The TCM Big Screen Classics program for 2017 features two MM films. All About Eve will be shown in selected theatres across the US in March, with Some Like It Hot following in June. More details here.
This photo of a radiant Marilyn opening the Sidewalk Superintendents Club at the Rockefeller Center in New York on July 2, 1957, is featured in a new book, Moment by Moment, as Liz Ronk reports for Time. Photographer John Loengard worked for Life magazine, and it would be interesting to know if he captured any other images of Marilyn that day.
A vintage room-key from the Homestead Inn in New Milford, Connecticut, where Marilyn is said to have stayed during her courtship with Arthur Miller, was sold for $131 on Ebay last week, as Barry Lytton reports for the Danbury News-Times.
“‘We just bought all the keys because people like old hotel keys,”’ said Loretta Kretchko, who co-runs Bob Kretchko Antiques with her husband, Bob. ‘We weren’t thinking Marilyn.’
In 1956, Monroe stayed in the inn while she was dating playwright Arthur Miller, who lived in Roxbury at the time. The two later married.
The Kretchkos purchased the keys two years ago, right before a new owner renovated the inn, Loretta said, and they planned on selling them. Many of the rooms had several sets, which was great for the Kretchkos — more old keys to sell, she said.
‘But this was the only No. 22 key,’ Loretta said. ‘(Monroe) always stayed in 22.’
The Homestead Inn has had its share of famous guests over the years, including Joseph and Rose Kennedy, who stayed in New Milford while their future-president son, John, was an eighth-grader at the Canterbury School.”
Billy Chapin, a former child actor best-known for his role in Night of the Hunter (1955), has died aged 72, notes the Hollywood Reporter. He also played the young Steve Donahue in There’s No Business Like Show Business (1954.) MM fans may recall an early scene where Steve and his younger brother are caught trying to run away from boarding school. The older Steve was played by Johnnie Ray.
Despite reports this summer that filmmaker Andrew Dominik’s long-mooted adaptation of Blonde, Joyce Carol Oates’ controversial novel about Marilyn, would be produced for Netflix in 2017, it is “not a done deal,” as Dominik admits in a new interview for Collider. (Criticised by MM fans for its factual liberties, Blonde will be available via Kindle for the first time in English next March – so if you haven’t read it yet, judge for yourself.)
“When I spoke to you for Killing Them Softly, you were going to do Blonde next, but that was back in 2012. We’ve recently heard that Netflix was going to step in and finance that, so are you finally going to go into production on that film?
DOMINIK: I don’t know. I hope so, but it’s not, in any way, a done deal.
So, you don’t have a possible production date yet?
What is it about that film and that story that’s made you stick with it all this time, and still want to get it made?
DOMINIK: I think that Blonde will be one of the ten best movies ever made. That’s why I want to do it.
Why do you think that is?
DOMINIK: It’s a film about the human condition. It tells the story of how a childhood trauma shapes an adult who’s split between a public and a private self. It’s basically the story of every human being, but it’s using a certain sense of association that we have with something very familiar, just through media exposure. It takes all of those things and turns the meanings of them inside out, according to how she feels, which is basically how we live. It’s how we all operate in the world. It just seems to me to be very resonant. I think the project has got a lot of really exciting possibilities, in terms of what can be done, cinematically.
Are you still hoping to have Jessica Chastain play Marilyn Monroe, or will you have to recast the role once you finally get a firm start date?
DOMINIK: Well, it’s a chicken and the egg type of thing. But, I don’t think it’s going to be Jessica Chastain.”
Leon Russell, the revered Oklahoma-born musician and singer-songwriter whose career spanned more than fifty years, died earlier this month aged 74. Best known for hits like ‘Delta Lady’ and ‘A Song For You’, he worked with Bob Dylan and the Rolling Stones, and more recently made an album with Elton John.
His 1978 solo album, Americana, includes a track called ‘Elvis and Marilyn’, which was also a single. You can listen to it on Spotify.
