How should Marilyn Monroe's career be divided?

 Historians have always enjoyed dividing major historical processes into stages or phases — whether it’s human history into eras, artistic movements into periods, or personal journeys into distinct phases. Marilyn Monroe, as one of the most significant figures in the history of cinema, deserves a similar approach. In this article, I aim to divide Marilyn Monroe’s film career into five stages, in order to better understand her evolution as an actress and as a cultural icon. It’s important to clarify that this division focuses exclusively on her film career, not her personal life. Marilyn’s private life was complex and fascinating, but here we’ll focus solely on her professional development — how she transformed from an inexperienced newcomer into one of the most iconic and talented actresses in film history.

With that said, let’s begin.

1The Beginnings of a Star (1947–1949)

This first stage explores Marilyn Monroe’s beginnings in cinema, focusing entirely on the late 1940s. I’ve chosen to mark the start of this period in 1947, as it was the year Marilyn officially began acting and made her first on-screen appearance in Dangerous Years. However, it’s worth noting that she had actually signed her first contract with 20th Century Fox in 1946. Still, she didn’t begin acting until the following year, after turning 21 and reaching legal adulthood in the United States. Taking that into account, some might place the beginning in 1946, but I prefer 1947, since that’s when her true acting career began. Unlike some actors who found instant success, Marilyn didn’t start her career with a major role or a big-budget film. She had to earn her place through effort, persistence, and patience. During this stage, she appeared in four films: Dangerous Years, Scudda Hoo! Scudda Hay!, Ladies of the Chorus, and Love Happy. While that might sound like a fair number, her roles were mostly minor—almost cameos. In Scudda Hoo! Scudda Hay!, for instance, she appears for just a second, waving to the main character, and later in the background on a canoe. In fact, she originally had more scenes, but they were cut from the final version.

At this stage, acting didn’t provide her with a living, so she continued working primarily as a model. Still, her dream was to be an actress, and she was determined not to give up. She studied for a time at the Actors Lab, honing her craft and preparing for better roles. In terms of contracts, as mentioned, she first signed with Fox in 1946, but after Dangerous Years and Scudda Hoo! Scudda Hay! her contract wasn’t renewed. In 1948, she signed with Columbia Pictures—the only contract of her career that wasn’t with Fox—but again, after Ladies of the Chorus, it wasn’t renewed. This financial instability led to economic difficulties, which eventually pushed her to pose nude for the now-famous calendar—a decision that would later resurface once she became a star.

Ladies of the Chorus deserves special mention because it was the only film during this period in which Marilyn played a leading role, marking her first time as a star. Although the movie was a low-budget B-picture with a simple script, her performance was quite good considering her lack of experience. It clearly revealed the potential that would later make her a Hollywood icon. Love Happy is also noteworthy since it was a Marx Brothers film. Marilyn appears for only a few seconds, but it’s intriguing to imagine what a fuller collaboration might have been like between those comedy legends and a more mature, experienced Marilyn. During this first stage, Marilyn wasn’t famous yet—no one really knew who she was. But she was already a young, talented, and ambitious woman determined to fulfill her dreams, something she would undoubtedly achieve.

2 Work and Growth (1950–1952)

This second stage covers the early 1950s, when Marilyn Monroe was still the eternal supporting actress and color film had not yet dominated her career. During this period, Marilyn began to gain recognition and slowly became known in Hollywood. Much of this rise was thanks to Johnny Hyde, a powerful agent who fell in love with Marilyn and helped her secure roles in The Asphalt Jungle and All About Eve. These films gave her visibility, but of course, the credit wasn’t only Hyde’s — it was Marilyn herself who won audiences over with her presence and charm. By 1950, Marilyn was already becoming known; in 1951, she started getting more substantial supporting roles, and by 1952 she was almost a star, though not yet at her peak. Interestingly, even before achieving full stardom, Marilyn was receiving more fan mail than many top actresses of the time — she was already incredibly beloved.

During this stage, Marilyn truly became a full-time actress, appearing in fourteen films in just three years (A Ticket to Tomahawk, The Asphalt Jungle, All About Eve, Right Cross, The Fireball, Home Town Story, As Young as You Feel, Love Nest, Let’s Make It Legal, Clash by Night, We’re Not Married, Don’t Bother to Knock, Monkey Business, and O. Henry’s Full House). In most of these she played secondary roles, though their importance varied. In 1950, her appearances were still small, similar to her earliest work — often just cameos — while in 1951 she had clear supporting parts, and in 1952 she played a bit of everything: supporting in We’re Not Married, strong supporting roles in Clash by Night and Monkey Business, a leading role in Don’t Bother to Knock, and a brief appearance in O. Henry’s Full House. Interestingly, after that film, Marilyn would never again play a secondary character. During this time she studied acting with Michael Chekhov and worked closely with Natasha Lytess as her coach. Marilyn’s dedication was extraordinary — besides making fourteen films, she continued some modeling work and attended university to complete her studies. After All About Eve, she signed a new contract with Fox, which solidified her position at the studio.

