63 Years Ago: ‘Joe, Marilyn Married Here’

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The San Francisco Chronicle has reposted their front page from January 15, 1954 – the day after Joe DiMaggio married Marilyn at City Hall.

“’Joltin’ Joe DiMaggio wedded the girl of his and many other men’s dreams yesterday afternoon in San Francisco City Hall,’ the story read.

‘The time and place of the wedding was kept a closely guarded secret and only 500 people managed to hear about it in time to turn the corridors outside Municipal Judge Charles S. Peery’s chambers in a madhouse,’ The Chronicle’s Art Hoppe wrote.

‘Marilyn, it seems, had made the mistake of calling her studio in Hollywood yesterday morning and letting it in on her plans to be married at 1 p.m. A studio official casually mentioned it as fast as he could to all the major news services.'”

And just FYI, January 14 has seen some other significant events – including the release of Clara Bow’s It in 1926, and the publication of Sylvia Plath’s The Bell Jar in 1963 (less than a month after her suicide.)

Scratching an ‘Itch’ for Marilyn

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With the lost footage from the New York location shoot for The Seven Year Itch now making headlines, it’s a good time to revisit Marilyn’s most famous movie scene, as Ian Freer does in ‘Story of the Shot’, published in the February issue of UK film magazine Empire.

Thanks to Fraser Penney

Marilyn’s Lost ‘Itch’ Footage

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Amateur footage from the set of The Seven Year Itch has resurfaced, as Helene Stapinski reports for the New York Times. Shot by Jules Schulback, a furrier and home movie enthusiast, in September 1954, the missing reel – in pristine condition, and lasting for three minutes and seventeen seconds in total – was found by his granddaughter Bonnie Siegler and her husband Jeff Scher almost sixty years later.

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“The film starts with a spliced-in intertitle that reads ‘World Premiere,’ Mr. Schulback’s little inside joke.

And then there is Marilyn Monroe, in a white terry robe, coming down the stoop of a white-shuttered building at 164 East 61st Street, between Lexington and Third Avenues. It was the earlier scene — before the subway grate footage — that Mr. Schulback had shot. Cameramen and press photographers are gathered outside as the actress smiles and waves.

Cut to Ms. Monroe in a second-floor window wearing a slip and blow-drying her hair. Mr. Ewell walks down the street and into the building. The film cuts inexplicably to 30 seconds of what must be a Shriners parade in Manhattan, then jumps to another intertitle, which reads ‘Our Baby.’

And suddenly, there is Ms. Monroe again, this time on the subway grate in that famously fluttering white dress, holding a matching white clutch in her right hand and a red-and-white-striped scarf in her left.

Mr. Schulback was incredibly close, filming right behind Mr. Wilder’s shoulder, stopping to wind his hand-held camera every 25 seconds. Now and then, a silhouette of the director’s arm intrudes into Mr. Schulback’s crystal-clear shot. At one point Mr. Wilder, in a fedora, passes across the frame. Ms. Monroe gets into position and yawns, while the cinematographer sets up the camera. Through a gap in the film crew, Mr. Schulback captures just her face, looking off to the left, serious and unsmiling.

Then Mr. Ewell is there, chatting with Ms. Monroe, who pushes him into position. The dress flutters again, Ms. Monroe holds it down, bending slightly, smiling and talking to Mr. Ewell, but it flutters up some more and she laughs, her head thrown back. It blows up again, but she doesn’t push it down this time, and it flies up over her head, clearly revealing two pairs of underwear that, because of the bright lights, do not protect Ms. Monroe’s modesty quite as much as she might have liked.

Then, as suddenly as she appeared, Marilyn is gone, and the film reverts to home-movie mode: Edith Schulback walking on the grass at a family outing in the country. It’s like being shaken from some crazy dream, back to reality.”

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Elsewhere in the Times, Alexandra S. Levine retraced Marilyn’s steps in today’s New York.

“We started outside 164 East 61st Street, the townhouse shown in the film.

The house is still standing, and this week, it appeared to be the only one on the block still adorned with Christmas decorations.

(It’s also now directly across from Trump Plaza, which was certainly not part of the movie’s quaint side-street landscape.)

We then walked to Lexington to visit Gino, a restaurant where Ms. Monroe would often eat with her second husband, Joe DiMaggio, and later with her third, Arthur Miller.

