Marilyn Monroe, photographed with Tony Curtis, Jack Lemmon, and her admittedly superior breasts on the set of Some Like It Hot (1959, dir. Billy Wilder) (via drmacro) “[The tailor on Some Like It Hot] measured me, 16, 34, 43, 18, 19, 18,” Tony Curtis later recalled, “and then he goes to Marilyn - this is all in the same day and this is the truth…He comes in to Marilyn’s room and Marilyn had on a pair of panties and a white blouse and that’s all. He put the tape around her legs, looked up at Marilyn and said, ‘You know, Tony Curtis has got a better-looking ass than you. She was standing there, she unbuttoned her blouse, and said, “He doesn’t have tits like these!’” For once, I think we need these salty stories, because Monroe needs all the salt she can get. The Marilyn industry is so deeply soaked in her crack-ups-shaking the poor woman until we can hear the slosh of booze and the rattle of pills-that it’s a relief to get back to the floozie with the forked tongue. -Anthony Lane, excerpted from “On Billy Wilder”, The New Yorker

Marilyn Monroe, photographed with Tony Curtis, Jack Lemmon, and her admittedly superior breasts on the set of Some Like It Hot (1959, dir. Billy Wilder) (via drmacro)

“[The tailor on Some Like It Hot] measured me, 16, 34, 43, 18, 19, 18,” Tony Curtis later recalled, “and then he goes to Marilyn - this is all in the same day and this is the truth…He comes in to Marilyn’s room and Marilyn had on a pair of panties and a white blouse and that’s all. He put the tape around her legs, looked up at Marilyn and said, ‘You know, Tony Curtis has got a better-looking ass than you. She was standing there, she unbuttoned her blouse, and said, “He doesn’t have tits like these!’”

For once, I think we need these salty stories, because Monroe needs all the salt she can get. The Marilyn industry is so deeply soaked in her crack-ups-shaking the poor woman until we can hear the slosh of booze and the rattle of pills-that it’s a relief to get back to the floozie with the forked tongue.

-Anthony Lane, excerpted from “On Billy Wilder”, The New Yorker