Top endings of Marilyn Monroe's movies
In this article, I will create a personal ranking of the endings of Marilyn Monroe’s main films, from what I consider the weakest to the strongest. It is important to note that this is entirely a subjective opinion: everyone may have a different perspective and a different ranking. Additionally, discussing the endings of the films will involve spoilers, some quite detailed, so if you prefer not to know them, I recommend not continuing to read.
13 There’s No Business Like Show Business (1954)
In the ending of There’s No Business Like Show Business, after Tim’s disappearance following a year of family conflicts, the mother finally reconciles with Vicky. During the closing performance at the Hippodrome Theatre, Tim unexpectedly returns, and the entire Donahue family, along with Vicky, take the stage to perform the final musical number together. The family conflict is resolved quickly and symbolically, and the film concludes with a grand ensemble musical uniting all the characters.
In my opinion, this is the worst ending of any Marilyn Monroe film. The resolution feels very abrupt: Tim simply comes back after a year with no convincing explanation, and his disappearance, caused by just two arguments —one with Vicky and one with his father— feels exaggerated and hardly justifies a whole year away. Moreover, while singing on stage, Vicky and Tim appear to reconcile, but they never have a real conversation about what happened. The movie overall suffers from underdeveloped subplots, and the ending, besides being abrupt, feels basic and superficial. For me, this makes it the weakest conclusion in Marilyn’s filmography, even worse than Ladies of the Chorus, which is a B-movie.
12 Ladies of The Chorus (1948)
In Ladies of the Chorus, the ending resolves the main conflicts in a classic way: Peggy Martin, the protagonist, overcomes social prejudices and proceeds with her marriage to Randy Carroll. Randy’s mother, Adele, tries to smooth things over with her high-society friends by claiming she was once a chorus girl herself, although she is not entirely truthful. Meanwhile, Peggy’s mother, Mae, reconciles with her old friend Billy Mackay, who had always been in love with her, suggesting a happy future for both. The film concludes with reconciliation and family acceptance, leaving all the main characters in harmony and imparting a small moral lesson.
In my opinion, this is the worst ending among Marilyn’s B-movies, but it still ranks ahead of There's No Business Like Show Business. The ending is simple and predictable, resolving conflicts neatly and leaving everyone happy, but at least it is not abrupt. The resolution includes enough dialogue and development for the ending to feel complete and understandable, unlike the abrupt and unconvincing finale of There's No Business Like Show Business.
11 The Prince and the Showgirl (1957)
The ending of The Prince and the Showgirl concludes with a temporary farewell between Elsie and Prince Charles. After resolving the political and personal conflicts of the story, the prince tells Elsie they will have to wait approximately 18 months before they can reunite, and they part ways, leaving their relationship unresolved. The final scene shows Elsie walking alone, a mixture of melancholy and independence, while the prince leaves, keeping the possibility of a future meeting open. It is a bittersweet ending, quite different from the typical romantic comedy finales of the era, which usually feature a kiss or a definitive reconciliation.
In my opinion, this is one of the worst endings in Marilyn’s filmography. I like the movie overall, but the ending feels weak and narratively very basic. Marilyn performs very well, and the last shot is pleasant, but the farewell, while sensible given the limited development of the romance, is quite simple. I think a more absurd or surprising ending would have been much more interesting, although I understand that, as a romantic comedy, they opted for a moderate, temporary closure, somewhat in the style of Roman Holiday.
10 Let's Make Love (1960)
The ending of Let’s Make Love shows Jean‑Marc Clément revealing his true identity to Amanda Dell. After the confession, Amanda is initially hesitant and confused, but they eventually clear up the misunderstanding and reconcile, sealing their relationship with a kiss in the elevator. The scene closes the film on a light, romantic, and optimistic note, fulfilling the expectations of a musical romantic comedy.
In my opinion, this ending is more absurd than the one in The Prince and the Showgirl, which makes it more fun. It is one of the best parts of the movie, even though it is not particularly brilliant, considering that the film overall is rather weak. The final joke is stretched out too long, and technically Amanda was in love with Tony, yet she ends up kissing Jean‑Marc without fully addressing that aspect. Overall, it is a decent ending, though with some flaws.
