When Marilyn Monroe Goes Through the Motions

In this article I will analyze three films in which, in my opinion, Marilyn Monroe performs in a state that could be described as “going through the motions”, essentially on autopilot. This idea does not mean that her performances are bad or lacking; in fact, in the films I will discuss, Marilyn still acts well and often delivers solid work. However, there is a noticeable difference in energy and emotional engagement compared to her other performances. It feels as if she is fulfilling the role in a professional manner, but without that extra layer of intensity or connection that makes her best work stand out so strongly. This article is not meant to criticize her talent, but rather to explore those cases where context seems to have led her into a more automatic style of performance.

River of No Return (1954)

River of No Return is probably the clearest example of this “autopilot mode” within Marilyn Monroe’s filmography. According to various biographies and production accounts, it was not a film she was particularly interested in, and she was not entirely comfortable with either the project or its execution. On top of that, her very difficult relationship with Otto Preminger, marked by tensions during filming, contributed to an unstable working environment and a lack of motivation.

Even so, this does not mean Marilyn is bad in the film at all. In fact, her performance is quite strong in many moments. She has very good chemistry with Robert Mitchum, which works especially well within the dynamic of the main couple. Her slightly deeper vocal tone also fits Kay’s tougher and more practical personality, creating an interesting contrast. The musical numbers are also excellent and once again showcase her natural talent.

However, overall there is still a sense of detachment, likely linked to her lack of enthusiasm for the project and the difficult filming conditions, during which she even injured her ankle. The result is a performance that is solid and occasionally excellent, but that does not quite reach the emotional intensity of her best work. That balance between professionalism and distance is exactly what makes this feel like a kind of “autopilot” performance.

There’s No Business Like Show Business (1954)

There’s No Business Like Show Business is another fairly clear example of Marilyn Monroe working in what could be described as “autopilot mode”. In this project, Marilyn had little real interest in doing a straight musical, and she was not eager to be positioned as another Betty Grable-type musical star. In fact, her main motivation for accepting the film was contractual: 20th Century Fox promised her that she would be allowed to make The Seven Year Itch afterwards, which already frames the project more as an obligation than a passion-driven choice.

She also found herself in an environment dominated by performers who were highly specialized in classic musical theatre, which made her feel somewhat out of place within the ensemble, even if she was not in conflict with everyone involved. Marilyn was very capable in musical performance, but it was not her primary artistic identity; it was more of an extension within her films, which naturally set her apart from the rest of the cast.

In terms of performance, the film is uneven for her. In the musical numbers she is absolutely excellent, and those moments are where the film really comes alive from her side. However, outside of them, while she still delivers a solid performance as Vicky Parker and the character has interest, there is a noticeable lack of deeper engagement. It is not a bad performance at all, but it does feel like she is operating in “autopilot mode”, slightly outside her comfort zone and working more professionally than creatively.

Let’s Make Love (1960)

Let’s Make Love is another clear case where Marilyn Monroe can be seen working in what I would call a “going through the motions” state. By this point, she was still under her 20th Century Fox contract, which required her to complete four films within seven years, but she also had more freedom than before to choose projects and work outside the studio. Within that limited freedom, Let’s Make Love was reportedly the “least bad” option for her, rather than a film she was genuinely excited about, and the weak script did little to help her engagement with the material.

Given those limitations, Marilyn still manages to deliver a good performance overall. There are moments where she clearly works well with what she is given, and once again she shines in the musical numbers, where her natural screen presence and charisma come through effortlessly. However, outside of those highlights, there is a noticeable sense that she is operating within constraints, both creative and emotional, which contributes to that feeling of autopilot rather than full immersion.

Even so, it is worth noting that, despite her own dissatisfaction with the project and the limitations of the script, she still comes across as significantly stronger than her co-star Yves Montand, which says a lot about her natural screen presence even in a weaker vehicle.

Conclusion

Taken together, these three films reveal a very specific side of Marilyn Monroe: not that of an incapable or lazy actress, but of a performer who sometimes worked with a clear sense of distance from the material. In River of No Return, There’s No Business Like Show Business, and Let’s Make Love, there is still talent, screen presence, magnetism, and even genuinely excellent moments, but there is also a noticeable sense that Marilyn was not fully connected to what she was doing. That is why “going through the motions” feels like an accurate way to describe them: not because she acts badly, but because she is often acting correctly, professionally, and sometimes very well, without the extra spark of full emotional investment that defines her best work.

In the end, this article also says a lot about the system Marilyn worked under. Not every film came from enthusiasm, and not every production was designed to bring out her very best. Sometimes the material was weak, sometimes the working environment was difficult, and sometimes the project simply was not the kind of film she wanted to make. And yet, even then, Marilyn kept delivering, often beyond what the material really deserved. That is one of the reasons she remains so fascinating: even when she is on autopilot, she rarely stops being Marilyn.