How to Marry a Millionaire - crew, film crew
The entire team, the film crew of the film "How to Marry a Millionaire"
How to Marry a Millionaire (1953)
Timing:
1:35 (95 min)
6.818/10
549
549
7.693/10
31847
31847
6.8/10
27000
27000
Film crew
Director
Producer
Casting
Walter Whaley
Casting
Editor
Art Direction
Costume Design
Set Decoration
Walter M. Scott
Set Decoration
Stuart A. Reiss
Set Decoration
Makeup Artist
George Lane
Makeup Artist
Allan Snyder
Makeup Artist
Bill Riddle
Makeup Artist
Original Music Composer
Orchestrator
Edward B. Powell
Orchestrator
Second Assistant Director
Paul Helmick
Second Assistant Director
Director of Photography
Joseph MacDonald
Director of Photography
Screenplay
Assistant Editor
Lyman Hallowell
Assistant Editor
Special Effects
Assistant Director
Forrest E. Johnston
Assistant Director
F.E. 'Johnny' Johnston
Assistant Director
Music
Cyril J. Mockridge
Music
Other
Leonard Doss
Other
Sound
Roger Heman Sr.
Sound
Alfred Bruzlin
Sound
Sound Recordist
Charles Kohl
Sound Recordist
Wardrobe Supervisor
Choreographer
Hairdresser
Kay Reed
Hairdresser
Marie Brasselle
Hairdresser
Sound Editor
Del Harris
Sound Editor
Kenneth Honnold
Sound Editor
Theatre Play
Katherine Albert
Theatre Play
Dale Eunson
Theatre Play
Makeup & Hair Assistant
Dick Hamilton
Makeup & Hair Assistant
Music Director
What's left behind the scenes
- When Marilyn Monroe, in the role of Paula, demonstrates a red swimsuit, the description of her outfit includes the words “A girl’s best friend is, of course, diamonds.” Monroe’s character performed a song with that title in the comedy “Gentlemen Prefer Blondes” (Howard Hawks, 1953).
- One of the first films with a soundtrack recorded in “stereo” format.
- The film's box office success contributed to the popularity of CinemaScope (a cinematic technology that used an anamorphic lens to create widescreen films) and brought closer the beginning of the widescreen era.
- At the height of filming, Betty Grable (playing Loco Dempsey) had to leave the set to return home, where her daughter had an accident. The next day, Marilyn Monroe called to inquire about the child's health. Years later, Grable recounted that Monroe was the only one who showed such sensitivity.
- According to Lauren Bacall, it was difficult to work with Marilyn Monroe due to her dependence on her acting coach, Natasha Lytess. At the end of each take, Lytess would stand behind director Jean Negulesco, and when Monroe looked to her for approval, Lytess would either nod or shake her head negatively, in which case Monroe would insist on shooting another take. The same scene was often shot with 15 or even more takes. The actors involved in the project also noticed the nature of the relationship between Monroe and Lytess, and believed that Monroe was unduly relying on the opinion of Lytess, who simply 'fed' on the actress's insecurity.
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