La comezón del séptimo año

In the 'fifties Hollywood created its biggest, best-loved and most powerful sex symbol of all—Marilyn Monroe…

Marilyn's appeal was, perhaps, in her weakness, in that revealing look of innocence and confidence, in her intense desire to be loved…

The 'seven year itch' points out the instinctive desire to be disloyal after seven years of matrimony, with a longing to satisfy one's sexual needs…

This amusing film was adapted from a Broadway play of the same name by George Axelrod, with Tom Ewell reprising his Broadway role, walking, worrying, and sweating…

Tom and Evelyn Kayes have been married for seven years… While he remains in Manhattan on business, Evelyn and their son Ricky (Butch Bernard) go off to Maine to escape the sweltering summer…

The apartment upstairs has been rented to a television blonde model (Marilyn Monroe). When she forgot her front door key, she had to ring Ewell's bell to let her into the building…

When Marilyn accidentally knocks a tomato plant onto Tom's terrace, the happily man invites the luscious young beauty downstairs for a drink, indulging in fantasies about taking her in his arms and kissing her 'very quickly and very hard'…

Marilyn comes in, explaining that she feels safe with married men... He makes a clumsy pass while they are at the piano but both fall off the seat… He stammers an apology, but she pretends it is nothing…

When Marilyn returns to her apartment, Tom envisions his wife having an affair in Maine with their big neighbor, Tom McKenzie (Sonny Tufts)… Then he sees himself lost between foolish fantasies of seduction, and terrible ideas of his wife capturing him in action… Finally he decides to put an end to his visions and asks Marilyn out to a movie...

On their way home, they stop on a subway…

As the trains go by underneath, Marilyn's skirts billow up…

It is so hot in the city she presumably loves the rush of air on her thighs…

Marilyn plays the scene in innocent delight… And Billy Wilder's shot shows a strapping blonde with a white skirt blown out like a spinnaker above her waist…

For this famous shot alone, the movie is a must see

A comedic take on the male/female relationship from a male perspective 1950s version. This story never would fly as a product of the 21st century world let alone be a long running big Broadway hit and subsequently be made into a movie. It's subject is male dominance and masculine vulnerability to the seductive female as it collides with domestic family life. In this net is the family man presented to us in the unexciting presence of Tom Ewell meeting up with the glorious Marilyn Monroe at the height of her beauty. The movie in total is an entertaining offering representing the world that once was. The main attraction being Marilyn who captivates from beginning to end so irresistibly you can't take your eyes off her. This is Marilyn Monroe's movie from start to finish and for that reason alone makes it a must see.

In summertime in Manhattan, the plain and average Richard Sherman (Tom Ewell) sends his wife and son for vacation in the country. Sherman is the key man of a publishing firm, Brady & Company, which publishes cheap pocket books. The faithful Sherman has a routine life with his family and dreams on being successful with women. When a beautiful and sexy blonde lodges the upstairs apartment of his small building, Sherman first opens the front door for her and then he invites her to have a drink with him after the fall of her tomato vase on his chair on the backyard. Along the days, he spends some time with the girl and feels tempted by her, but later he misses his family and travels to meet them.

"The Seven Year Itch" is a naive and innocent romantic comedy in accordance with the contemporary moral standards, but actually this feature tested the limits of censorship in a time when Hollywood was ruled by a rigid moral code. The story is based on a George Axelrod popular 1952 Broadway play about a man that has an affair with his upstairs neighbor. Unfortunately in the 50's, the American cinema did not have the same artistic freedom as theater. The screenplays and movies were submitted to the scrutiny of the powerful Hayes office, the censorship of Hollywood. There was a Production Code in Hollywood that stated that adultery should not be the subject of comedy or laughs, and this story violated the Code. Billy Wilder was fascinated by this story and purchased the rights of George Axelrod. However, to make the movie was a challenge for this great director, since many scenes and lines were ripped away by the censorship and by the National Legion of Decency, mutilating the plot.

