The Surprising Films Marilyn Monroe Secretly Disliked

Marilyn Monroe remains one of Hollywood’s most enduring icons—a performer whose image of glamour, charm, and vulnerability continues to captivate audiences decades after her death. Yet behind the dazzling smile and memorable performances, Monroe held unfiltered opinions about her own work. While the world adored many of her movies, she quietly admitted that some of them she “hated with a passion.”

What makes these confessions so striking is that they involved films that are now considered classics. Her candid words, once shared in private conversations, flip the myth of the always-radiant star upside down.

Don’t Bother to Knock (1952)

To modern critics, Don’t Bother to Knock stands out as one of Monroe’s boldest dramatic roles. She played Nell, a troubled babysitter, in a tense psychological drama that has since been rediscovered as a hidden gem. But Monroe herself had a very different perspective.

According to accounts, she felt stifled during filming and frustrated by how the studio—and director Roy Ward Baker—restricted her creative input. The chaotic production left her with bitter memories, overshadowing any pride in the performance that later won her critical respect.

Gentlemen Prefer Blondes (1953)

Few images are more iconic than Marilyn Monroe in a pink gown performing “Diamonds Are a Girl’s Best Friend.” The scene cemented her legend, but Monroe herself resented the way the role of Lorelei Lee was handled.

She reportedly disliked being treated as mere comic relief alongside Jane Russell, despite her hard work to infuse the character with nuance. For Monroe, the experience symbolized her ongoing battle against typecasting—an actress striving for depth but too often boxed into “shallow” roles.

Some Like It Hot (1959)

Billy Wilder’s Some Like It Hot frequently ranks among the greatest comedies in cinematic history. Yet for Monroe, playing Sugar Kane was anything but enjoyable.

The production was grueling. She struggled with anxiety, exhaustion, and Wilder’s irritation over her tardiness and retakes. Though audiences laughed and critics hailed her performance, Monroe’s private verdict was brutally honest: she admitted she “couldn’t bear watching it again.”

The Divide Between Star and Screen

For Monroe, these films carried painful reminders of artistic frustration, studio control, and personal struggles. For her fans, however, they remain timeless classics—movies that showcase her magnetism, comedic brilliance, and surprising dramatic range.

This contrast underscores a truth often overlooked in Hollywood legend: the silver screen can project immortality, but it rarely reveals the complex feelings of the stars themselves.

Would you like me to frame this piece more like a news report (leaning into discovery and revelation) or as a feature profile (more reflective, focusing on Monroe’s inner world)?