such as their acting, vocal performance, mannerism and even posture, plastic surgery was also sometimes given to improve upon the star’s image to greatly enhance their potential on behalf of the studio. For example, when Marilyn Monroe renewed her contract under 20th century fox in 1947 the studio enrolled her into acting classes at the Actors’ Laboratory Theatre, and she spent the year prior observing her peers and attending training consistently.

Marilyn Monroe was a highly acclaimed Hollywood actress, who starred in many widely successful motion pictures throughout her 17-year career, such as Gentleman Prefer Blondes (1953), Some Like it Hot (1959), The Seven Year Itch (1955) and The Prince and The Showgirl (1957) amongst other notable classics. There’s a lot that can be said and is spoken for Marilyn Monroe’s acclaim, legacy and notoriety within the Hollywood film industry that still leaves a firm reminder of her accomplishments which inspire others to replicate her iconic likeness and image, as she was indeed a highly sought after and publicised public figure by the Hollywood studio system. On the surface level, Marilyn Monroe’s screen persona was that of a comically exaggerated naive, ditzy and money-driven blonde, with a flair for narcissism and the sparkling charisma to entice men. She seemed to possess the persona of having a childlike unknowingness of her sexuality yet the ability to revel in it at the same time; she was simultaneously, as some scholars put in, both the virgin and the whore. This screen persona, however, was not accidental and was manufactured to a great degree since the beginning of her career. She began as a pin-up model, a form of modelling which held the very and obvious purpose to be “pinned-up” on the wall, very literally displayed, owned and looked at. This introduction of her image upon her early career followed her public perception and pursuits. ‘The roles she was given, how she was filmed and the reviews she got do little to counteract this emphasis. She plays, from the beginning, ‘the girl’, defined solely by age, gender and sexual appeal. In two films, she does not even have a name ( Scudda Hoo! Scudda Hay! 1948 and Love Happy 1950) and in three other cases, her character has no biography beyond being ‘the blonde’ ( Dangerous Years 1948, The Fireball 1950 and Right Cross 1950)’ (Dyer, 2003). Furthermore ‘Monroe was always assigned the role of actress or performer within the film. Indeed, in every single one of her starring roles from Gentleman Prefer Blondes (1953) and Some Like it Hot (1959), Monroe plays a professional performer. The consistency with which Monroe was (type) cast as a showgirl of one sort or another has doubtlessly contributed to the mythical status she has achieved since her untimely death from a prescription drug overdose in 1962.’ (Palmer, 2010). She was like most Hollywood actresses of her time, typecast (to play variations of the same role that cater to his/her strengths and appeal to the audience) in order to replicate a specific image for most of her on-screen performances which seemed to emphasise her sex appeal even though she did have the ability to play more nuanced roles such as her performance in Don’t Bother to Knock (1952) as a mentally disturbed babysitter. Monroe was heavily type-casted, and when such happens a performance becomes predictable, when the predictability generates profit it won’t change and hence the star will not change their surface-level persona for their motion pictures on behalf of the studio. Modern versions of this argument can be seen with actresses such as Kiera Knightly, the elegant period-piece actress who plays role catering to her strengths of embodying a sophisticated and beautiful but troubled aristocrat.

However, the concept of the public persona versus the private person was most evident with Monroe. Behind her glitzy Hollywood starlet persona was a well-read, highly perceptive and ambitious young woman who played into her image to garner more success. She held the intelligence to deeply understand her strengths and the effect she possesses upon people, she was very much perceptive of her objectification and allure and used it as a source of her power and self-improvement, she wasn’t a victim of any sort but a self-made and empowered woman with the ambition to succeed for no one else but herself alone. For example in 2010, Monroe’s diaries, writings and correspondence were published in ‘a volume called Fragments: Poems, Intimate Notes, Letters by Marilyn Monroe, edited by Stanley Buchthal and Bernard Comment. In which she writes that her “first desire was to be an actress” and that she is striving to work fully and sensitively, “without being ashamed of it”. Her drive to work on herself and her craft was merciless: “I can and will help myself and work on things analytically no matter how painful”, and she notes in her notebook a single line, “having a sense of myself”.’ (Bolton, 2020)

In the specific example of Gentleman Prefer Blondes (1953), Marilyn Monroe’s on-screen persona was most evident and showcased within this film. Most notably in the iconic ‘Diamonds are a Girl’s Best Friend’ musical sequence, where Marilyn Monroe’s character Lorelei best showcases the fundamental purpose and motivation of her character, which is wealth and on a more deeper level financial stability instead of the frivolity of love. ‘Gentlemen Prefer Blondes tells the story of two voluptuous showgirls, Marilyn Monroe and Jane Russell. It chronicles their adventures on a transatlantic sea voyage, during which they seek husbands and capture the attention of every male on board’. (Cohan, 2007). There have been many academic debates centred around the purpose of the film and whether it sexualized it’s female leads, especially Monroe, for the male audience by presenting them as caricatures and without the depth that goes beyond seducing a man for this wealth and status and being consistently looked at and glamorized. The whole film points to the fact that there is no inherent worth or merit in Lorelei except her quite comical obsession with materialism. It can be argued that even though the film was received well by general audiences, it cemented Monroe as an icon. Dyer argues she undoubtedly became a household word for nothing more than sex, especially for those that had particular trouble distinguishing the artist from the art. Marilyn was indeed an intelligent and talented woman who knew how to use her charms to benefit herself, however, her legacy lies in her being perceived and confused for behaving and embodying her characters such as Lorelei. Therefore Monroe’s likeness was heavily ingrained in this particular film and shaped her persona, no matter how widely different she as a private person was said to be. By the mid-1950s, Laura Mulvey points out, “Marlyn Monroe, with her all-American attributes and streamlined sexuality, came to epitomize a single image… a brand of classless glamour. (Palmer, 2010).

