Behind the Iconic Subway Grate Photo of Marilyn Monroe

A gust of wind swept through a subway grate in New York City, causing Marilyn Monroe’s white dress to blow around her legs. This moment was captured on camera, resulting in what has been dubbed “a shot seen around the world.”

This year marks the 70th anniversary of the 1955 comedy “The Seven Year Itch,” arguably Monroe’s most famous film. In connection with this milestone, the family of photographer Sam Shaw—who was also a close friend of Monroe—has released a new book titled *Dear Marilyn: The Unseen Letters and Photographs*. This book delves into the history behind the renowned photo that solidified Monroe’s status as a sex symbol. It uncovers details that many may not know.

“The backstory of my grandfather’s iconic photo from *The Seven Year Itch* isn’t well-known,” said Melissa Stevens, Shaw’s granddaughter. “It all started in 1941, when he was working as a photojournalist during World War II. He took photos of young women and sailors at Coney Island, capturing moments where skirts would fly up in the wind. One of these images even made the cover of a magazine in 1941.”

“By 1954, Shaw was brought on as a still photographer for *The Seven Year Itch*,” Stevens explained. “When he read the script, there was a scene where Marilyn exits a movie theater, walks over a grate, and the wind blows. The script includes lines like, ‘Can you feel the breeze? Doesn’t it taste good?'”

“That made him think of the 1941 Coney Island photo, which was quite successful. He essentially reimagined that shot for this film,” she added. “What transpired turned out to be much larger than he anticipated.”

The book reveals that Shaw had to request additional police presence to control the crowds expected at Lexington Avenue and 51st Street for the iconic shoot. Engineers set up wind turbines below to mimic the effect of a subway passing by Monroe.

On September 15, 1954, a large crowd, predominantly men, gathered to see Monroe and her dress fluttering in front of the cameras. Each camera flash revealed glimpses of her white underwear, much to the delight of the spectators.

Shaw noted that the police were surprised by the overwhelming crowd, completely absorbed in watching Monroe. “No one could break through; they were too captivated by what was happening,” he wrote.

Stevens reflected on how filmmakers today approach similar scenes. “If a woman’s skirt flares up today, it might not raise any eyebrows,” she said. “But back then, it was a contentious issue due to the stringent Hollywood censorship rules. Sam talks about needing to handle filming that scene delicately, as it could have easily been cut.”

“While it seems laughable now, when you look at how much skin is shown in media today, we must understand the context of the 1950s in America,” she added.

The final version of the scene was much more subtle compared to what the crowd witnessed that day. In the film, Monroe’s dress never actually covers much of her waist, yet moral groups, including the Catholic Church, condemned it.

Interestingly, Shaw wrote that Monroe relished the experience more than anyone else involved, even more than the crew working with the wind machines below.

This scene was later reshot in a sound studio in Los Angeles, where filmmakers controlled wind and lighting without a large audience present. The imagery of fluttering skirts became a central promotional element for the film.

Ultimately, *The Seven Year Itch* catapulted Monroe to legendary status, but the fame came with its own complications. Shaw noted that during the filming of the subway grate scene, Monroe’s then-husband, Joe DiMaggio, reportedly left in anger.

Just weeks later, Monroe announced the end of her marriage, stating on live TV that it was over. It was a rare glimpse of her vulnerability. On that day, she was emotional, yet she returned to work with a smile, diving back into filming and rehearsals.

Shaw reflected, “What caused the divorce? Who really knows? Unfortunately, her husbands didn’t quite grasp her personality. Like many men, they seemed to want to mold her to fit their ideals. Joe had a reputation for maintaining high moral standards.”

The film sparked a realization for Monroe about her value in the Hollywood landscape. Shaw mentioned that she insisted on receiving more than some leading professionals in the industry, demanding better scripts and control over her career choices. She even broke her contract with 20th Century Fox to assert her independence.

In 1999, Shaw passed away at 87. Stevens shared that her grandfather was protective of his friendship with Monroe, who died in 1962 at 36. The book features some of Shaw’s letters to Monroe, including one that was written shortly before his death.

“The tone of that letter struck me as more bittersweet,” Stevens said. “It was written after she separated from Arthur Miller, reflecting on her turmoil. In the letter, he offered her a warm invitation to visit them in Paris, indicating that he was concerned about her well-being.”

“Marilyn faced a lot of challenges,” Stevens noted. “But Sam always saw her as this witty, intelligent, and vibrant woman. Unlike others, he didn’t portray her as merely a victim. He recognized her strength in overcoming many obstacles.”

Even today, Monroe’s story captivates people because she personifies the “American Dream.” As Stevens stated, “She came from nothing, and despite a difficult upbringing, she managed to rise to monumental heights. That’s the narrative Sam aimed to tell—a tale of a hardworking young woman who achieved remarkable success.”