On August 4th, 1962 – a balmy Saturday evening not unlike this one – Marilyn Monroe bid her housekeeper goodnight and retired to the bedroom of her modest Los Angeles home. She would never wake again, and on Sunday morning, the world learned of her death. On this sad anniversary, here’s an ode to America’s dream girl from Sherman Alexie, an indigenous poet.
drives herself to the reservation. Tired and cold,
she asks the Indian women for help.
Marilyn cannot explain what she needs
but the Indian women notice the needle tracks
on her arms and lead her to the sweat lodge
where every woman, young and old, disrobes
and leaves her clothes behind
when she enters the dark of the lodge.
Marilyn’s prayers may or may not be answered here
but they are kept sacred by Indian women.
Cold water is splashed on hot rocks
and steam fills the lodge. There is no place like this.
At first, Marilyn is self-conscious, aware
of her body and face, the tremendous heat, her thirst,
and the brown bodies circled around her.
But the Indian women do not stare. It is dark
inside the lodge. The hot rocks glow red
and the songs begin. Marilyn has never heard
these songs before, but she soon sings along.
Marilyn is not an Indian, Marilyn will never be an Indian
but the Indian women sing about her courage.
The Indian women sing for her health.
The Indian women sing for Marilyn.
Finally, she is no more naked than anyone else.
Also featured is a type-written letter from Marilyn, allowing her name to be quoted in Green Eyes, a 1957 movie starring Susan Oliver, released as The Green-Eyed Blonde. Interestingly, Marilyn’s friend Steffi Sidney (daughter of columnist Sidney Skolsky) played a small role in this teen drama set in a home for wayward girls.
“The dialogue which Monroe granted permission to use was for the film, the Green-eyed Blonde: ‘JOYCE: / (before mirror) / How’s my hair? / BETSY: / (genuine admiration) / It’s beautiful, Joyce! / JOYCE: / (preening herself) / It’s kind of the way Marilyn Monroe does hers.’ The film was released by Warner Bros. on December 14, 1957.”
And finally, this 1958 letter to Manhattan department store Bloomingdale’s allowed Marilyn’s secretary, May Reis, to use her charge account.
The only photo of Marilyn and the Kennedy brothers is coming up for auction in a rare original print. Bidding at Lelands‘ will start at $2,500, ending on August 17. Olivia B. Waxman explores the backstory over at Time.
“The image shown here was taken that night at an after-party at the Manhattan townhouse of Hollywood exec Arthur Krim, by official White House photographer Cecil Stoughton. A print of that image is now for sale, which the auction house Lelands says it was discovered after Stoughton died in 2008; Lelands claims it could be the only surviving version of the photo that Stoughton printed himself from the original negative.
Also pictured are the President’s brother, Attorney General Robert F. Kennedy, on the viewer’s left, and Harry Belafonte, who sang ‘Michael Row the Boat Ashore’ that night, in the center back. The bespectacled smiling man on the right is the historian Arthur Schlesinger, Jr., who admitted later that he was indeed as starstruck as he looks. Monroe had also brought her ex-father-in-law Isidore Miller, playwright Arthur Miller’s father, to meet the President that night. ‘I thought this would be one of the biggest things in his life’ as an ‘immigrant,’ a 1964 LIFE magazine feature reported her saying.
‘[I]t was Marilyn who was the hit of the evening,’ according to TIME’s recap of the concert in 1962. ‘Kennedy plainly meant it when he said, “I can now retire from politics after having had Happy Birthday sung to me in such a sweet, wholesome way.”‘
The performance added to rumors that both Kennedy brothers were having affairs with the actor … According to another biographer, Donald Spoto, Monroe and JFK met four times between October 1961 and August 1962. Their only ‘sexual encounter‘ is believed to have taken place two months before the concert in a bedroom at Bing Crosby’s house on Mar. 24, 1962, her masseur Ralph Roberts has said.
So, while rumors of their affair may have ramped up after her performance at Madison Square Garden, their interest in each other may have been winding down at that point, Roberts has claimed. Referring to their March encounter, he said, ‘Marilyn gave me the impression that it was not a major event for either of them: it happened once, that weekend, and that was that.’
And yet, especially given Monroe’s death and Kennedy’s assassination not too long after, the idea of their relationship still holds its grip on many Americans’ imaginations.”
“Let’s Make Love is simply a harmless, silly comedy. Marilyn Monroe does what she does best, singing and dancing in some very provocative outfits. Her role in the film is the usual sweet and soft spoken type … the musical numbers are entertaining, well-staged, and a pleasure to watch … It has been stated elsewhere that Lets Make Love isn’t Marilyn Monroe’s best film. Whether that is true or not is up for grabs, but it’s a catchy film that’s worth a look on a lazy weekend afternoon. Besides, how can one not enjoy the gorgeous presence of Marilyn Monroe?”
Last December, it was reported (here) that Disney had bought Twentieth Century Fox’s assets from its most recent owner, Rupert Murdoch. And on July 27, as Variety reports, the Fox-Disney merger went ahead with a $71.3 billion buyout. Marilyn’s films for her home studio will be included in the purchase. As many commentators wonder what this will mean for the venerable Fox brand, the Hollywood Reporter looks back on its colourful past with a series of articles including the fraught relationship between longtime studio head Darryl F. Zanuck and the biggest star of all – Marilyn – during 1951-62, a period described as the ‘Monroe Years’ (preceded by ‘Eve’s Gold Rush’ in 1950, a reference to the Oscar-laden All About Eve in which Marilyn had a small part.) Firstly, film historian Leonard Maltin offers a eulogy for Fox, and the personalities who made it great.
