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Marilyn Monroe’s white dress billowed around her as a gust of wind emanated from a New York City subway grate, creating an unforgettable image that would soon be woven into the fabric of pop culture. This photograph, captured during the filming of the 1955 comedy ‘The Seven Year Itch,’ solidified Monroe’s status as a timeless sex symbol.
This year marks the 70th anniversary of Monroe’s most recognizable performance. Recently released details from a new book titled ‘Dear Marilyn: The Unseen Letters and Photographs’ bring to light the fascinating story behind this iconic moment. The book, published by the family of photographer Sam Shaw, who was a close friend of Monroe and the mastermind behind many of her celebrated photos, delves into the lesser-known origins of that monumental shot.
Melissa Stevens, Shaw’s granddaughter, shares insights that reveal this iconic image as more than just a moment in time. She states, “The origin story of my grandfather’s ‘Seven Year Itch’ photographs is not really well known.” The narrative begins in 1941, when Shaw worked as a photojournalist during World War II.
While on assignment at Coney Island, Shaw photographed young women and sailors enjoying a moment of respite. As the wind lifted their skirts, one of these photographs eventually graced the cover of a magazine called Friday. This early exposure to the playful interplay of wind and fabric would later influence his work with Monroe.
Fast-forward to 1954, when Shaw received a call to be the still photographer for ‘The Seven Year Itch.’ Upon reading the script, he immediately recalled the successful 1941 image. The screenplay featured a scene where Marilyn exits a movie theater, walks over a subway grate, and feels the breeze from a passing train. The phrase “Oh, do you feel the breeze? Isn’t it delicious?” resonated with Shaw, sparking an innovative connection to his earlier work
Stevens elaborates, “The minute that Sam read that in the script, he remembered the 1941 photograph from Coney Island. He essentially repurposed that photograph, which is very joyful and fun.” The creative adaptation not only paid homage to that photograph but also turned into a monumental event on the streets of New York.
Shaw decided to request additional police officers to ensure crowd control at the filming site located at Lexington Avenue and 51st Street. He also arranged for a wind machine to create the desired effect of the subway breeze as Monroe stepped onto the grate. The day of the shoot, September 15, 1954, saw throngs of people, primarily men, flocking to catch a glimpse of the iconic image.
The event drew so much attention that, according to Shaw, “The police were completely off guard, more fascinated watching Marilyn, forgetting the mob.” What unfolded was an exhilarating scene where the camera flashed, revealing glimpses of Monroe’s white underwear as she stood over the grate.
In retrospect, the scene might seem harmless. However, Stevens notes that it sparked controversy during its time. “People may think today, ‘What’s the big deal about a woman with her skirt blowing up a little bit?’” she says.
The context of 1950s American society imposed strict standards on the portrayal of women in film. Negative feedback from the Catholic Legion of Decency and various morality groups criticized the scene as indecent. When asked about the level of caution exercised during filming, Stevens emphasizes that Shaw had to navigate the Hollywood studio system delicately to avoid censorship.
Following the frenzied shoot, the footage was reshot in a controlled environment at a Los Angeles studio. Here, Shaw had complete command over the wind and lighting, thus ensuring Monroe’s garment did not reveal too much. This reshot became a striking promotional image for the film.
Despite its modest final cut, the scene immortalized Monroe, contributing significantly to her legacy. However, it came at a cost. Shaw recounted that Monroe’s husband, Joe DiMaggio, reportedly walked away from the set in anger during the iconic shoot.
Shortly after the filming, Monroe informed the media that her marriage was over. Reportedly, she expressed in the days following the shoot, “I never saw her cry except on television the morning she left Joe.” According to Shaw, even in moments of personal turmoil, Monroe maintained a facade of enthusiasm on set, continuously working and performing.
The film not only propelled Monroe to legendary status but also marked a turning point in her career. Shaw noted that she began demanding fair compensation that reflected her star power. She voiced her need for better scripts and director approval, boldly breaking free from the constraints of her 20th Century Fox contract.
As Shaw recalled, “The studio was furious. They tried to stop her publicity and fame, but they needed her to sell the film.” By asserting her individuality, Monroe challenged the patriarchal structures of Hollywood.
In the years following Shaw’s passing in 1999, Stevens continues to cherish their unique friendship. She recounts communication where her grandfather expresses concern for Monroe during troubled times, referring to a more bittersweet tone in some of his letters.
Stevens reflects, “There’s a lot of difficulty in Marilyn Monroe’s life, but Sam referred to something called ‘the joy of Marilyn.’” She emphasizes that Monroe exhibited resilience, wit, and strength amidst adversity.
The fascination with Monroe’s life endures as she symbolizes the American dream, as Stevens articulates. From humble beginnings, Monroe’s ascent to stardom narrates the compelling story of a determined woman who defied expectations and emerged triumphant. Truly, the subway grate scene serves as not just an iconic moment in cinema but as a powerful testament to her legacy.