Something's Got to Give (1962)

Director:

George Cukor

Writers:

Bella Spewack (screenplay)") &
Sam Spewack (screenplay)") ...

Genre:

Comedy | Short

Plot:

Unfinished remake of "My Favorite Wife," due to the firing of Marilyn Monroe from the film. She was eventually re-hired, but died in August, 1962. Film was never completed. |

Plot Keywords:

Remake | Marilyn Monroe | Unfinished Film | Beautiful Woman

Cast

Marilyn Monroe	...	Ellen Wagstaff Arden
Dean Martin	...	Nicholas 'Nick' Arden
Cyd Charisse	...	Bianca Russell Arden
Tom Tryon	...	Steven Burkett / Adam
Alexandra Heilweil	...	Lita Arden
Robert Christopher Morley	...	Timmy Arden
Wally Cox	...	Shoe Salesman
Phil Silvers	...	Johnson
John McGiver	...	The Judge
Grady Sutton	...	The Judge's Clerk
Eloise Hardt	...	Miss Worth

Runtime:

37 min (2001 version)

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Stereo

Company:

Twentieth Century-Fox Film Corporation

Trivia:

The instrumental version of "Something's Gotta Give" by Ray Anthony & His Orchestra was originally in Daddy Long Legs (1955) which starred Fred Astaire and Leslie Caron. When the digital restoration and reconstruction was undertaken for the unfinished film, 20th Century-Fox inadvertently mixed in Anthony's instrumental version of the song for Marilyn's famous 'swimming pool' sequence at no cost since Fox also produced the Astaire vehicle. A different instrumental background - originally to be for the film - can be heard in an alternate take of the swimming pool scene that appeared on a Marilyn Monroe CD compilation issued by Hollywood Soundstage; this music was eventually used later on in the film as Monroe's character is encountered by Phil Silvers as she rests nude on the edge of the pool.

Quotes:

Ellen Wagstaff Arden: Come on, the water's so refreshing! You know, after you finish doing, uh... you know.

Movie Connections:

Spoofed in Candy Goes to Hollywood (1979)

Soundtrack:

Something's Gotta Give

It;s Cukor and the script!

The only way to fairly judge the 37-minute "re-creation of "SGTG" in "The Final Days" is to have seen the previous 1990 documentary on the making of this film, which contained alternate takes, AND to have seen (as I have) the bootlegged hours and hours of Marilyn on set, doing it over and over. Not because she couldn't remember her lines, but because Cukor demanded it. And what you'll find is a very patient and usually cheerful actress obeying her director. Each time he asks for a new take, she does it just a little different. Higher, lower, softer, stronger. When she flubs, she doesn't fall apart. She seems miffed with herself, but no great drama is revealed.

THis patched together thing in "The Final Days" is to me, the final indignity. Almost without fail, her weakest takes are used. Remember, again: Even when MM was letter perfect, Cukor DEMANDED another take.

I think most of the IMDb reviewers probably know the backstory to this debacle--the script she approved, which was then changed, an antagonistic director(right before she was fired he went to Hedda Hopper, demanded anonymity and scourged her. Declared her insane and her career over. Nice guy! All we can really say about what remains of "SGTG" is that she was very lovely, strikingly beautiful. It is clear, however that as the film progressed she grew thinner and indeed looked a bit ill. She is radiant in the costume tests, and at a perfect weight. Later, in the beige suit, she is obviously padded (she had a normal-sized bosom, except when she was plump--which was most of the time.) The script appears to be a drag, but Marilyn was at least playing an adult woman, with children, in sleek clothes and using a far more natural voice. Had she lived to complete the film, it might have found success, based on the nude swim--a carefully choreographed stunt, she was never naked in the water at all, and her more mature appearance and attitude. But Cukor was a lousy director at this point, and HE was the problem on "Let's Make Love" as well--those endless scenes! He'd lost his touch.

I'm glad so much attention has been paid to this last gallant effort on Marilyn's part. But you'll only recognize how hard she tried, if they release every second of her on set.

Maybe fate was kind, and middle-age would have been an unbearable horror for her. But in what remains of "Something's Got To Give" you can see the elegant performer she might have become, if she'd had more faith in herself.