Marilyn Monroe’s Worst Nightmare: The Movies She Despised and Why They Failed Her

Marilyn Monroe, the legendary Hollywood icon, had a complicated relationship with some of her film work. While she starred in numerous classics that solidified her legacy, not every experience on set left her satisfied. Two films in particular—Let’s Make Love and The Misfits—stand out as projects Monroe reportedly disliked. Her dissatisfaction with these movies sheds light on her struggles within the studio system and her efforts to balance her glamorous persona with a desire for more meaningful roles.

“Let’s Make Love” (1960): A Role She Regretted

One of Monroe’s most well-documented dislikes was Let’s Make Love, a 1960 musical comedy directed by George Cukor and co-starring Yves Montand. In interviews, Monroe referred to her role as Amanda Dell as “the worst” of her career. She found the script uninspired, describing it as having “no role…that you had to wrack your brain.” The film’s storyline and dialogue failed to meet her expectations, and the project ultimately became a chore rather than a source of creative fulfillment. Even her then-husband, playwright Arthur Miller, criticized the film, likening it to “putting plaster on a peg leg.”

Though the movie featured star-studded cameos and lively musical numbers, Monroe’s dissatisfaction highlights the disconnect between her public image and her personal aspirations. By 1960, she was striving to be seen as more than just a glamorous starlet. Let’s Make Love felt like a step backward, a contractual obligation rather than a meaningful artistic endeavor. Her disappointment was palpable, making it clear she had hoped for roles that allowed her to showcase depth and complexity.

“The Misfits” (1961): A Mixed Experience

The Misfits, released in 1961, was Monroe’s final completed film. Directed by John Huston and written by Arthur Miller, the movie offered a more dramatic and challenging role. Monroe played Roslyn Taber, a character grappling with her own emotional turmoil in the Nevada desert. While this film was a departure from her usual comedic or romantic parts, Monroe had a complex relationship with it.

There are reports that Monroe was reluctant to promote The Misfits. A 1961 letter, auctioned decades later, revealed that she needed convincing to even answer media questions about the movie. This hesitance suggests that, despite her praise for the film’s quality, she may not have been fully satisfied with her own performance or the circumstances surrounding its production. At the time, she was dealing with a strained marriage to Miller and personal struggles, which could have influenced her feelings toward the project. Although Monroe once described The Misfits as “a very good picture,” her reluctance to discuss it publicly indicates a level of disenchantment.

A Quest for Meaningful Work

Monroe’s dissatisfaction with these two films reflects her broader challenges in Hollywood. As an actress often typecast in “dumb blonde” roles, she yearned to be taken seriously. In the years leading up to her untimely death, Monroe was actively seeking opportunities to prove herself as a serious performer. Her involvement in establishing Marilyn Monroe Productions was one step toward gaining more control over her career. However, the industry’s expectations and her own personal struggles frequently left her feeling boxed in.

While Let’s Make Love and The Misfits were not the only difficult projects in her filmography, they stand out because of Monroe’s own comments and documented reservations. These films represent the tension between the roles she was offered and the roles she aspired to—offering a glimpse into the inner conflict of one of Hollywood’s most enduring icons.