Marilyn Book News: Comic Confidential

Hot off the press, Marilyn’s Monsters is a graphic novel by Tommy Redolfi which retells her story as a dark fairytale. Now available with a preface by cult filmmaker David Cronenberg, it was previously published in France as Marilyn in Holy Wood.  You can find out more and view sample pages here.

Also just published, Samantha Barbas’ Confidential Confidential looks at the forces behind the notorious scandal magazine which exposed the secrets of Marilyn and other 1950s stars.

A new photo book set for release next month, Marilyn: Lost Images From the Hollywood Photo Archive  includes images from the collection of publicist Colin Slater, with text by Boze Hadleigh, who recently authored Marilyn Forever, a book of quotes about the star from celebrities past and present. More info on the archive here.

Also due in October is Rockhaven Sanitarium, a history of the pioneering women’s psychiatric clinic where Marilyn’s mother Gladys lived for almost fifteen years, authored by LA Woman Tours boss (and friend of this blog) Elisa Jordan. (You can read more about Rockhaven’s history here.)

Pop Trash: Jason Mecier’s Marilyn Mosaic

San Francisco artist Jason Mecier makes mosaics from junk – pills, candy, macaroni, and much more. Mecier’s portrait of Marilyn (based on a photo by Richard Avedon) is featured in his new book, Pop Trash, alongside a young Madonna during her Monroe wannabe period.

Jemima Kirke: Reading With Marilyn

Jemima Kirke, the New York-based artist and actress (best-known as Jessa Johansson in TV’s Girls) has revealed some of her favourite books in an interview for Vulture.

“André De Dienes: Marilyn by André De Dienes
Some of the most important pictures taken of Marilyn Monroe throughout her career with a memoir to go along with it. She and De Dienes were lovers and longtime friends. She would often visit him and take pictures purely for the catharsis of it.”

Murder Orthodoxies: Sex, Lies and Marilyn

Marilyn’s tragic death  shocked the world in 1962, and over fifty years later, the rumours are still coming. In a new book, Murder Orthodoxies: A Non-Conspiracist’s View of Marilyn Monroe’s Death, author Donald McGovern unpicks the myths and searches for the truth. You can read my review at Immortal Marilyn.

Marilyn’s Tale of Two Biographers

Marilyn by Earl Leaf (1950)

Film historian Antti Alanen has reviewed Gary Vitacco-Robles’ comprehensive 2014 biography, Icon: The Life, Times and Films of Marilyn Monroe, on his Film Diary blog.

“Where others read detective fiction I read Marilyn Monroe books. Because of their wildly incompatible approaches they have to be taken with a Rashomon attitude. But I have not been diligent recently and thus have missed the best, Gary Vitacco-Robles’s Icon, in two volumes and almost 1600 pages. It is by far the best Marilyn Monroe biography ever …

I should be familiar with the material as my interest now dates back 40 years, but Vitacco-Robles manages to surprise me on each page. There is a lot of new detail, and from his meaningful interpretation a new portrait emerges. Vitacco-Robles’s approach is sober, but his achievement is ‘A Passion of Marilyn Monroe’. He has a sense of the epic in this story, and psychologically he seems to get deeper than anyone else. This book is a hard act to follow.”

Meanwhile, Charles Casillo’s Marilyn Monroe: The Private Life of a Public Icon has been favourably reviewed by Kevin Howell at Shelf Awareness.

“Billy Wilder said Marilyn Monroe was ‘a puzzle without any solution,’ but biographer and novelist Charles Casillo has dug deep …  [he] does an outstanding job of sifting through conflicting testimonies … Monroe’s sad but fascinating life has been told many times before, but Casillo’s sympathetic and psychologically nuanced Marilyn Monroe bio is compulsively readable.”

Casillo’s Marilyn: ‘Not a Cinderella Story’

Marilyn on the set of her last, unfinished film, ‘Something’s Got to Give’ (1962)

Gene Walz, a professor in English and Film Studies at the University of Manitoba, has reviewed Charles Casillo’s new biography, Marilyn Monroe: The Private Life of a Public Icon, for the Winnipeg Free Press. (I’m currently reading this book, and my own review will follow in due course.)