“Zanuck always had someone waiting in reserve in case one of his stars became uncooperative. Betty Grable was hired as a threat to musical star Alice Faye and soon surpassed her as Fox’s premier attraction (and No. 1 pinup) of the 1940s. Faye grew tired of Zanuck’s belittling behavior and walked off the lot one day without saying goodbye. (Zanuck wouldn’t have survived in the #MeToo or Time’s Up era. He was notorious for taking advantage of starlets.)
Zanuck reigned until 1956, when he resigned from Fox and moved to France to become an independent producer. In the fractious years that followed, the studio wooed him back for projects more than once, even allowing him to cast his mistresses (Bella Darvi, Juliette Greco, et. al) in leading roles. But while movie attendance soared during the years following World War II, it sank nearly as quickly with the introduction of television. Fox’s response was to unveil a widescreen process called CinemaScope and its aural equivalent, stereophonic sound. Films like the biblical epic The Robe drew people back to theaters. So did Fox’s newest star, blonde bombshell Marilyn Monroe.
It was believed the wildly expensive epic Cleopatra — which paid Elizabeth Taylor an eye-popping $1 million salary — nearly bankrupted 20th Century Fox, but president Spyros Skouras already was selling off the company’s valuable backlot (now known as Century City) before the movie’s budget ballooned to $44 million. Facts aside, Cleopatra became a scapegoat for all of the studio’s ills.
In a final coup, Darryl F. Zanuck returned to Fox in the early 1960s and named his son, Richard Zanuck, president … Then, in 1970, Zanuck Sr. fired his son and sparked an Oedipal family feud that sucked in Zanuck’s ex-wife — Richard’s mother, a major shareholder — and ended with the elder Zanuck being pushed out of the studio he co-founded. Repeated changes of regime and ownership in the ensuing years took their toll on the company that had once put its distinctive imprint on such classics as Laura, Miracle on 34th Street, Twelve O’Clock High and All About Eve.”
In another article, ‘Life in the Foxhole‘, Mitzi Gaynor describes the working atmosphere at Fox as ‘like a family’, while Don Murray recalls his movie debut at the studio, and his mercurial leading lady…
“Zanuck loathes Marilyn Monroe (‘He thought I was a freak,’ Monroe once said) and nearly tears up her first contract after her nude Playboy cover comes out. But by 1953, Monroe has three of the studio’s biggest hits — Niagara, Gentlemen Prefer Blondes and How to Marry a Millionaire — and renegotiates a new contract paying $100,000 a picture and giving her creative approval. Her first film under the new deal is 1956’s Bus Stop, co-starring Don Murray. ‘I’d never done a feature before,’ says the actor, now 88, ‘so I didn’t know what to expect. From what others on the set told me, Marilyn was on her best behavior. She’d just been to the Actors Studio, and she really wanted to concentrate on her acting. But even so, she was late every day. She’d get to the studio on time, but then she’d spend hours dawdling in her trailer, getting the nerve up to act. She was trying hard — she would sometimes do 30 takes in a scene — but she was very anxious about her acting. She would actually break out in a rash before the cameras would start filming. The cameras gave her a rash.'”
Finally, you can read Marilyn’s take on Fox, and Zanuck – as told to biographer Maurice Zolotow – here.
In the wake of last year’s scandal regarding sexual exploitation in Hollywood, several ill-informed commentators have claimed Marilyn as a historic symbol of the casting couch. In an interview with Stephanie Nolasco for Fox News, author Michelle Morgan explains how her new book – The Girl: Marilyn Monroe, The Seven Year Itch and the Birth of an Unlikely Feminist – sets the record straight. (You can read my review of The Girlhere.)
“‘She had said that she never fell for it,’ Morgan told Fox News. ‘She had walked out of various interviews and situations that she deemed inappropriate … She was doing a series of interviews in 1954. At that time, she really wanted to write her autobiography but … In the end, she decided not to go through with it because it had been leaked out to the British press.’
In the mid-1950s, Monroe spoke out about being harassed by an executive whom she did not name. ‘She was very intelligent about that, to keep his name out of the article. But she certainly did speak about it.’
‘She was never going to let herself be victimized. She spoke about it and as a result, inspired other people to speak out … She was one of the only actresses in Hollywood at that time who was speaking out about that.’
Morgan added: ‘I think based on the things she said herself and the outspoken way she approached Hollywood, I personally don’t believe she was ever a victim of the casting couch. I think she was able to walk away.'”
Representatives of Marilyn and Elvis Presley’s estates are suing a clothing company for a total of $353,500 in royalties and penalties, the New York Post reports. Central Mills, under its Freeze Apparel division, manufactured a range of tops featuring Marilyn’s image, such as the sweater shown above. TapouT LLC is a clothing division of Authentic Brands Group (ABG), the licensing arm of Marilyn’s estate. The two companies parted ways in December 2017.