The camera loves Monroe because the camera, a piece of technology far removed from nature, ironically hates artificiality. It adores pure animal-like unselfconsciousness. If, as someone once said, all art aspires to the condition of music, then all acting aspires to the condition of pure physicality. The camera found in Monroe the natural release it needed.
Lee Siegel, “Unsexing Marilyn” New York Review of Books
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