The genres in which Marilyn Monroe acted

 Marilyn Monroe is undoubtedly one of the most recognizable icons in film history, but her career was far more than the image of a glamorous blonde repeated endlessly in popular culture. The purpose of this article is to explore the genres she worked in throughout her filmography: she appeared in comedies, dramas, thrillers, noir, westerns, and musicals, often experimenting with subgenres and hybrid forms such as musical comedies, gangster comedies, romantic dramas, or adventure-westerns. She did not cover every genre of the era—she never starred in epic films, fully realized biopics, or pure horror—but it is worth noting that before her death she planned a biopic about Jean Harlow, showing her interest in expanding her artistic range even further.

Comedies are the genre most commonly associated with Marilyn and where she achieved her greatest commercial successes, but there was significant variety within this category. Her first appearance in a comedy with any screen presence was in Love Happy, although her screen time was very limited. She also appeared in comedies as a supporting actress, such as As Young as You Feel and Monkey Business, before taking center stage in her two major pure comedies: How to Marry a Millionaire and The Seven Year Itch. In the realm of musical comedy, Gentlemen Prefer Blondes stands out: while it features several musical numbers, the comedic element dominates and Marilyn carries the central role. In a unique twist, Billy Wilder essentially invented a new subgenre with Some Like It Hot, a gangster comedy where humor remains central but the “gangster” component is essential and expertly executed. Marilyn also explored romantic comedies, including The Prince and the Showgirl and Let’s Make It Legal, blending light-hearted humor with romantic chemistry.

Marilyn also worked extensively in drama, covering multiple styles. She appeared in lighter dramas as a supporting actress, such as Home Town Story, and in more intense dramas, still in supporting roles, like All About Eve. At the pinnacle of her dramatic work is The Misfits, where she held the leading role and delivered a raw, unadorned performance. In the romantic drama category, her first starring role in Ladies of the Chorus and later appearances in Let’s Make It Legal and Clash by Night show her navigating romantic and psychological tensions. Her first filmed movie, Scudda Hoo! Scudda Hay!, is a rural drama with romantic touches in which she appears almost as an extra, and the first film to be released with her in the cast, Dangerous Years, is a courtroom drama where she is again secondary. She also performed in sports dramas as a supporting actress, such as Right Cross and The Fireball (the latter including some comedic elements), as well as in comedy-dramas leaning closer to drama, like Love Nest and, as a leading actress, Bus Stop.

In the noir and thriller arenas, Marilyn tackled key roles. She appeared as a supporting actress in The Asphalt Jungle, a heist noir that helped define the subgenre under John Huston. Later, she starred in Niagara, a color noir where she was central to the story, one of the earliest examples of color film noir. She also ventured into psychological thriller with Don’t Bother to Knock, her second film as a lead, blending suspense, drama, and elements that verge on psychological horror.

In westerns and adventure films, Marilyn participated in two notable projects. In A Ticket to Tomahawk, she played a supporting role in a comedic western with touches of adventure and musical elements. Later, she starred in River of No Return, often categorized as a western because of its late 19th-century American setting with cowboys and Native Americans, but the film is more of an adventure-drama: green forests, rivers, and personal conflicts replace the typical desert duels of classic westerns.

Regarding musicals, although Marilyn sang in several films, the only pure musical in her career is There’s No Business Like Show Business, a classic musical where song and dance are central to the narrative.

Marilyn also appeared in anthology films, such as We’re Not Married! and O. Henry’s Full House, performing in individual segments that varied in tone. In these short stories, she explored both comedic and dramatic registers, allowing her to experiment with different styles without carrying an entire feature-length narrative.

As mentioned, she never made epic films, pure horror, or completed biopics, but her planned project about Jean Harlow shows she was interested in pushing beyond her existing repertoire.

In conclusion, the idea that Marilyn Monroe only made comedies is a significant oversimplification. She worked across comedy (in multiple forms), drama (from light to raw), noir, psychological thriller, western, and musical, often exploring subgenres and hybrid forms. While she did not touch every genre, her ability to navigate multiple registers—even within a single film—confirms her legacy as a versatile actress whose range goes far beyond the popular perception of her as merely a comedic icon. Billy Wilder and John Huston may have shaped new subgenres and cinematic spaces, but at the center of this diverse map stands Marilyn, able to move seamlessly through complex genres while maintaining her unmistakable presence and talent.