One of the last survivors of Hollywood’s golden age, Robert Wagner has written about Marilyn in his memoir, You Must Remember This, as well as providing the introduction to David Wills’ Marilyn – In the Flash. In his latest book, I Loved Her in the Movies: Memories of Hollywood’s Legendary Actresses, Wagner writes about her again, and an excerpt is published on the Town and Country website.
“I have no horror stories to tell. I thought she was a terrific woman and I liked her very much. When I knew her, she was a warm, fun girl. She was obviously nervous about the test we did together, but so was I. In any case, her nervousness didn’t disable her in any way; she performed in a thoroughly professional manner. She behaved the same way in Let’s Make It Legal, the film we later made—nervous, but eager and up to the task.
Years later, Marilyn began dropping by the house where Natalie [Wood] and I lived. Our connection was through Pat Newcomb, her publicist. I had known Pat since our childhood. She had also worked for me and often accompanied Marilyn to our house. I bought a car from Marilyn—a black Cadillac with black leather interior.
Marilyn had an innately luminous quality that she was quite conscious of—she could turn it on or off at will. The problem was that she didn’t really believe that it was enough. My second wife, Marion [Marshall] knew her quite well; she and Marilyn had modeled together for several years, and were signed by Fox at the same time, where they were known as ‘The Two M’s.’ Marion told stories about how the leading cover girls of that time would show up to audition for modeling jobs. If Marilyn came in to audition, they would all look at each other and shrug. Marilyn was going to get the job, and they all knew it. She had that much connection to the camera.
When Marilyn died, Pat Newcomb was utterly devastated; Marilyn had been like a sister to her, a very close sister, and she took her death as a personal failure. Marilyn’s death has to be considered one of show business’s great tragedies. That sweet, nervous girl I knew when we were both starting out became a legend who has transcended the passing of time, transcended her own premature death.”
Comedienne Rachel Bloom has spoofed a classic Marilyn moment from Gentlemen Prefer Blondes in an episode of her musical sitcom, Crazy Ex-Girlfriend (in which she plays Rebecca, a woman in the thrall of romantic delusions), reports the Los Angeles Times. You can watch the scene (from Season 2, Episode 3) in full here.
“‘There was kind of a self-indulgent hubris, where she truly thinks she has two men in love with her,’ said Bloom of her quest to capture the sound of that romantic delusion musically. ‘She thinks she is the center of everything. That’s Diamonds Are a Girl’s Best Friend. That’s Marilyn Monroe. That’s a ’40s song where you’re surrounded by boys.’
So when inspiration struck, she did what any good songwriter on a deadline would do: She reached for her laptop that sat on her bamboo bath caddy and started jotting down lyrics.
It wasn’t long before the show’s music producer, Adam Schlesinger, received a voicemail with Bloom’s bare-bones rendition of this week’s big musical number, ‘The Math of Love Triangles’, which finds Rebecca cooing in a baby-doll voice — a la Monroe in ‘Diamonds’ — about what a hardship it is to have two guys in love with her.
‘The hardest part of writing these songs is landing on the specific idea,’ Bloom said. ‘Once we’ve landed on it, then stuff starts rolling. And there’s editing and there’s tweaking and there’s rewriting. But there’s a kind of rolling down the hill that you feel once you hit on the right comedy premise.’
And a bit of creativity is sometimes needed when trying to get certain aspects of those premises to pass Broadcast Standards and Practices. For example, with The Math of Love Triangles, the line, ‘Are you erect?’ could only pass muster if Bloom’s Rebecca was physically adjusting the posture of a dancer.
On the day of production of The Math of Love Triangles, Bloom was concerned that she might be revealing too much side boob because of her blue strapless gown or that the male dancers should be more expressive with their facial reactions.
After a take was complete, she slipped out of her character’s strappy heels and into some slippers to watch a playback.
‘I think it’s great,’ Bloom said. ‘It all came together!'”