Among the films from this period, A Ticket to Tomahawk stands out as the only one in color, while The Asphalt Jungle and All About Eve are the most acclaimed and memorable. Personally, The Asphalt Jungle can be considered the best of this stage. By 1952, Marilyn had improved greatly as an actress: in Clash by Night she delivered her best supporting performance, and in Don’t Bother to Knock she finally obtained a leading role — her first in four years, since Ladies of the Chorus. Her portrayal of a mentally unstable young woman was impressive, especially given her limited experience as a lead and the fact that most of her earlier roles were comedic rather than dramatic. In summary, this stage represents the period of artistic consolidation for Marilyn Monroe — a time when she established herself as a serious actress, gained popularity, and earned the audience’s affection, all while preparing for what was to come next: the rise of a true superstar.

3 Rise to Stardom (1953–1955)

We now reach a crucial point in Marilyn’s career — this third stage marks the moment when she truly exploded into fame and became a superstar. From this point on, Marilyn would only play leading roles. Fox was fully aware of her immense popularity and, above all, how beloved she was by the public, so it was time to start giving her the starring roles she deserved. During this period, Marilyn made six films (Niagara, Gentlemen Prefer Blondes, How to Marry a Millionaire, River of No Return, There’s No Business Like Show Business, and The Seven Year Itch). She continued studying with Michael Chekhov and kept Natasha Lytess as her acting coach. Interestingly, this period also coincides with her romance with Joe DiMaggio — they met and began dating around the time of Niagara and Gentlemen Prefer Blondes, and their relationship ended shortly after filming the famous subway grate scene in The Seven Year Itch. Additionally, during this stage, color cinema was becoming fully established, CinemaScope appeared, all of Marilyn’s films in this period were in color, and it almost seems that the rise of color in Hollywood went hand in hand with Marilyn’s rise.

Marilyn’s contract with Fox continued during these years, and her salary gradually increased, though it still remained modest compared to her enormous fame. As for her films, 1953 was the year of her explosion into superstardom. Niagara was a success and solidified her image, but it was Gentlemen Prefer Blondes that truly immortalized her. Both Gentlemen Prefer Blondes and How to Marry a Millionaire were huge box-office hits, firmly establishing Marilyn as a brilliant comedic actress. In 1954, her momentum slowed slightly — River of No Return and There’s No Business Like Show Business were moderately successful but fell short of her 1953 triumphs. However, in 1955, The Seven Year Itch matched the success of Gentlemen Prefer Blondes, cementing Marilyn’s status as a global superstar. By then, it was clear she wasn’t a one-year sensation — she was a true cinema icon. This stage showcases Marilyn’s versatility. In terms of genre, she made two comedies, one musical, one musical comedy, one thriller, and one Western adventure. Regarding her performances, three were primarily comedic (Gentlemen Prefer Blondes, How to Marry a Millionaire, and The Seven Year Itch), two were dramatic (Niagara and River of No Return), and There’s No Business Like Show Business mixed both comedy and drama outside of its musical sequences.

In my opinion, the best film of this stage is Gentlemen Prefer Blondes, while her best performance comes from Niagara. On the other hand, I would consider There’s No Business Like Show Business both her weakest film and weakest performance of this era. As mentioned earlier, although Marilyn didn’t limit herself exclusively to comedy, her biggest successes — Gentlemen Prefer Blondes, How to Marry a Millionaire, and The Seven Year Itch — were all comedies, and Fox began typecasting her as the “funny blonde.” Marilyn quickly realized this and disliked it, so by the end of this stage, she made bold and decisive moves: she rejected roles, founded Marilyn Monroe Productions to gain independence and leverage against Fox, and began studying at the Actors Studio. By then, Marilyn Monroe was already a superstar — but she didn’t just want to be good; she wanted to be one of the greatest actresses in history. And she was determined to make that happen.

4 The Greatest Actress (1956–1959)

This stage represents the peak of Marilyn’s career as an actress. As mentioned before, she created Marilyn Monroe Productions to avoid being typecast and to gain greater negotiating power with Fox. The studio had to give in, offering her a lucrative new contract and more independence in choosing her films. She would not be typecast and would have significant influence over the script, director, actors, and other creative decisions. She also began studying at the Actors Studio with Lee Strasberg, becoming a method actress. The method was in vogue: classical drama was becoming outdated, and Marlon Brando and Montgomery Clift had revolutionized dramatic acting. The method allowed for more emotional and intense performances, and Marilyn became one of the first actresses —and the first superstar— to adapt to it, dramatically expanding her range. Marilyn thus solidified her status as the queen of comedy and simultaneously as an actress capable of excelling in dramatic roles.

