Core Post 2 Josie Andrews

Josie Andrews

CTCS 412B

Core Post 2

  

William A. Brown’s essay “Audrey Hepburn: The Film Star as Event” asks how and why Hepburn become a movie star. At the outset, Brown explores Hepburn’s ‘virtual qualities,’ e.g. her androgyny, ambiguous nationality that enabled American, Dutch, British and really everyone to claim her as “theirs,” and beauty that arose from a combination of many ‘plain’ parts. Brown also situates Hepburn’s star text within the larger historical narratives of the Europeanization of Hollywood a (154)—the Marshall Plan and the studios’ move to Europe post-World War II and the studio’s commitment to ‘spectacular cosmopolitanism’ (131) on screen. However, after watching Marilyn Monroe in “Gentleman Prefer Blondes” and reading William A. Brown’s essay “Audrey Hepburn: The Film Star as Event,” I could not help but wonder how two such radically different star images could be such lasting legendary icons of the same generation. Marilyn is blonde, busty, and highly sexual (a “Mammary Woman”). Audiences are attracted to her because of her paradoxical innocent child-like presence and dominant, sexual persona (virgin/whore). In contrast, Audrey is brunette, waif-like, flat, relatable and appealing because everyone felt could see something of themselves in her (a “Waif). I think the short answer is that both of these stars represent women we like--they are witty, attractive, and while seemingly fitting "stereotypes" of women worthy of the heterosexual male gaze who men are attracted to or want to protect, they also represent for women a freedom or independence that we want to imitate. This was likely even more true in the 1950s.

Repeating a theme that we have read and discussed previously this semester, Brown describes how stardom and fashion are inextricably linked with Hollywood films.  And, while Monroe died of a possible suicide in 1962 and Hepburn largely withdrew from stardom early in her career (the brevity of her career led Brown to declare Hepburn was an event), both Monroe and Hepburn were beauty and fashion icons of that time period.  Hepburn wore Givenchy and designs by Paramount’s costume designer Edith Head. Monroe was known as a fashion visionary. She was the first to wear Ferragamo pumps, carry Louis Vuitton bags and don Norman Norell, Emilio Pucci and Lanvin. On screen, she was dressed by Oscar-winning studio designers, including Jean Louis, Orry Kelly and Willim Travilla.  Fans wanted to mimic both stars’ styles—ironically, to assert their own individuality.

Thomas Harris’s 1957 article, “The Building of Popular Images: Grace Kelly and Marilyn Monroe,” (40-4) discusses how Marilyn Monroe (Grace Kelly) and other star’ lives (and films) were carefully crafted into stereotypical images and a “public personality” to sell their movies. Monroe is a textbook example of this. Using magazines, radio, TV and newspaper, Monroe’s discovery story (her sad youth and unhappy marriage made her sympathetic to being elevated to fame, Cinderella story; her absence of family also made her attainable). This “discovery” led to (2) her glamour shots (she was initially exploited as a “pin up” girl and the object of the male gaze); (3) her romances with other stars (and later marriages to Joe DiMaggio)  and audience with Queen Elizabeth II helped fans see her as desirable; and all of these led to (4) a starring role in a major film (Gentlemen Prefer Blondes was her pivotal role).  

Marilyn’s bubbly personality, sensuality, quick wit and dry humor, and “fake” dumb blonde bimbo persona could be found in each of her films. She was the ideal playmate. In contrast, Grace Kelly was exploited in female magazines and other publicity as the “ideal mate,” the good girl next door.  They were fashion icons to be copied, women to be emulated and protected from randy male predators.  (Of course, today, we would add social media as a critical star image constructor). Most stars blindly went along with the Hollywood star-making system. However, as Brown notes, some stars, like Audrey Hepburn refused to be recreated by the studios into something they were note (she refused to pad her clothing to make it seem like she had a bust).

In Heavenly Bodies (1979), Richard Dyer examines social ideologies regarding sexuality in the 1950s and sexual stereotypes of women that characterized Marilyn Monroe and defined her appeal to mainstream America, According to Dyer, in a white, heterosexual male world, Marilyn embodied the ideal American woman—blonde, bimbo, and voluptuous.  According to Dyer, in her professional and personal life (marrying Arthur Miller, and in many of her interviews), while suppressing her own intellect was critically important to make Marilyn a star, later in her career, Marilyn revolted against this image and the complete lack of control over her image and career. She fought for more significant roles and she spoke out about women’s sexuality. Yet, as Dyer recognizes Marilyn’s star image with all of its associated stereotypes was critically important in the 1950s to maintain her star appeal in society. Marilyn’s “body” was her main commodity, not her acting ability or brain. And, this star image allowed Marilyn to connect with audiences.  Of course, by necessarily accepting this construction of the star as “authentic” and sincere, Marilyn’s star power actually reinforces and perpetuates the oppression of women in society, e.g. as beautiful, stupid, sexual objects.

