Screening Series
Marilyn Monroe: Hollywood Icon
Marking what would have been her 100th birthday, this 17-film series presents Marilyn Monroe's career evolution from early breakout roles to late-career triumphs. June 1–July 3, 2026, complementing the exhibition Marilyn Monroe: Hollywood Icon.

Gentlemen Prefer Blondes (1953)
Upcoming Screenings in Series

Screenings
There's No Business Like Show Business
The Donahue clan, led by husband and wife Molly and Terry (Ethel Merman and Dan Dailey), navigate the ups and downs of show biz, from their beginnings in Vaudeville to the Great Depression, in this musical comedy with songs by Irving Berlin. The family’s close bond is further tested with the arrival of the talented and driven Vicky Parker (Marilyn Monroe). Costume designer Travilla played an integral role in shaping Marilyn Monroe’s public image on- and off-screen. Together they famously produced looks that evaded censorship while still courting controversy. His designs for her showgirl characters are of particular note.
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Screenings
The Prince and the Showgirl in 35mm with Bus Stop
The Prince and the Showgirl in 35mm
In this sole collaboration between Warner Bros. and Marilyn Monroe Productions, Monroe plays Elsie Marina, a witty American showgirl who gets noticed by the eccentric Prince Regent Charles (Laurence Olivier). Set in Edwardian London and directed by Olivier, the film was a famously troubled production, with tension between co-stars and cinematographer Jack Cardiff. The film was shot at Pinewood Studios outside London; Monroe’s difficulties on and off set were adapted into Simon Curtis’s fictional My Week with Marilyn (2011), with Michelle Williams starring as Monroe.
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Screenings
Let’s Make Love
Director George Cukor’s musical comedy was Monroe’s second-to-last completed film. She plays a bohemian off-Broadway actor who is in a show satirizing a French billionaire, Jean-Marc Clément (Yves Montand). While scoping out the production, Clément is cast in the play and the two fall in love, though deception threatens to ruin everything. Monroe worked closely with costume designer Dorothy Jeakins to draw inspiration from her personal style for the film’s looks.
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Screenings