During this stage, she ended her collaboration with Natasha Lytess, and her new coach became Paula Strasberg. She moved to New York and married Arthur Miller. Marilyn made three films during this period: Bus Stop, The Prince and the Showgirl, and Some Like It Hot. Bus Stop was a dramatic comedy, The Prince and the Showgirl a romantic comedy, and Some Like It Hot a comedy with dramatic elements. Regarding her performances, in Bus Stop Marilyn delivered a dramatic, emotional method performance with comedic nuances. In The Prince and the Showgirl, her performance was predominantly comedic, while in Some Like It Hot she masterfully combined comedy and drama. Marilyn surpassed herself as an actress: her three performances during this stage were superior to any of her previous work, even exceeding Niagara. Bus Stop was a success and established Marilyn as a serious actress. The Prince and the Showgirl achieved moderate success, especially in the UK, but less than her previous films. Some Like It Hot became her biggest success to date, surpassing even Gentlemen Prefer Blondes and The Seven Year Itch.

In my opinion, the best film of this stage is Some Like It Hot, while the weakest is The Prince and the Showgirl. Regarding her performances, the best acting of Marilyn in this stage —and up to this point in her career— is Bus Stop. Her weakest performances of the stage are in Some Like It Hot and The Prince and the Showgirl, though both are still better than her previous works, even Niagara. The Prince and the Showgirl stands out as her best purely comedic performance, since Some Like It Hot clearly contains dramatic elements. During this stage, Marilyn arguably became the best actress in the world at the time: she was already likely the greatest comedic actress, and by adapting to the method in dramatic roles, she became unmatched even against the classical greats, regardless of what awards might suggest.

5 The End of a Star (1960–1962)

The fifth and final stage of Marilyn’s cinematic career coincides with the 1960s. It could be considered a period of “decline” due to her personal difficulties, but it is more accurate to call it the end of her career, as we are focusing solely on her work in film, not her private life. In 1960, although her marriage to Arthur Miller was falling apart, Marilyn experienced positive moments: she was excited about Kennedy’s campaign and, during the filming of The Misfits, delivered a remarkable performance under John Huston’s direction, enjoying a good working relationship with him. Clark Gable, her idol, and Montgomery Clift and Eli Wallach, her friends, made the experience enjoyable. 1961 was more challenging: her definitive divorce from Miller and the death of Clark Gable were significant blows, though Frank Sinatra supported her, she bought a house in Los Angeles, and started an open relationship with Joe DiMaggio. In 1962, most of the year was positive: she was happier, returned to acting in Something’s Got to Give, and continued pursuing her passion for performance. The only setback was in June when Fox fired her, but the situation improved in July.

It is not fair to call this stage a cinematic decline: Let’s Make Love and The Misfits were not major hits, but neither were they failures. They were at the level of earlier films like Niagara, River of No Return, or The Prince and the Showgirl, meaning moderate successes. Although these were expensive productions, they were profitable, and Marilyn remained a superstar. Nor was there a decline in her acting: in Let’s Make Love, her performance is weaker than in previous films but still shows her talent, while in The Misfits, she delivered the best performance of her career, surpassing even her work in Bus Stop. During this stage, Marilyn continued studying at the Actors Studio with Paula Strasberg as her coach, divorced Miller, maintained an open relationship with DiMaggio, and returned to Los Angeles. Her films were Let’s Make Love (romantic comedy), The Misfits (drama), and the unfinished Something’s Got to Give (comedy). In Let’s Make Love, her performance blends comedy, drama, and musical elements; in The Misfits, it is entirely dramatic and methodical; and in Something’s Got to Give, she again combines comedy and drama.

In my opinion, The Misfits is the best film and performance of this stage, while Let’s Make Love is the worst, and Something’s Got to Give cannot be judged due to being unfinished. The Misfits showcases Marilyn at the height of her talent, delivering a deep, memorable performance, while Let’s Make Love, although demonstrating her skill, is limited by a weak script. In summary, Marilyn maintained her full potential as an actress during this stage, but unfortunately, she did not have more time to continue creating memorable films and performances.

Conclusion

In summary, this division into five stages helps to better understand Marilyn Monroe’s evolution as both an actress and a star. From her humble beginnings in the 1940s, through a period of hard work and growth, to her rise to stardom and her peak as the best actress of her time, it is clear how her talent, ambition, and dedication made her a global cinema icon. Even in her final stage, despite personal challenges and less successful projects, Marilyn maintained her acting quality and left an indelible mark on film history.

This division also highlights how Marilyn adapted to changes in cinema: from the transition to color and cinemascope, to incorporating method acting, becoming one of the first superstars to master both comedy and drama with emotional depth. Her career demonstrates that behind the myth was a hardworking, intelligent woman determined to be more than just a pretty face, and her legacy extends far beyond the roles that made her famous.

With this, I hope readers gain a clearer and more appreciative understanding of Marilyn Monroe’s complex and fascinating career, realizing that each stage of her career contributed something unique to her story as an actress and cultural icon.