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But it was also the norm for how the actress, who was prized more for her curvaceous looks than her performing chops, was treated by a media that wanted to commodify and objectify her, while remaining steadfastly unsympathetic to her struggles. It’s the kind of tsk-tsk-ing hit piece, prudish in its verbiage, but violating in its disregard for Monroe’s privacy, that has aged terribly in the ensuring decades. “And she’s nixed every still taken.” Many similar reports would follow, along with a persistent, underlying suggestion that she might never finish work on the film. “Marilyn Monroe was ill again yesterday and unable to report to work in ‘ Some Like It Hot,’ in which she’s only appeared on set two hours so far,” he wrote on Aug. Variety columnist Army Archerd routinely updated his readers on Monroe’s illnesses and the delays she caused for the production. The Hollywood trades feasted on the tales of trouble on the set.
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When she did show up, Monroe flubbed lines, battled with Wilder over their diverging views of how to play Sugar, as well as her insistence that her acting guru Paula Strasberg hover off-camera, and required so many retakes that co-star Tony Curtis quipped that doing a love scene with her was like “kissing Hitler.”
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Her health issues, psychological problems and stage fright were so acute that she would keep cast and crew waiting for hours before arriving on the set, or would frequently miss shooting days, causing the production to run over schedule. In retrospect, it’s a miracle that Monroe was able to complete her work, let alone be brilliant. Nowhere was her breathy voice more seductive and better suited to excavating the hidden pathos behind Wilder and his co-screenwriter I.A.L.
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In it, Monroe is alternately hilarious and heartbreaking. Sugar “Kane” Kowalczyk, the emotionally bruised, gin-swilling singer and ukulele player, remains her most accomplished performance. The resulting masterpiece, which by most accounts was a herculean effort to bring to the screen, also plays a central role in Monroe’s on-screen legacy. It’s a story that would be reformatted over the years, influencing everything from “Tootsie” to “Mrs. At no point did Variety allude to the plot of the mystery project, one that centered on two musicians who disguise themselves as women and join an all-girls band after witnessing a mob hit. In April 1958, Monroe was finally ready to return to the medium that had made her globally famous, with Variety proclaiming “Monroe to Do ‘Hot.'” The Hollywood trade went on to report that after a “two-year absence” Monroe was slated to play “a band singer in the 20s period comedy,” which would be directed by Billy Wilder and was entitled “Some Like It Hot.” Monroe’s two male co-stars had yet to be cast (they would later be revealed as Tony Curtis and Jack Lemmon). So Monroe turned her back on movies for a time, and sought refuge with Arthur Miller, her playwright husband, holing up in their homes in New York City, Connecticut and Long Island. The screen icon, who would have turned 95 on June 1, was battling ill health, which was linked to her barbiturate dependency and fragile psyche, and she was recovering from a miscarriage. At the height of her stardom, Marilyn Monroe took an 18-month hiatus from Hollywood.