The Marilyn Monroe You Never Knew: Why ‘Blonde’ Misses Her True Dancing Genius

Marilyn Monroe’s allure extended far beyond her iconic status as a sex symbol or Hollywood’s quintessential “dumb blonde.” While many remember her for her comedic timing and sultry screen presence, her dance sequences in classic musical films also played a pivotal role in her enduring legacy. Her movements, though not rooted in formal training, were sharp, expressive, and utterly captivating—so much so that comparisons have been drawn to ballet greats like Margot Fonteyn for her fluidity and charm. Yet in Andrew Dominik’s controversial 2022 biopic Blonde, her considerable dance talents are barely hinted at, leaving a significant gap in how the star’s artistic legacy is presented.

Marilyn’s Musical Mastery

Monroe’s work with legendary choreographer Jack Cole was key to her development as a performer. In Gentlemen Prefer Blondes (1953), her “Diamonds Are a Girl’s Best Friend” number remains a masterclass in stylized movement. Monroe used the choreography’s deliberate minimalism—an elegant thrust of a pink-gloved arm here, a sly tilt of her head there—to evoke humor, sensuality, and control. This wasn’t a performer simply going through the motions; she infused the routine with a kind of playful wisdom, a knowing wink to the audience that kept the performance fresh even decades later.

Beyond “Diamonds,” Monroe and Cole collaborated on several other films, including There’s No Business Like Show Business (1954) and Some Like It Hot (1959). Her dancing, while never overtly athletic or showy, had a magnetic quality that proved she could hold her own alongside seasoned performers. She may not have been a trained dancer in the traditional sense, but her ability to command attention through graceful, deliberate movements ensured that her musical numbers were anything but ordinary.

How Blonde Missed the Mark

Released in 2022, Blonde made headlines for its graphic and divisive portrayal of Monroe’s life. Based on Joyce Carol Oates’ fictionalized novel, the film dove headfirst into the star’s struggles with exploitation, personal trauma, and substance abuse. Ana de Armas’ portrayal of Monroe received praise for her commitment to the role, but the film’s focus on portraying Monroe as a victim left little room to celebrate her artistic triumphs. This is most apparent in its handling—or mishandling—of her dance legacy.

While Blonde does recreate the famous “Diamonds Are a Girl’s Best Friend” sequence, it’s stripped of the sparkle and wit that defined Monroe’s original performance. Critics noted that the scene felt uninspired, failing to capture the original’s humor, sexuality, and vibrancy. Instead, Blonde recasts Monroe as a “haunted, hated sad sack,” focusing on her inner turmoil rather than her creative prowess. As a result, viewers unfamiliar with Monroe’s true on-screen vitality might never know just how electrifying she was as a dancer.

Why Dance Matters in Monroe’s Legacy

Monroe’s dancing wasn’t just about physical movement; it was a language she used to communicate her wit, confidence, and depth as a performer. Her ability to transform seemingly simple gestures into moments of pure cinematic magic was a testament to her artistic instincts. By focusing solely on the darker aspects of her life, Blonde misses an opportunity to showcase how Monroe’s dance performances were integral to her star power and her enduring influence on Hollywood musicals.

A Legacy Diminished?

Blonde’s omission of Monroe’s dancing skills may seem like a minor oversight in a film packed with heavy themes. However, this absence reveals a larger issue: the tendency to reduce Monroe to a tragic figure, neglecting the joy, effort, and talent she brought to her craft. For audiences discovering Monroe through Blonde, the dazzling performer who lit up the screen with every carefully choreographed move might remain a mystery. Instead, those curious about her true legacy are left to seek out her original performances, where her charm and artistry speak for themselves.