IN the summer of 1956, Marilyn Monroe came to Pinewood Studios in Buckinghamshire to shoot The Prince And The Showgirl with Sir Laurence Olivier.
It was a fascinating collaboration: the most famous woman in the world opposite the greatest stage actor of a generation. What could go wrong?
The on-set diary and memoir of third assistant director Colin Clark revealed that Monroe consistently turned up late on set, driving Olivier to the brink of madness as the production fell woefully behind schedule.
This film crafts Clark’s recollections of that turbulent period into a bittersweet drama, laden with the cream of British acting talent.
Adrian Hodges’s script glistens with polished one-liners and provides Michelle Williams with a show-stopping role that deserves an Oscar.
The film is a valentine to the art of film-making and to a woman whose radiance on the screen concealed destructive demons.
The era is handsomely recreated, tinged with the sadness that only six years after Olivier’s battle of words with Monroe, she would be dead. In Simon Curtis’s entertaining film, her star still burns white hot.