Marilyn Monroe was selected to the cast, but Billy Wilder wanted a plain, average and non-handsome actor for the role of Sherman. His first choice was Walter Matthaus, but Fox direction did not want to take the risk of an unknown lead actor, therefore they selected Tom Ewell. The most famous scene of Marilyn Monroe, with her dress being lifted by the air of the subway, was first an exterior scene, but later Billy Wilder needed to shot again in the set because the noise and whistles of the viewers spoiled the original footage. This external scene also provoked the end of the marriage of Marilyn with Joe Dimaggio, who felt humiliated with the manifestation of the public.

One dialog that I particularly like is when Sherman and the blonde leave the movie theater and she says that the creature needed to be loved, in an analogy between Sherman and the creature of the black lagoon. The restored DVD is fantastic and this is the most sexually suggested role of Marilyn Monroe to date. My vote is seven.

Title (Brazil): "O Pecado Mora ao Lado" ("The Sin Lives on the Next Door")

Even after sixty years, THE SEVEN YEAR ITCH retains its freshness and bounce - a delightful testament both to the script (by Billy Wilder and playwright George Axelrod) and the quality of the performances.

The story is a simple one: left on his own during a hot New York summer, Richard Sherman (Tom Ewell) tries his best to avoid the temptations of drink, tobacco and an extra-marital affair. However his best intentions are frustrated by the presence of The Girl (Marilyn Monroe), who has moved into the apartment above him. Nothing actually happens, but the promise persists ...

Ewell gives a stellar performance, the best in his forty-five year acting career. In his rumpled gray suit, with tie askew, he embarks on a series of monologues where his better nature competes with his carnal desires. Most of them are shot in single takes in the Shermans' apartment: Ewell's India-rubber face changes rapidly as he debates the morality of inviting The Girl down for a drink. He walks from side to side of the frame, his shoulders hunched, almost as if he is bearing the cares of the world on his back.

The fantasy-sequences are extremely funny, with Ewell imagining himself as the protagonist in a comic reworking of FROM HERE TO ETERNITY, rolling about on the beach with a woman not his wife. Later on he casts himself as a Noel Coward-like figure speaking in a cod-British accent, as he plays Rachmaninov on the piano while trying to seduce The Girl (a reference to BRIEF ENCOUNTER).

When the latter scene is re-enacted for real, The Girl is completely uninterested in Rachmaninov. Sherman tries to embrace her, and the two of them end up falling off the piano bench in an ungainly heap. Although Sherman imagines himself as the Great Lover, he will never be able to fulfill his role.

Monroe is equally memorable in her role as the not-so-dumb blonde from Denver. It's clear she is attracted to Sherman - not because of his physical attributes, but because at heart he is an extremely sweet man. On the other hand she respects his love for his wife Helen (Evelyn Keyes), and thus refrains from making a pass at him. THE SEVEN YEAR ITCH contains the memorable sequence where she stands over a grille and lets the wind from a subway train beneath blow up her white dress. Wilder shoots this sequence very discreetly, leaving everything to the viewer's imagination. Monroe is far more seductive in an interior sequence, where she hides behind a chair and stretches out one leg, and then another. The janitor Mr. Kruhulik (Robert Strauss) witnesses what happens, and promises to leave Sherman alone.

Wilder's and Axelrod's script fairly crackles with one-liners, as well as a series of in-jokes referring to Charles Lederer (Wilder's fellow-scriptwriter), as well as a reference to Monroe herself.

THE SEVEN YEAR ITCH is one of those comedies that never loses its sparkle, even after repeated viewings.

Poor Richard Sherman's got himself in such a state, he's been mesmerised and is starting to fixate, a screen goddess lives upstairs, summertime is for affairs, now he's drinking, smoking, getting quite irate; as his wife has left the city for the country, and middle age makes him behave, quite dumbly, it's the itch of seven years, that's interfering with his gears, but just a scratch will turn his world, fragile and crumbly.

Fair play to him though, as I suspect most men in his position wouldn't behave the same way when presented with a new neighbour who's innocent exhibition and confiding character (along with a number of other engaging attributes) are so overwhelmingly enticing, especially to the archetypal 1950s middle aged man.