Events marking the centenary of Marilyn Monroe’s birth have drawn large crowds across Britain, with dozens of tribute artists recreating the star’s iconic poses and costumes. Yet beneath the surface celebration, a more complex appraisal of Monroe’s legacy is dividing opinion, particularly among younger Britons.
The actress and model, who died in 1962 at age 36, remains a global symbol of Hollywood glamour. But in an era more attuned to questions of exploitation, body image and gender politics, some critics question whether the adulation of Monroe glosses over the darker aspects of her life and the industry that consumed her.
Organised gatherings in London, Manchester and Edinburgh this weekend featured lookalikes dressed in white pleated dresses, blonde wigs and red lipstick. Participants described Monroe as an enduring icon of femininity and resilience. However, a Guardian poll released on the eve of the centenary suggested that only 34 per cent of Britons aged 18-24 admire Monroe, compared to 62 per cent of those over 65.
Dr Alice Roberts, a cultural historian at the University of Birmingham, said the split reflects a generational shift in how celebrity and victimhood are perceived. “For older generations, Monroe represents a lost golden age of cinema and a kind of untouchable glamour. Younger people see a woman who was systematically objectified and whose image was used against her own wellbeing.”
Monroe’s estate, which manages her licensing, has sought to modernise her brand through collaborations with fashion houses and charities. But some initiatives have faced backlash. A planned hologram tour was cancelled after accusations of exploitation.
On social media, the hashtag #MarilynAt100 has trended with both nostalgic clips and critical analysis. Some users called the lookalike events “harmless fun”; others deemed them “a celebration of a tragic system”.
The British Film Institute has curated a retrospective of Monroe’s films, including rarely seen shorts, accompanied by panel discussions on her legacy. The BFI’s head of programme, Sarah Cooper, said the aim was to “recognise her artistry without ignoring the complexities of her life”.
Monroe’s British connections are well documented. She visited the UK in 1956 to film “The Prince and the Showgirl” with Sir Laurence Olivier, and her relationship with playwright Arthur Miller drew her into London literary circles. Her death, ruled a probable suicide, prompted an outpouring of grief that reshaped celebrity culture.
Nigel Brown, 72, who attended a lookalike event in Soho, said he remembered hearing the news as a boy. “She was a star, a light. People today don’t get that context.” But 24-year-old university student Chloe Adams, who declined to participate, said: “She’s famous for being famous and for dying tragically. Is that really something to dress up for?”
As Britain grapples with its own reckoning over historical figures, the Monroe debate may serve as a microcosm of a broader cultural struggle: how to honour artistic achievement while holding the systems that produced it to account.