We regret to inform you that the eatery is long gone. It’s now Sprinkles, a cupcake shop, and the outside of the building has an A.T.M. that dispenses cupcakes. (How far we’ve come in 63 years!)

We headed south, to 52nd Street, the site of the celebrated subway grate.

There was no Marilyn Monroe plaque or street sign to be seen; the block is designated Lew Rudin Way. And the Trans-Lux Theater, which stood behind Ms. Monroe as she filmed the scene, is no longer there.

So we stopped above what we imagined was the same grate, now in front of the bistro Le Relais de Venise l’Entrecôte, to see if it might elicit an out-of-body experience.

Not quite.

The long, narrow subway grate was sandwiched on one end by a garbage can, and on the other by a large, thirsty-looking potted plant.

When we stood over the grate, we didn’t feel the swoosh of the subway swiftly blowing at our heels. When we looked down, all we could see was our own reflection in some murky water. And we certainly didn’t look like we were having an exceptional hair day.

What we’d suggest, to better recreate that unforgettable New York (but made in Hollywood) moment, is to ask a friend to come along with a giant fan and an iPhone. Ask that kind soul to turn on the fan, encourage passers-by to cheer your name, and let the photo shoot begin.”

Kate Upton’s ‘Diamond’ Marilyn Moment

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In the final instalment of Love Magazine‘s Advent series, supermodel Kate Upton – whose blonde hair and voluptuous curves have been compared to Marilyn’s – sips champagne and frolics in lingerie to the soundtrack of ‘Diamonds Are a Girl’s Best Friend’. However, the short video, directed by Doug Inglish, owes more to the cheeky aesthetic of The Benny Hill Show than the glamour of  Gentlemen Prefer Blondes. Judge for yourself here.

Buddy Greco 1926-2017

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Marilyn with Buddy Greco, 1962

Buddy Greco, the jazz pianist and lounge singer, died in Las Vegas last week aged ninety.

Armando Greco was born into a musical family in Philadelphia in August 1926, and began piano lessons at four years old. He turned professional in his teens, and had his first hit single in 1948. He was hired by Benny Goodman, and accompanied a young Marilyn Monroe during an audition for the band (she didn’t get the job.)

In 1951, Greco launched a solo career as a nightclub artist. He also released albums and appeared on television. His 1960 version of ‘The Lady is a Tramp’ sold over a million copies. He regularly performed alongside Frank Sinatra, Sammy Davis Jr and other Rat Pack luminaries at the Desert Inn in Las Vegas.

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On the weekend of July 29, 1962, Greco was playing with Sinatra at the Cal-Neva Lodge in Lake Tahoe. One of Sinatra’s guests was Marilyn Monroe. Buddy reminded her of their earlier meeting, and took a series of snapshots featuring himself with Marilyn, Sinatra, and Peter Lawford. These photos are believed to be the last ever taken of Marilyn, who died just a week afterward.

Greco enjoyed his British tours so much that he bought a house at Westcliff-on-Sea in Essex, while also maintaining a home in Palm Springs, California. He is survived by his seven children and his fifth wife, Lezlie Anders, whom he married in 1995.

You can read Buddy Greco’s account of the Cal-Neva weekend here.

Marilyn’s Studio Club Days

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The Hollywood Studio Club was a home for young actresses where Marilyn lived in 1946-47 (and again in 1948.) Her roommate was Clarice Evans, and fellow residents included another star-in-waiting, Eleanor Parker. The photo shown above, taken in 1948, was published in the Greater Los Angeles Press Club brochure, and  inscribed by Marilyn to Clarice’s sister, Louise Evans.

The illustrious history of Marilyn’s ‘forgotten Hollywood sorority’ is traced in a fascinating new article for the Messy Nessy Chic website. (Although Marilyn later claimed to have posed nude to pay the rent, her famous calendar shoot actually occurred in 1949, after she left the Studio Club. She needed the fifty dollars to get her car repaired. However, she had frequently posed for cheesecake artist and photographer Earl Moran during the lean years.)

“It was described as a Hollywood sorority, a chaperoned dormitory and one newspaper article in 1946 even called it a rescue home for wayward girls. The club was founded in 1916 when a Mrs. Eleanor Jones began noticing groups of young women hanging around at her library until closing time, clearly with nowhere else to go.

The Hollywood Studio Club got a fancy new home in 1926, a grand renaissance revival building designed by the same architect who did Hearst Castle. Warner Brothers, Metro Goldwyn and even Howard Hughes helped fund its construction.