9 How to Marry a Millionaire (1953)
In my opinion, it is a classic comedy ending with happy romances and a final humorous twist, which works but feels relatively weak compared to other endings in Marilyn’s films. Even though How to Marry a Millionaire is one of my favorite Marilyn movies, the finale does not reach the strength of the rest of the story, although it still works within the overall tone of the film.
8 The Seven Year Itch (1955)
In The Seven Year Itch, the ending shows Richard Sherman, confused by his fantasies and imagined jealousy, punching his wife’s friend Tom MacKenzie, mistakenly thinking he’s coming to ask for a divorce. After this incident, Richard regains his senses and decides to leave the neighborly temptation behind. He says goodbye to her warmly while she throws his shoes out the window, and he rushes to the station to reunite with his wife and son, closing the story with a kind and playful ending, typical of Billy Wilder’s style.
In my opinion, the ending of The Seven Year Itch is very enjoyable. Wilder usually delivers the best conclusions, and this is no exception. Even though I like the movie less than How to Marry a Millionaire or The Prince and the Showgirl, I think its ending is more effective: it’s more absurd and “rough,” very much in Wilder’s style. Richard punching his wife’s friend, the neighbor being as amusing as always, and the comic touch of the shoes being thrown out the window make it a brilliant closing, full of Wilder’s signature humor.
7 Don't Bother to Knock (1952)
The ending of Don't Bother to Knock shows how the tension and danger reach their peak when Nell Forbes, mentally unstable, threatens to harm herself with a razor. Jed Towers manages to calm her with patience and empathy, preventing a tragedy. Shortly after, authorities arrive to take Nell into custody and provide her with the help she needs. At the same time, Jed's experience with Nell also hints at a possible reconciliation with Lyn, his former girlfriend, leaving a serious and reflective ending that resolves the main conflict of the film while highlighting themes of understanding and support in the face of a mental crisis.
In my opinion, the ending of Don't Bother to Knock is relatively positive for a psychological thriller. There are no deaths, and although it may seem somewhat mild, it fits perfectly with the character development. A more tragic ending would not have worked, and this conclusion is original for its time. It also humanizes Nell, showing her mental illness as something that requires help rather than portraying her as a monster. Still, there are Marilyn films with better endings, but this one is quite fitting within its genre.
6 Niagara (1953)
The ending of Niágara presents the story’s climax: George attempts to escape with Polly in a boat, pursued by the police, and ultimately goes over the falls with the boat, while Polly is safely rescued. It’s a tragic and dramatic conclusion that focuses all the tension on the river’s danger and George’s fate.
In my opinion, the ending of Niágara is quite good and fits the intensity expected of a strong noir, though it feels somewhat abrupt. The boat’s fall relies on too many convenient coincidences, and a final confrontation between George and Rose would have made the climax more powerful. Rose’s earlier death is effective, but leaving it for the very end could have made the conclusion even more striking. Overall, it works, but there’s room for improvement.
5 River of No Return (1954)
The ending of River of No Return shows Matt finally confronting Harry, Kay’s former fiancé, while Mark protects his father by shooting Harry in the back, echoing a heroic act Matt once performed to save a friend. Kay, disappointed and saddened, takes a job at the local saloon, and Matt comes to take her and Mark back home. In the final scene, Kay throws her showgirl shoes into the street, symbolizing the end of her old life and the beginning of a new chapter with Matt and his son.
In my opinion, the ending of River of No Return is quite good. Kay’s disappointment with the man she loved feels believable, and Mark’s action provides an emotional and symbolic closure. Marilyn delivers an outstanding performance as a sad and disenchanted Kay; her rendition of River of No Return is one of her best musical performances, perfectly blending drama and song, and the dress she wears in the scene adds a visually appealing touch.
4 Bus Stop (1956)
The ending of Bus Stop begins when Bo finally offers a sincere apology to Cherie for the way he treated her and for trying to force her to marry him. After apologizing, he prepares to leave without her. Cherie then approaches him and confesses that she is not the ideal woman he imagined, explaining that she has had many boyfriends in the past. Bo admits that he has no experience with women and that she is the first woman he has truly loved. They share their first genuine kiss, and Cherie is moved when she realizes that Bo now respects her for who she is. She decides to go with him to Montana, and the scene concludes with Bo offering her his jacket to keep her warm and helping her onto the bus, showing the change in his attitude and sealing their reconciliation.
