The Marilyn Monroe Movie She Wanted to Erase from History—And Why She Hated It!

Marilyn Monroe, a legendary icon of Hollywood, is remembered for her unforgettable roles and striking beauty, but not all of her films were embraced by the actress herself. Over the course of her career, which spanned from the 1950s to the early 1960s, Monroe starred in 29 films, some of which became timeless classics, such as Some Like It Hot and Gentlemen Prefer Blondes. However, one film in particular stands out as one she regretted being a part of—Let’s Make Love (1960). This article explores why Monroe wanted to erase this film from her career history and delves into the context surrounding her dissatisfaction.

Historical Context and Career Overview

Marilyn Monroe’s rise to fame came largely due to her portrayal of the “blonde bombshell” in comedic and musical roles. Despite her success, Monroe often found herself typecast, which led her to pursue more challenging, dramatic parts. In an effort to take control of her career and move beyond the roles that had pigeonholed her, she founded Marilyn Monroe Productions in 1955. With her newfound creative freedom, she hoped to secure roles that offered more depth, something she felt was lacking in many of her earlier projects.

While Monroe achieved commercial success with films that grossed over $200 million, such as Some Like It Hot, not every project was met with the same level of success or personal satisfaction. Among her less successful ventures was Let’s Make Love, a film she later expressed regret about being involved in.

Evidence Pointing to Let’s Make Love

The film Let’s Make Love, released in 1960, was one that Monroe had considerable reservations about. Monroe herself admitted in interviews that she was unhappy with the film’s script, stating that there was “no role… that you had to wrack your brain… there was nothing there with the writing.” This remark indicates her frustration with the lack of depth in the material. Monroe’s husband at the time, playwright Arthur Miller, also commented on the film’s quality, remarking that the script felt “like putting plaster on a peg leg,” underscoring the lack of substance in the project.

Critics and biographers also weigh in on Monroe’s dissatisfaction. A ranking article by Vulture notes that in Let’s Make Love, Monroe appeared “listless and lacking her typical incandescent energy,” which further emphasizes her disconnection from the material. This sentiment was echoed in numerous IMDb user reviews, where Let’s Make Love is often described as her “worst movie,” with many commenting on how weary Monroe appeared during production.

Critical Reception and Public Opinion

The negative reception to Let’s Make Love was reflected in its critical reviews. The film earned a disappointing 33% approval rating on Rotten Tomatoes, a stark contrast to the overwhelmingly positive reception of many of Monroe’s other films, like Some Like It Hot. Many critics were unimpressed with the lackluster script and Monroe’s underwhelming performance, marking it as one of her least successful efforts.

Comparison with Other Films

While Let’s Make Love stands out as a major regret for Monroe, it was not the only film where she felt out of place. For example, in There’s No Business Like Show Business (1954), Monroe felt discomfort competing with legendary dancers and singers like Ethel Merman and Mitzi Gaynor. However, unlike Let’s Make Love, There’s No Business Like Show Business did not receive the same negative attention. Monroe’s dissatisfaction with that film was less about the quality of the material and more about the challenging dynamics of working with such towering figures in the industry.

In contrast, Let’s Make Love remains the film most frequently associated with Monroe’s desire to “delete” from her career. It is commonly cited as the project where her potential was underutilized, and it marked a point in her career where she felt frustrated and out of sync with the film’s direction.

Conclusion

Though Monroe’s career boasted an impressive collection of films, Let’s Make Love stands as a blemish on her otherwise iconic filmography. From the disheartening script to her lack of enthusiasm for the role, the film failed to capture the spark that made her a Hollywood legend. Monroe’s regrets about the movie reflect her deep desire to break free from the typecasting that plagued her early career and to pursue more substantial, meaningful roles. In many ways, Let’s Make Love represents not just a disappointing film but a turning point in Monroe’s quest to define her legacy on her own terms.