![]() I think he just craved a little affection. ![]() The Girl: “He was kind of scary looking, but he wasn’t really all bad. Richard: “Sorry for the creature? What’d you want him to marry the girl?” The Girl: “Didn’t you just love the picture? I did, but I just felt so sorry for the creature at the end.” In the film, The Girl (Monroe) and Richard Sherman (Tom Ewell) have just left a screening of The Creature from the Black Lagoon. What many people may forget about this scene, however, is the conversation leading up to it. Would you like to be a guest in next week’s Two Cents column? Simply watch and send your under-200-word review to twocents(at)!Īdam Frazier: The Seven Year Itch contains one of the most iconic images of the 20th century - Marilyn Monroe standing on a grate as her dress is blown upwards by a passing subway train underneath. The Exorcist is currently streaming on Netflix Instant. So while Fox sets into motion a TV series remake, audiences flock to the movies to enjoy some of the spookablast mania of The Conjuring 2, and Cinemax subscribers sit down with the exorcism-centric Outcast, we’ll be going back to the classic that still defines demonic possession, decades after its release. The Exorcist is still considered the high-water mark for cinematic horror, a film that so shocked and stunned mass audiences that evangelists claimed that Lucifer was actually in the celluloid. Next Week’s Pick: It’s been a while since we chose a film with the express purpose of scaring the shit out of all of you, so let’s remedy that. Unfortunately, even as movies were regaining their freedom, moralizing busybodies had turned their attention instead to comic books, resulting in the Hays-equivalent Comics Code Authority, but that’s a whole ‘nother story.ĭid you get a chance to watch along with us this week? Want to recommend a great (or not so great) film for the whole gang to cover? Comment below or post on our Facebook or hit us up on Twitter! Part of the reason that this is so critical to the understanding of this particular film is that Wilder fought a tooth and nail battle with the Code’s gatekeepers, while his later Monroe collaboration Some Like It Hot would become immensely successful despite blatantly defying the Code, delivering it a critical blow. By the 50s, the code was losing relevance as it became increasingly resented by filmmakers and audiences. Please note that our observations make several references to the Motion Picture Production Code (more familiarly, “the Production Code” or “the Hays Code”), a set of moral guidelines which strictly policed films beginning in the 1930s. Monroe and the film as they celebrate their respective birthdays, the Two Cents team decided to sit down and scratch that particular itch. Strong words, Jamie Lee’s Dad) but no matter how fraught the process, there can be little denying that the pair spun cinematic gold together. Wilder and Monroe’s collaboration was not a happy one, and it fell apart completely on their next film, Some Like It Hot (a production so strenuous that Tony Curtis would refer to kissing Monroe as being akin to “kissing Hitler”. Guileless and bubbly, The Girl is oblivious to the mania she sparks in men, going so far as to stand on top of a subway grate to let the rushing wind billow her dress up. Perhaps Monroe’s most iconic moment resides in The Seven Year Itch, which opened on this day in 1955, Billy Wilder’s comedy about a married man (Tom Ewell) left alone in NYC for a summer and driven to frustrated madness by The Girl (Monroe) who moves into the apartment upstairs. Monroe continues to enthrall and haunt the hearts and minds of the public, an All-American symbol of sex and glamour undone by the madness of Hollywood and the psychological cracks that armies of filmmakers and studio heads labored to mask. Wednesday marked Marilyn Monroe’s birthday, and just a casual browsing of the ol’ interwebs revealed that the icon’s star has refused to dim, even decades after her tragic death. ![]() ![]() “When it gets hot like this, you know what I do? I keep my Two Cents in the icebox!” Join us as we share our two cents on films we love, films we are curious about, and films we believe merit some discussion. Guest writers and fan comments are encouraged, as are suggestions for future entries to the column. The Cinapse team will program films and contribute our best, most insightful, or most creative thoughts on each film using a maximum of 200 words each. Two Cents is an original column akin to a book club for films.
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