Welcome to our new Everlasting Star blog, dedicated to keeping you updated on all the latest news relating to the one and only Marilyn Monroe.

You’re welcome to join us here in celebrating this wonderful woman. Read and comment on our posts, and to learn more and meet other fans, join our thriving community – online since 2001.

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Marilyn in Fashion: Orry-Kelly, and More

orry kelly

It has been a good year for Marilyn-related fashion books. Creating the Illusion, Jay Jorgensen’s lavish study of Hollywood’s great costumers, has been well-received by Marilyn fans, and features rare photos and information.

And after being published in his native Australia for the first time this year, Women I’ve Undressed – the memoir of Orry-Kelly, who designed Marilyn’s costumes for Some Like it Hot – is coming to Kindle on December 3, with a hardback version following in February 2016.

“Orry-Kelly created magic on screen, from Casablanca and The Maltese Falcon to Some Like It Hot. He won three Oscars for costume design. He dressed all the biggest stars, from Bette Davis to Marilyn Monroe. Yet few know who Orry-Kelly really was – until now. Discovered in a pillowcase, Orry-Kelly’s long-lost memoirs reveal a wildly talented and cheeky rascal who lived a big life, on and off the set. From his childhood in Kiama to revelling in Sydney’s underworld nightlife as a naive young artist and chasing his dreams of acting in New York, his early life is a wild and exciting ride. Sharing digs in New York with another aspiring actor, Cary Grant, and partying hard in between auditions, he ekes out a living painting murals for speakeasies before graduating to designing stage sets and costumes. When The Kid from Kiama finally arrives in Hollywood, it’s clear his adventures have only just begun. Fearless, funny and outspoken, Orry-Kelly lived life to the full. In Women I’ve Undressed, he shares a wickedly delicious slice of it.”

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Cartier’s Diamond Homage to Marilyn

Karen-ElsonDiamond manufacturer Cartier has made an enchanting Christmas commercial, featuring a cover version of ‘Diamonds Are a Girl Best Friend’, performed by supermodel Karen Elson, from an arrangement by Jarvis Cocker. Of course, Cartier was referenced in Marilyn’s signature song from Gentlemen Prefer Blondes, and Elson is shown being carried aloft by tuxedoed suitors, in a nod to Jack Cole’s original choreography. It was filmed in Paris, where Blondes is partially set. The neckline of her red dress is similar to Marilyn’s in Niagara, and the scene where her flared skirt billows over a subway grate recalls The Seven Year Itch. You can watch the clip here.

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Latest Book News: Marilyn Reissued

bailey legend

Two previously published works on Marilyn are being reissued under different titles. Originally a ‘bookazine‘, Jessica Bailey’s Marilyn Monroe: A Hollywood Legend is now available in paperback for £4.99 at Amazon. It is a fully illustrated, short biography. Meanwhile, a video-enhanced, ebook edition of Timothy Knight’s Marilyn Monroe: A Life in the Movies will be available on Kindle for £6.61 on December 1.

mcknight ebook

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Marilyn at Julien’s in December

Marilyn in Japan, 1954

Marilyn in Japan, 1954

Some interesting Marilyn-related items will be auctioned by Julien’s in their Icons and Idols: Hollywood 2015 sale on December 16. Among the highlights are a 1946 Fox studio memo, concerning the starlet’s name change; a  scorecard from the 1949 Movie Star World Series, where she acted as a bat girl at Wrigley Field; her 1956 signed Conversion to Judaism certificate; an American Airlines napkin, signed to a fan; and a 1960 letter from actor Gary Cooper, thanking Marilyn for a gift of roses.

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Marilyn’s Love Affair With Brooklyn

rostens 84-remsen-street

The Rostens’ home in Brooklyn

“When I retire, I want to retire to Brooklyn…it’s my favorite place in the world so far that I’ve seen. I haven’t traveled much, but I don’t think I’ll find anything else to replace Brooklyn. I just like walking around. I think the view is better from Brooklyn, you know, you can look back over and see Manhattan. That’s the best view…It’s the people…I like the streets, just the people and the streets and the atmosphere, I just like it.” – Marilyn to Dave Garroway, NBC Radio, 1955

Marilyn’s adventures in Brooklyn are featured in Robert Furman’s new book, Brooklyn Heights: The Rise, Fall and Rebirth of America’s First Suburb, reports the Brooklyn Daily Eagle.

“84 Remsen St.: Lots of literature lovers can tell you where Arthur Miller lived in Brooklyn Heights. But do they know where the late Pulitzer Prize-winning playwright met Hollywood goddess Marilyn Monroe?

According to Furman, it was at 84 Remsen St., in the home of Norman Rosten, the late playwright, novelist and Poet Laureate of Brooklyn. Rosten and Miller had been friends since their days as students at the University of Michigan.

As everybody knows, Miller and Monroe did not live happily after. They married in 1956 and divorced five years later.

The Remsen Street brownstone where Rosten once lived now belongs to philanthropists Joseph and Diane Steinberg, Finance Department records indicate.”

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Marilyn Remembers Clark Gable


On November 16, 1960 – fifty-five years ago today – Clark Gable, the ‘King of Hollywood’, passed away. On the Dear Mr Gable site, Marilyn’s heartfelt tribute to her co-star is posted, along with another reminiscence from The Misfits director John Huston.

