Collection Includes the following Titles:
**SEVEN YEAR ITCH **GENTLEMEN PREFER BLONDES **NIAGARA **RIVER OF NO RETURN **LET'S MAKE LOVE **MARILYN: THE FINAL DAYS
The Marilyn Monroe Special Anniversary Collection
consists of five Marilyn Monroe films plus the documentary The Final Days
. Howard Hawks's 1953 musical Gentlemen Prefer Blondes
stars Monroe and Jane Russell as friends who go to Paris looking for mates. The film is charged by Hawks's stylish snap, a famous set piece or two (including Monroe descending that staircase while singing "Diamonds Are a Girl's Best Friend"), Russell's wit, and songs by Leo Robin and Jule Styne. The Seven Year Itch
(1955) is a memorable laugh machine. As a married man left alone during a hot summer, Tom Ewell shows off crack timing matched by Monroe's zesty comic flair, and the scene in which her white dress is blown skyward by a passing subway train has entered the encyclopedia of great movie images. In Niagara
, Monroe is a full-fledged sex goddess, a scheming wife tormenting husband Joseph Cotten in their cabin by the falls. This Technicolor slice of pseudo-Hitchcock is a fun location picture with a genuinely exciting climax. Otto Preminger's River of No Return
has Monroe livened up by the presence of costar Robert Mitchum, in a strong outdoorsy Western that catches the two stars in appealing form. By the time of 1960's Let's Make Love
, Monroe looks tired. This backstage musical is more interesting as a time capsule than as a romance, although one number shines: "My Heart Belongs to Daddy."
In The Final Days, producer-director Patty Ivins chronicles Monroe's final, aborted feature film, Something's Got to Give, which was ultimately shut down after the star was dismissed from the production. Beyond Monroe's fragile emotional and physical health, this well-crafted profile examines the financial crisis facing her studio as well as the mounting frustration of meticulous director George Cukor and his cast, including costar Dean Martin, as Monroe's absences drove the shoot over budget. The documentary concludes with a 40-minute reconstruction of footage completed for the feature, which would subsequently be reshot as a vehicle for Doris Day and James Garner, Move Over, Darling.