In my opinion, the ending of Bus Stop is quite good. Marilyn brings out dramatic qualities that she had not shown so clearly before: she cries, appears nervous, and performs small, very method-like and realistic gestures before transitioning into genuine happiness in a convincing way. At the same time, we finally see a more mature Bo, which works well within the character’s development. The final moment could be considered sentimental, and there are few things I dislike more than excessive sentimentality, but in this case the romance works because we have seen almost no real romance between Bo and Cherie during the film. As a result, it never feels overly sweet and instead flows naturally. It also clearly shows Bo beginning to behave like what, at the time, would have been considered a gentleman, which is something I like quite a lot about the ending.
3 Gentlemen Prefer Blondes (1953)
The ending of Gentlemen Prefer Blondes begins after Dorothy has impersonated Lorelei during the trial to buy time. Once the misunderstanding is resolved, Lorelei confronts Gus’s father, who still believes she only wants to marry his son for his money. In this conversation, Lorelei tries to convince him with her characteristic wit, defending her perspective and showing that she is not as naïve as she seems. In the end, she manages to persuade him and gains his approval for the marriage. The film concludes with a double wedding: Lorelei marries Gus and Dorothy marries Malone, and the two friends celebrate together by singing Two Little Girls from Little Rock, closing the story on a joyful and festive note.
In my opinion, the ending of Gentlemen Prefer Blondes is fantastic. Lorelei arguing with Gus’s father is extremely funny and gives us a legendary line: “I can be smart when it’s important, but most men don’t like it.” The wedding itself is more conventional, but it works very well because it celebrates both couples and especially the bond between Lorelei and Dorothy, who are practically like sisters. Having them sing Two Little Girls from Little Rock again, this time signaling their victory, makes for a very satisfying ending and one of the best finales in Marilyn’s films.
2 The Misfits (1961)
The ending of The Misfits comes after the intense wild horse round-up. After capturing the mustangs to sell them as dog food, Roslyn becomes emotionally devastated by the cruelty she witnesses, which sparks a major conflict with the men. Perce, the youngest of the group, begins to show sympathy for Roslyn, while Guido grows increasingly bitter and frustrated. Gay, who had been determined to capture the powerful stallion, eventually undergoes a change of heart and decides to release the horses, even letting go of the last mustang he had struggled so hard to catch. After this, the group breaks apart, and the conclusion comes when Gay and Roslyn share a sincere conversation about their lives and their loneliness. In the final moments, the two of them simply get into the truck together and drive off through the desert, leaving a quiet and melancholic ending.
In my opinion, the ending of The Misfits is very good. Although it may seem relatively mild compared to other harsh dramas, it is emotionally powerful, which is remarkable because it feels very raw even though it is not extremely dramatic on the surface. Each character fits perfectly into the conclusion: Roslyn acts as the heroine, Perce as her helper, Guido emerges as the antagonist, and Gay becomes the antihero who ultimately redeems himself. The ending is relatively happy, which is unusual for such a tough drama, and the final scene with Roslyn and Gay in the truck is quite beautiful. Moreover, considering that it is the final film scene for both Marilyn Monroe and Clark Gable, it also carries a very special historical significance.
1 Some Like It Hot (1959)
The ending of Some Like It Hot begins with Joe and Jerry escaping after the events with Spats Colombo’s gang. During this sequence, Joe kisses Sugar as she realizes that Josephine and the supposed millionaire Junior are the same person. They escape in the boat toward Osgood’s yacht, where Joe reveals his true identity and feelings, which Sugar accepts. At the same time, Jerry reveals his real identity to Osgood, and the film ends with the iconic line, “Nobody’s perfect.”
In my opinion, this ending is not only the best of all Marilyn’s films but arguably the greatest ending in film history. First, the execution of Spats Colombo and his gang is incredible for its time, completely gangster-style, very Scarface or Goodfellas within a comedy; from the Hays Code until Bonnie and Clyde, such a level of gun violence had never been seen in a movie. Additionally, Sugar Kane singing I’m Through With Love is heartbreaking, showing one of Marilyn’s best dramatic performances, and the final moments between Jerry and Osgood are simply the funniest in film history. Perfect.
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