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Milton’s Marilyn in British Columbia


Canadian superfan Billy Krzemien shared this hauntingly beautiful mural on Immortal Marilyn‘s Facebook group today…

“Proof that our sweet Marilyn is EVERYWHERE….My dear friend Sheila was visiting her brother recently in a small town called, Chetwynd (northern part of our British Columbia), when upon a walk with her friend, spotted this mural painted on a building. Her friend surprisingly had no idea who the subject was (*shocker*), but Sheila sure did…and told her that she knows someone (me), that he was a huge fan/collector, and would love this! I sure do! Sheila believes that it was painted a good number of years ago, as it has been weathering with time and the elements. Sheila says there are many other murals of other subjects painted on buildings there, to deter tagging and grafitti…WORKS, as no one has dared to ruin another artist’s work. Of course if someone defaced this, they’d have to answer to me and a whole army of Marilyn fans! Anyway, I love this mural, inspired by a 1953 photo session, that Marilyn had with photographer Milton H. Greene…Her first with him, for LOOK magazine…and a collaboration that would go from 1953-1957…Sessions that would go on to become some of the most beautiful photos taken of Marilyn, ever!”

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Marilyn, Arthur and ‘A View From the Bridge’

At the London premiere of 'A View From the Bridge', 1956

At the London premiere of ‘A View From the Bridge’, 1956

Writing for the New Yorker, theatre critic Hilton Als considers the emotive impact of Arthur Miller’s 1955 play, A View From the Bridge, and its symbolic connection to Marilyn.

“In 1951, he made a trip to Los Angeles to work on The Hook, a screenplay he was writing, with the director Elia Kazan. Through Kazan, he met Marilyn Monroe. Returning home, he couldn’t shake the effect that her emotional honesty and beauty had had not only on his stolid middle-class perspective but on his art and his imagination. (One of Miller’s biographers describes him as being emotionally constipated.) The nascent A View from the Bridge remained unfinished, as Miller grappled with the change in himself:

‘For I knew in my depths that I wanted to disarm myself before the sources of my art, which were not in wife alone nor in family alone but, again, in the sensuousness of a female blessing, something, it seemed, not quite of this world. In some diminished sense it was sexual hunger, but one that had much to do with truthfulness to myself and my nature and even, by extension, to the people who came to my plays. . . . Even after only those few hours with Marilyn, she had taken on an immanence in my imagination, the vitality of a force one does not understand but that seems on the verge of lighting up a vast surrounding plain of darkness.’

It was Miller’s good fortune and bad luck that he had found someone who acted as a gateway to greater truth-telling for him as an artist, but who also demanded a degree of attention that took him away from his writing and thus away from a deeper self-examination. By the time he completed his one-act version of A View from the Bridge, Miller and Monroe were romantically involved, but the play still agitated him.

It’s not far-fetched to say that the intimacy Miller struggles with in the play—the intimacy he wants the audience to have with the characters, the intimacy he wants Eddie to have with himself—was due, in part, to the example of Monroe, who drew so much on her own life and feelings in her later roles. Her rawness often led to collapse or hysteria, and it’s that hysteria that sometimes emerges in A View from the Bridge, despite Miller’s attempts to suppress it.

In To the Actors Performing This Play: On Style and Power, a 1964 essay addressed to the actors who were staging the first production of Incident at Vichy, he wrote:

‘Acting has come perilously close to being a species of therapy and has moved too far from art. A too great absorption in one’s own feelings is ordinarily called self-indulgence. . . . It is to be emphasized again that acting is not a private but a social occupation.’

But if the great actors of the day, like Kim Stanley, Marlon Brando, Montgomery Clift, and Monroe—who was unforgettable in her last screen performance, in the 1961 film The Misfits, written by Miller—had put the social responsibility of art first, would they have made the mistakes and the discoveries that make them transcendent poets?”

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Writers’ Guild Still Loves Sugar


The Writers’ Guild of America has ranked Some Like it Hot -(written by Billy Wilder and I.A.L. Diamond) at No. 2 in their 101 Funniest Screenplays poll – beaten only by Annie Hall.

“Great comedies wreak havoc on conventional wisdom, and Some Like it Hot changed what comedies could be in Hollywood – to wit, a pastiche of genres, including a throwback gangster film and a slapstick comedy, never mind the contemporary shock value of two cross-dressing leads…”

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Erwitt on Marilyn, and ‘The Misfits’


In a new interview with the UK Telegraph, Elliott Erwitt recalls photographing Marilyn on the set of The Misfits. ‘She didn’t pay any attention to me and I took a few pictures of her not posing,’ he remarks. ‘I guess it’s unusual to see a movie star without make-up, with their mere essentials.’

Angela Allen, who served as director John Huston’s script advisor for The Misfits, says, ‘I don’t think Elliott played up to people, being as smarmy as some of the others. Especially around Marilyn. I think he was more objective about her.’ The two women did not get along, as Marilyn suspected her husband, Arthur Miller, of being attracted to Angela.

Allen mistakenly states that Erwitt photographed Marilyn on the set of Some Like it Hot, adding, ‘he’d seen what Billy Wilder had had to go through.’ In fact, Erwitt had been on the set of The Seven Year Itch, Wilder’s earlier, more harmonious collaboration with Marilyn. He did not photograph her in Some Like it Hot.

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