Was Marilyn Monroe's Femininity a Communist Threat to America? (core)

Reading Steven Cohan's appraisal of femininity being controlled and contained by marriage, his idea that too much sexual femininity was akin to communisms threat to America, and then the account of Hitchcock's two types of blondes, I immediately started thinking hard about Marilyn Monroe. She is literally called out by Hitchcock as the other kind of blonde, not a drawing room blonde. As the other kind of blonde, is she actually a threat to restorative 50s matrimony as described in Cohan's text? 

 Marilyn's devious side eye down the aisle. Does he know the mistake he's making? Mwahaha!

Surprisingly few of Marilyn's films involve her being sexually "contained" by marriage to a man. Starting with the film we've already seen of hers in class, in All About Eve Marilyn is presented as a mercenary aspiring actress whom no one takes seriously. She arrives on the arm of one of the villains and is sent to seduce a producer she's not interested in--no hint of marriage anywhere in this character's (bleak) future.

Only a few of her films end in a marriage, and in those cases it's not the conventional, healthy-for-the-country marriage described by Cohan. In Gentlemen Prefer Blondes, she finally gets engaged but to a man who is incredibly weak and passive--not a candidate for the re-masculinization required to defeat Communism. In There's No Business Like Show Business the major obstacle to her marriage is that she's too sexy--something so disturbing that it leads an otherwise good natured song and down a dark road that includes jail--also not a candidate for shoring up America's resolve. In Some Like It Hot she marries a man who has been in drag for most of the movie--say it with me: not a good potential anti-Communist warrior. Meanwhile there is no wedding for her in Don't Bother to Knock, Niagra, or The Prince and the Showgirl.

Others films of hers take this even further. In Bus Stop she finally convinces the man who keeps proposing to her not to try to rope her into marriage when she confesses that she isn't a nice girl--she's had too many boyfriends. In The Seven Year Itch she's an active threat to marriage--a potential affair for an otherwise happy husband. Finally in The Misfits she starts the film already expelled from marriage, a divorcee.

Not a "Drawing Room Blonde"

Obviously this common denominator is part of her star image--she's incredibly sexy, she's a little bit of a bad girl, something of an underdog, but she's got a great heart. But is that the star image put upon her because she's not a "drawing room blond" and thus not the right thing for American marriage?


If Marilyn Monroe had been cast as Eve, would Cary Grant have been killed and would the Communists have won?

(Of course, Marilyn Monroe's ACTUAL marriages weren't successful or beneficial to her husbands. Perhaps that's an example of a star's real life overlapping their star image.)