In thinking about these Readings and last week’s screening and our theme of "femininity, I understand that Gentleman Prefer Blondes is regarded as the film that entrenched Marilyn as a" top box office star. But, the common denominator in each of her films, including this one, is that Marilyn is typically a smart “dumb blonde,” who is a bit of a bad girl, often from the wrong sides of the track, incredibly sexy, has a kind heart, and somehow manipulates the men around her to ultimately get what she wants.  As such, I thought, it might be fun to go back and apply Dyer’s Star Theory to Marilyn.  First, Dyer’s theory examines the star not as real but as an artificial construction that is produced by Hollywood (studios and actors) both on and off-screen (Stars, 60-62). Marilyn was a natural brunette named Norma Jeane (Baker) Mortenson, but her star image that continues more than 50 years after her death is that of a platinum blonde sex symbol with half-closed bedroom eyes, half-opened mouth, and her famous “horizontal” walk. On-and off-screen through a myriad of interviews, photo sessions, and gossip columns, Monroe embraced her sexuality and commanded the male and female gaze. Of course, this was particularly problematic given that Marilyn’s image was both the virgin (entirely innocent) and the whore (sexually aware and available).

Second, Marilyn can be understood as a commodity (Stars,35-46). Studios understood that audiences came to the theater to see Marilyn, not simply the film. As such, many of her films were written for her or with her “character” type in mind. She also appeared in many advertisements. I have posted below just a few of these ads, but Monroe represented to audiences the importance of spending money/consumerism, which undoubtedly directly contributed to the studio’s bottom line. Marilyn certainly lived the “glamorous” life, even singing “Happy Birthday” to JFK in a skin tight sequined gown. But, we also know her dream soured, and she was found dead in her bungalow in 1962 at the age of 36.

Third, Dyer says stars can be understood as types, with Marilyn the perfect example of the “Pin-Up” girl, promoting women as the object of the (male gaze) and as a sexual spectacle (Stars, 47-59). (I believe, however, that with the benefit of hindsight, Marilyn can also be understood as an “Independent” woman. See below).

Fifth, Dyer explains that stardom can be understood in the context of ideology, e.g. producing and promoting ideals that appear throughout the time period’s contemporary culture. Examining the historical and social context of family and gender roles at that time, it is easy to see the impact legendary icons of Marilyn and Grace Kelly had on the ideals of sexuality in the 1950s. Contrary to popular belief, as reflected by Gentlemen Prefer Blondes, a sexual revolution actually was occurring in the 1950s, not the 1960s, and the star power of actors, like Marilyn, had a significant role in effectuating this change. Monroe was the perfect paradoxical blend of genuine, child-like innocence and smoldering sensuality. But, while she became the ultimate sex symbol of the 1950s, what I love about Gentleman Prefer Blondes is how ironically feminist this seemingly male-gaze spectacular film is. So this is my feminist take-away from the film.

On one level, you have the stereotypical smart brunette seeking real love and a blonde, gold-digger with an empty head. But, Marilyn (Lorelei) and Jane Russell (Dorothy) are both forces to be reckoned with in the film, and Marilyn is clearly much strong than the weak and passive Gus. They are both sexually and intellectually confident and the female friendship is the most important relationship in the film (their loyalty to one another is far more important than any loyalty to a man).  The opening lines of the song (“we came from the wrong side of the tracks”) tells us immediately that the two women are lower class (Audrey Hepburn and Grace Kelly wouldn’t be caught dead singing this song, nor would audiences want them to), and we can infer that they are not virgins.  They also drink, buy cigarettes, dance, and party all night. And, best of all, they do not apologize to anyone for their choices. Moreover, Lorelei might “play” the part of being stupid (because that is what men expect and want, replying to Gus’s father’s comment, “Say, they told me you were stupid. You don’t seem stupid to me,” with “I can be smart when it’s important, but most men don’t like it”), she is witty and a master manipulator at getting what she wants. My favorite line in the film was when she tells Gus’s father, “Don’t you know that a man being rich is like a girl being pretty? You wouldn’t marry a girl just because she’s pretty, but my goodness, doesn’t it help?”  In this way, the film does not moralize Lorelei (or Dorothy’s) choices but embraces a new sexuality that gives more control to the woman.

The number, “Diamonds Are a Girl’s Best Friend” is obviously Marilyn’s signature number, and Marilyn wears an elegant satin gown with elbow length gloves (virgin) while bumping and grinding (whore) playfully as she sings in her low, husky trademark breathy voice.  At first it seems Marilyn is simply the object of the male gaze in the song, but when you rewatch the clip, you see that men obey and kneel to her. They lift her above their heads as the goddess.  And, she only accepts one diamond not all that are offered to her, refusing to be sold to or owned by any man. Interestingly, I did not think the song is even about materialism. Instead, Lorelei understands and accepts that in a patriarchal world, the woman has no means for independence or to financially support herself easily. Diamonds can pay the rent one day and are a much better investment for a woman. In the song, we also see that Lorelei is in complete control of her own sexuality and not a victim. She turns down diamonds from several of the men in the song.

It should be noted also that, at first, Dorothy is not really seeking “true” love and marriage, but clearly likes to just have good sex with someone she cares about (Lorelei chastens her for always falling in love). As such, even she is not a “safe” choice compared to the sensuality of Marilyn. Given such amazing strong characters, putting aside the racism and the heterosexual male-dominated sexualized gaze, I actually discovered I loved this film. Marilyn should be proud that she was able to use her “heavenly body” to make important statements about a woman’s control over her own body and her right to use her intellect to find some measure of independence and financial security.