A wind machine underneath the grate sent the dress billowing up above her waist, revealing her legs. Monroe was wearing a white pleated halterneck dress. Despite the shoot’s timing, a crowd gathered to watch. The movie scene was originally shot outside the Trans-Lux Theatre on Lexington Avenue, at around 2am. He suggested to producer Charles Feldman that this scene could provide a set-piece poster image for the film, with a blast of air from the grate blowing Monroe’s dress in the air. He had been visiting the amusement park on Coney Island when he saw women exiting a ride and having their skirts blown upwards by a blast of air coming from below ground. When reading the dialogue for this scene, Shaw saw the opportunity to use an idea he’d had several years earlier. Sam Shaw and Marilyn Monroe, backstage at 20th Century Fox studio, Los Angeles, California, 1954. ![]() At one point in the script, Monroe and Ewell stroll through a New York street and walk over a subway grate. In The Seven Year Itch, Monroe played the glamorous neighbour with whom middle-aged publishing executive Richard Sherman, played by Tom Ewell, becomes infatuated. She had married her second husband, baseball star Joe DiMaggio, in January that year She was 28 years old and had played lead roles in films such as Gentlemen Prefer Blondes and How to Marry a Millionaire (both released in 1953). Shaw said, ‘I just want to show this fascinating woman, with her guard down, at work, at ease off-stage, during joyous moments in her life and as she often was – alone.’īy 1954, when Monroe was chosen for the lead role in Billy Wilder’s comedy The Seven Year Itch, she was on the way to becoming a major star. Soon he began photographing her in informal portraits that captured her playful personality. She called him ‘Sam Spade’, a reference to the fictional private detective created by Dashiell Hammett. ![]() Shaw and Monroe developed a close friendship. Shaw couldn’t drive and Monroe, then the girlfriend of the film’s director Elia Kazan, was asked to give him a lift to the film set every day. While on the set of biopic Viva Zapata! in 1951, he met Monroe, who at the time was a struggling actress employed on contract at the 20th Century Fox studios. In the early 1950s, Sam Shaw was working in the film industry as a stills photographer.
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