“Marilyn Monroe: The Private Life of a Public Icon, meanwhile, is Charles Casillo’s second Monroe book — his first being The Marilyn Diaries (1999, expanded 2014). That book was a novel purported to be the star’s personal diary. This second one is a sympathetic biography with a substantial bibliography (500 book entries and multiple footnotes). While it contains no Earth-shaking new insights, it’s a serious, commendable study.

This is not a Cinderella story. Not just because Monroe was insecure, terribly needy and never truly happy, but because very few men in her life were princes — and that’s what she so desperately wanted and needed. Certainly not Fox’s executives, who had little respect for her talent … In addition to the un-prince-like men, there were some ‘wicked stepsisters’ as well.

Monroe was not a dumb blonde, as she is elsewhere presented. She was a woman with a quick wit and genuine humour, a gifted and sensitive writer as well as a thoughtful, hard-working actor who wanted to be taken seriously. Her notorious lateness and absences on movie sets were not because she was a prima donna, but because she was a manic depressive wracked by suicidal self-doubt and despair. Her talents and needs were rarely honoured by the people around her. Casillo’s book attempts to rectify this wrong. Marilyn Monroe: The Private Life of a Public Icon is like a massive quilt of a book, assembled artfully from other resources and his own interviews. It’s the latest ‘last word’ on the undeniable, unforgettable, but misunderstood star. It’s a readable refresher course for those caught up in Monroe idolatry, providing some new dimensions to her mythic life.”

First Review for Casillo’s Marilyn

Test shot from Marilyn’s last, unfinished movie, ‘Something’s Got to Give’

Charles Casillo’s new biography, Marilyn Monroe: The Private Life of a Public Icon – released in the US today – has already attracted quite a few headlines, with some fans concerned that it will be overly sensationalised. In his extensive review for New York Social Diary, Denis Ferrara suggests that most of these detractors ‘know nothing’ about who Marilyn really was.

Personally, I don’t think that’s entirely accurate – many well-informed fans are understandably worried about the way she is portrayed, and after all, Monroe has been misrepresented by many.

At the same time, however, I’m a firm believer in reserving judgement on any book until you’ve read it from cover to cover. As a fellow author, I know there’s nothing worse than having your ideas dismissed without a fair hearing. And the mass media will always focus on the more scandalous aspects of any biography.

Also, in my own acquaintance with Charles I’ve always found him thoughtful and sensitive, and I fully intend to read his take on Marilyn with an open mind. So without further comment, I’ll leave you with this excerpt from Dennis Ferrara’s comprehensive first review.

Marilyn at an Actors Studio benefit in 1961

“The Private Life of a Public Icon covers familiar territory — how could it not, 56 years and probably a thousand books since her death?   But Casillo charts her life, particularly as she felt her youth and career slipping away, with the precision of a great surgeon and the sympathetic expertise of a therapist who knows his patient is on the precipice, but is helpless to save her.

The shattered nature of Monroe’s psyche — ruinously formed by her disordered and disconnected childhood (the unstable mother, absent father, foster homes, orphanages, abuse) runs through the book like a volcano-red warning sign.  But as Casillo notes over and over again — despite every single person who was close to her, knowing of her fragility — her ability to rise spectacularly, like a wounded phoenix, in both her personal and professional life, muted concern, or forced her friends to accept her as she was, and hope for the best.

But when had it been otherwise?  No one who knew Marilyn intimately would have ever said, at any time. ‘She’s such a happy girl’ — although she was capable of summoning up an infectious, joyful façade. It was her own disapproval of herself, her self-loathing that drove her to excel and reach ever up and beyond. (She could call on Isak Dinesen, Truman Capote and Carl Sandburg as friends.) Her struggle was heroic, and her accomplishments are ill-served when placed in the mode of inevitable failure and victimization. (As Casillo notes, she was used, but she used as well, and her rages, when she felt betrayed, were towering.)”

Did Marilyn’s Nude ‘Misfits’ Scene Survive the Final Cut?

