Veteran Hollywood publicist Dick Guttman has been interviewed by Susan King for her excellent Classic Hollywood column in the Los Angeles Times.
“Guttman fell into the career by accident when he began an office boy at age 19 at Rogers & Cowan while attending UCLA. The budding journalist had worked at the Los Angeles Herald-Examiner as a teenager in a program in which students would write the high school sports page on Saturdays.
But he didn’t have a clue what Rogers & Cowan did or even what publicity was, then ‘one day I made a delivery and Kirk Douglas answered the door. So I started reading the memos I was delivering.’
Guttman soon discovered he had found his calling. ‘I was a journalist,’ he said. ‘And I knew a lot about motion pictures. They were my two passions.’
When he began at the company — Henry Rogers was [Warren] Cowan’s partner in the firm — Rogers and Cowan had ‘more stars than MGM, who had more stars than there are in the heavens,’ recalled Guttman. ‘This was 1954-55, and it was just when the contract system was ending. Everybody was celebrating this — their new freedom and they were going to make their own films. Little did they know it was the end of the golden age.'”
In his 2015 memoir, Starflacker: Inside the Golden Age of Hollywood, Guttman recalled meeting Marilyn during filming of Let’s Make Love, while he was representing her co-star, Yves Montand, whose actress wife, Simone Signoret, won an Oscar that year (for Room at the Top.)
“Simone had become a special friend of mine during the Room at the Top campaign. She and Yves, royalty in Europe as actors, as intellects and as bold political activists, arrived in Hollywood as the most doted-upon European artist couple since Olivier and Leigh. They generated constant media attention. So I was obliged to spend a large amount of time at the Montands’ second storey bungalow apartment above the gardens of the Beverly Hills Hotel. When media was in attendance, the door across the landing at the top of the stairs was always closed. But if I was there only to go over photos or to have a discussion, no media, that door would open and Marilyn Monroe would wander in, usually in a thick black bathrobe, beautiful in the absolute absence of make-up and with the soft confusion of unbrushed hair. Apparently, she never had in her and Arthur Miller’s refrigerator whatever she could count on being in Simone and Yves’. As she ate from a bowl of cereal or a small carton of yoghurt, she would wander into their conversation or look at the photos and make pretty good choices. Miller would come in sometimes in slacks and sweater, and they seemed an informal melding of close friends. This is before Simone had to go back to Paris for work there and before Yves and Marilyn would start their work together on their ultimately unsuccessful musical comedy, Let’s Make Love.”