However today, the specific musical sequence holds more feminist connotations, most importantly it can symbolise the harsh reality endured by the woman of the time. Monroe’s sequence indeed cleverly highlights how a woman must first and foremost secure her safety financially. A woman must prioritise what can make her secure and therefore happy for the long-term instead of relying on the emotions a man holds for you, which can dissipate. This is illustrated in the lyrics: “A kiss may be grand but it won’t pay the rental, on your humble flat, or help you at the automat. Men grow cold as girls grow old and we all lose our charms in the end. But square-cut or pear-shaped these rocks don’t lose their shape. Diamonds are a girl’s best friend” (Luhrmann, 2001) However during the time the lyrics were perhaps not interpreted to showcase the independence and insight a woman such as Monroe can hold over her future, but instead glamorized for her obsession with materialism and therefore upheld her vanity and attractiveness as her core personality attribute, especially when in all her musical performances she uses her body to attract attention, seductively engaging in dance movements that led her to wiggle, grind and bounce in an almost playful manner which heavily contributed to her persona as a ‘star vehicle’.

Monroe’s influence can be observed within many mediums, in televisions shows, music videos, magazine covers, fashion editorials and most importantly other films. The most predominant example of Monroe’s likeness having a heavy influence within a film can be seen in the Moulin Rouge’s character Satine. The overall persona that this central character exudes throughout the film is very much likened to Monroe’s star persona within her own widely successful motion pictures. Satine is initially introduced at the beginning of the film as the infamous sparkling diamond, a massively influential central act for the patrons within the night club. She aims to entice and charm the spectators with her beautiful and radiant charisma, all with the end goal of becoming a true actress and escaping her courtesan title, as she states “I’m a courtesan. I’m paid to make men believe what they want to believe.” (Luhrmann, 2001). The whole concept of Satine’s character is fundamental to Lorelei’s character, both are performers for a predominantly male audience who are enamoured by their image and they both also aim to climb up the social ladder and be recognised by the higher classes. They are both very well aware of the persona they are playing also since Lorelei even states that she “can be smart when it’s important, but most men don’t like it”. (Hawks, 1953) During the first part of the film where Satine’s character is first introduced to the patrons of the night club, she sings Monroe’s iconic ‘Diamonds are a Girl’s Best friend’ musical sequence. She is ‘initially constructed as an ultra‐feminized, ultra‐sexualized and virtually unattainable ‘other’ to the sea of identical tuxedoed men into which she descends. In her ensuing performance, she flirts with her male audience, alternately drawing them to her and pushing them away, but always in control of the interaction.’ (Parfitt, 2005) much like Lorelei does as well. However, the difference between Satine and Lorelei’s characters can be attributed to the sexual quality of their individual performances. Satine is first and foremost a courtesan, ‘woman whose sexual engagement with her patrons extends far beyond playful gestures and suggestions made on stage. She even straddles her legs over the waist one of the men who is lying on the floor in the audience. Nothing so blatantly sexual occurs in Monroe’s performance; indeed, materialism is far more apparent in her performance than is sexual desire’ (Merwe, 2010). This brings up the primary question as to why Satine’s performance is so sexually suggestive when it is modelled after Monroe’s equally engaging yet actually quite conservative performance. It can be argued that the persona of Monroe being a sex symbol even if no such sexually promiscuous behaviour is performed on her part is so strong, that is encapsulates and surrounds her overall image as a ‘star vehicle’.

In conclusion, it is clear how large of an effect Monroe’s persona, particularly crafted within her most iconic and easily recognizable role as Lorelei in Gentleman Prefer Blondes, has not only shaped her on-screen persona within different films but also her off-screen persona as it informed how the general audience perceived her to behave in her private life. Today she is considered a forefront of change and a feminist icon; however, this doesn’t prevent the overall surface-level perception of her as a classless yet glamorous seductress. Her influence is still prevalent today such as within films like the Moulin Rouge, which overall can be attributed to just how successful she was a ‘star vehicle’ within the Hollywood studio system of the 1950s as Dyer claims. Simply put, ‘Monroe appeared at a moment when feminism was at its lowest ebb in the twentieth century, and both her career decisions and remarks in interviews could be and were read as confirming the male-serving myth of the desirable playmate’ (Dyer, 2003).

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