A briefly nude scene from The Misfits – cut by director John Huston – may have survived, according to Charles Casillo, author of the new biography, Marilyn Monroe: The Private Life of a Public Icon.

Still photos attest that Marilyn was indeed semi-nude in the bedroom scene, in which stayed in the movie after being edited. She wanted to keep the footage intact, but Huston dismissed the idea. Marilyn was more attuned to the mood of the times, as minor nudity was already becoming commonplace in films made in Europe.

Dalya Alberge reports for the Daily Mail 

“Charles Casillo interviewed Curtice Taylor, son of the film’s producer Frank Taylor, and was taken aback to learn that he has kept the footage in a locked cabinet since his father’s death in 1999.

Mr Taylor said: ‘A lot of times, unused takes were destroyed. But Frank Taylor believed that it was so important and so ground-breaking that he saved it.’

The footage, with sound, lasts about 45 seconds. Curtice Taylor, a photographer and teacher, understands why his father was so keen to include it: ‘It’s much more passionate.’

He said: ‘So Gable’s fully clothed. He comes into her bedroom. She’s asleep. He caresses and kisses her neck, turns her face around and gives her a good lip-lock. That exists in the scene in the [final] film – but not to the passionate degree of this one, which is much better. The smile on her face when he’s kissing her shoulder is just sublime.’

After Gable leaves the room, Ms Monroe holds up the sheet to put on her blouse. Mr Taylor believes that she dropped it partly due to her training as a method actress.

He said: ‘Why would a woman sitting up in bed, with nobody in the room, pull the sheet up and then try to put a blouse on at the same time? It makes no sense. So she just drops the sheet. I think it’s one of the reasons she did this. There are quite a few takes of this scene. Whenever she dropped the sheet, which she did a few times, Huston would say “Cut, remember the sheet, Marilyn”.’

Mr Taylor was surprised that the footage is an edited sequence, and wonders whether the censors had insisted on its removal.

He attended the shoot at just 13-years-old, and said he remembers Ms Monroe talking to him and asking him to do ‘little favours’. He said: ‘She’d give me $5 to go get something.'”

Did Elizabeth Taylor Reach Out to Marilyn?

In Charles Casillo’s new biography, Marilyn Monroe: The Private Life of a Public Icon – due out this month – he claims that Marilyn’s alleged rivalry with Elizabeth Taylor was a myth, as Closer reports.  His source isn’t named here but hopefully the book will tell us more, as it’s a nice story. (And you can read my tribute to  Marilyn and Elizabeth here.)

“They were two of the biggest female sex symbols of the 50s and early 60s, but Marilyn Monroe and Elizabeth Taylor didn’t consider each other competitors. ‘In many ways [they] were pitted against each other by the press,’ Charles Casillo writes. ‘In reality, they barely knew each other, and the two had no animosity toward each other.’

Quite the opposite! Casillo writes of an incident in 1962, when 20th Century Fox was bleeding money on Liz’s over-budgeted extravaganza Cleopatra. The studio simultaneously fired Marilyn for alleged absences from the set of her never-completed final film, the aptly titled Something’s Got to Give.

Marilyn felt she was being sacrificed so Fox could save on her salary and spend it on finishing the bloated Egyptian epic. Two decades later, Liz revealed to a friend that she had reached out to Marilyn to offer her support during this difficult period.

‘Liz told Marilyn she was willing to publicly demonstrate her solidarity,’ Casillo says, offering to quit Cleopatra unless Marilyn was rehired. ‘Marilyn was very moved by Liz’s kindness toward her, but she didn’t want to make matters worse for either of them,’ so she declined the generous offer.

Instead, Liz gave Marilyn an invaluable piece of advice. ‘No matter what they write about me, Marilyn, I never deny it,’ Casillo quotes Liz as saying. ‘I never confirm it. I just keep smiling and walking forward. You do the same.’ Tragically, Marilyn didn’t live long enough to put those words into action.”

Marilyn Steps Off the Casting Couch

Photo by Milton Greene, 1953

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 Girl here.)

“‘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.'”