The club provided residents with accommodation, two meals a day, sewing machines, hair driers, laundry equipment, typewriters, theatre literature, practice rooms, stage and sundeck. Performing arts classes were also available and the club regularly hosted industry-related events.

There was always a long waiting list for the club, but the only qualification needed was for an applicant to be seeking a career in the motion picture business. Some would make it as actresses, writers or designers, others would settle as a studio secretary.”

Thanks to Jackie Craig

Hollywood’s Formosa Cafe Closes

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The legendary Formosa Cafe on Santa Monica Boulevard, where the cast of Some Like It Hot dined between filming scenes at the nearby Samuel Goldwyn Studios, closed its doors last month, as Julia Bennett Rylah reports for LAist. (The restaurant features in the Oscar-winning L.A. Confidential (1997), and was more recently the venue for a 2015 benefit for Hollygrove, the children’s charity named after the orphanage where the young Norma Jeane once lived.)

“Prize-fighter Jimmy Bernstein opened the Red Spot in 1925 inside a defunct red trolly car, near a film studio that would, in the late 1930s, become Samuel Goldwyn Studio. It was a simple lunch counter that slowly grew into a much larger operation, and was renamed the Formosa Cafe around the same time that Samuel Goldwyn moved in, according to KCET. They served Cantonese and American food courtesy of Chef Lem Quon, who took over the joint after Bernstein’s death in 1976. He then enlisted the aid of his stepson, William Jung.

The Formosa was not a fine dining establishment, but it was famous for its famous clientele, which included actors and rock icons from the Golden Age of Hollywood and beyond.

In 1991, Warner Bros. replaced Goldwyn Studio and foresaw the Formosa as a parking lot. As often happens in Los Angeles, a group quickly assembled to save the cafe. Their protest were successful, and the little building remained as the city grew around it.

The worse it got, according to many, came via a remodel in the summer of 2015. The restaurant was gutted and revamped … while the exterior of the building, including its neon green sign, is protected, the inside was not.

However, since everyone apparently hated the remodel so very much, Formosa owners decided to put it back to the way it was. The revert was apparently not enough to save the historic restaurant from closure.”

However, all may not yet be lost, according to LA Magazine.

“The longtime operator of the recently shuttered Formosa Café hasn’t even turned in his keys yet, and the building’s owner is already hearing proposals from new tenants. Vince Jung abruptly closed the restaurant this week. New York-based real estate firm Clarion Partners purchased the West Hollywood Gateway shopping center in 2004 and owns the restaurant property. ‘My goal is to find someone that wants to bring back the history,’ said Gabe Kadosh, vice president of leasing firm Colliers International. ‘This is not going to turn into a Sharky’s or something.’

Jung had been on a month-to-month, below-market lease for many years and made several unsuccessful attempts to revive the business by taking on partners and hosting pop-up nights. One of those partners remodeled the interior without permission from Clarion … Now that the owners have control of the landmark they are seeking a new tenant to restore the Formosa.”

Marilyn: A Life On the Stage

Marilyn at the Actors Studio, 1955 (Photo by Roy Schatt)
Marilyn at the Actors Studio, 1955 (Photo by Roy Schatt)

In a thinkpiece for The Conversation, Margaret Hickey – a professor at Australia’s LaTrobe University, which ran an extension course on MM last year – asks an intriguing question: Would Marilyn’s career (and life) have been different if she had acted on stage?

“[The] drawn out Method approach is more conducive to a theatre production (which it was originally designed for) than a busy film set. The intimacy of the method, the focus on self, appealed to Monroe and she threw herself into it.

Much is made of Monroe’s drug addiction and famous lack of punctuality (few consider the similar behaviour of her co-stars and directors). But with the smaller budgets and longer rehearsal time of the theatre productions, she may have been less prone to the crippling anxiety attacks she increasingly suffered from.

Other stars of the era who managed the transition from ‘sex bomb film star’ to stage actor had a very different trajectory to Monroe. Elizabeth Taylor, Jayne Mansfield and Jane Russell, Monroe’s co-star in Gentlemen Prefer Blondes, all grew tired of films that focused mainly on their figures and made the switch to stage.

A small role to begin with, an off-Broadway theatre with her Studio classmates, a lengthy rehearsal schedule – it might just have garnered Monroe the respect she craved.”