Troublez-moi ce soir

If you really want to see true vulnerability, watch Marilyn Monroe in the 1952 "Don't Bother to Knock" opposite Richard Widmark and Anne Bancroft. She plays a disturbed girl and at one point she comes down in the elevator, and when the door opens, her face alone will break your heart.

Anne Bancroft was interviewed about Marilyn and said that she had not been expecting the reaction she would have to that scene. She said when those elevator doors opened and Marilyn came out of the elevator, it stunned her and the rest of the cast and crew to watch her, she seemed so authentically confused and lost and vulnerable. Bancroft said it was the hardest scene she has ever had to watch, because you felt it was really happening to Marilyn herself.

She truly was a "candle in the wind".

1952 was just before Marilyn became Marilyn and 10 short years before her death. Look at her character here and look at her performance. She plays a psychopath. brilliantly. Look into her eyes and tell me if she's not totally there. Dangerous and tender. Thorough and insane. I know I had seen this film before but the truth is I didn't remember. Another plus is an early glimpse at the wonderful Anne Bancroft, billed above Marilyn here. For film buffs this movie is a total must.

to be absolutely honest, marilyn monroe acted extremely well in this film. I think it was the first i had everseen of her (2001) and after all i had heard about her acting as a "blonde bombshell" this picture sent me in another direction. SHE CAN ACT!! to see marilyn play a psychotic woman may not have been completely hard for her (no offense intended) but i feel it was superb acting! Ashame she wasnt offered more roles like this one

Excellent drama starring Marilyn Monroe in possibly her best role. She did this movie specifically to prove her worth as an actress, and she definitely succeeds at that point. Richard Widmark co-stars. After breaking up with his girlfriend (Anne Bancroft, in her debut), Widmark spots Monroe through her window across from his hotel room. He invites himself over there. She's babysitting, but she immediately lies about who she is and what she's doing. It turns out she's kind of a nutcase and has just recently returned from the mental hospital. She begins to mistake Widmark for a dead former boyfriend, and it seems as if the girl she's babysitting may be in danger. This is a tight little film, running at just under 80 minutes. Elisha Cook Jr. co-stars as Monroe's uncle. Widmark is every bit as impressive as Monroe. It's too bad Monroe didn't get to try her hand at more dramatic roles.

This is an odd film, if only for its credits. It was written by Daniel Taradash, a first-rate screenwriter who the next year would write the screenplay for From Here To Eternity. The director, Englishman Roy Ward Baker, had a varied and eclectic career, mostly in his native country, where he directed, among other films, A Night To Remember and Quatermass and the Pit. Screen sexpot Marilyn Monroe plays a psychotic babysitter who encounters a tough-minded and cynical airline pilot and causes him to change his outlook. Miss Monroe was not known for doing drama, which she plays here, in black and white no less, and is excellent. But that this was one of her first starring roles she seems a peculiar choice to play the troubled young woman. Richard Widmark, often a bad guy, is here only partly bad, and is proficient but rather dull and, for him, colorless. Dramatic actress Anne Bancroft plays a singer, and Widmark's girl, a role one might have expected Marilyn to play. And so it goes.

The movie is compelling, if never really entertaining, and seems at times as confused as Monroe's babysitter as to what sort of film it wants to be. It is a bit of a psychological drama, a bit of a thriller. filmed like a noir, studio-bound, which makes it also unrealistic, it is in many respects a mess, but a watchable one. The central set of the hotel in which nearly all the action takes place, is impressive, as are the various characters who either live, visit or work there, who at times seem like inhabitants of an enormous cave or reef, and as such denizens of the place rather than employees or guests. There is a nice sense of how dull night life can be in the heart of a supposedly exciting city (New York). There are no especially good or bad people in the film; just those who understand Monroe's plight, and empathize with her, and those that don't. Young Marilyn more than rises to the dramatic occasion, however, and gives a fine performance, far more worthy than the script, and more animated than her co-stars, and in the end steals the film and our hearts.