Film historian Rudy Behlmer has died aged 92, Varietyreports.
“Behlmer was among the most widely respected historians of Golden Age Hollywood, in part because of his insistence upon researching ‘primary source material’ and not relying on faulty memories or exaggerated press accounts of the time.
Memo From David O. Selznick, which Behlmer edited from thousands of Selznick’s private letters, telegrams and memoranda, was a best seller in 1972. Behlmer first interviewed the Gone With the Wind producer for a 1963 article for Films in Review, one of dozens of magazine pieces he wrote over the decades.
Other books followed: Hollywood’s Hollywood: The Movies About the Movies (with co-author Tony Thomas, 1975), Inside Warner Bros. 1935-1951 (1985), Behind the Scenes: The Making Of… (1989) and Memo from Darryl F. Zanuck (1993).
But essays and journalism were only part of Behlmer’s life. He enjoyed a lively and successful career in television and advertising throughout the 1950s and ’60s … He was director on ABC’s Ray Anthony Show, featuring the big-band leader and his orchestra, during the 1956-57 season, and served as executive producer and director for KCOP from 1960 to 1963, overseeing various shows including his own Movies’ Golden Age. “
InMemo From Darryl F. Zanuck: The Golden Years at Twentieth Century Fox, which is still in print after a quarter of a century, Behlmer offered insights into Marilyn’s prickly relationship with her studio boss, including this letter he sent to her North Crescent Drive address in December 1951, regarding her leading role in Don’t Bother to Knock and her insistence on having her dramatic coach Natasha Lytess on the set. (This was a battle Zanuck ultimately lost: Natasha continued working with Marilyn – much to the annoyance of her co-workers – until she was replaced by Paula Strasberg in 1956.)
“… I think you are capable of playing this role without the help of anyone but the director and yourself. You have built up a Svengali and if you are going to progress with your career and become as important talent-wise as you have publicity-wise then you must destroy this Svengali before it destroys you. When I cast you for the role I cast you as an individual …”
This memo from September 1952 reveals Zanuck’s vision for Gentlemen Prefer Blondes, in which Marilyn would play Lorelei to Jane Russell’s Dorothy – making clear that he recognised how crucial their friendship was to the movie. (This memo was addressed to producer Sol Siegel, director Howard Hawks and writer Charles Lederer.)
“There are two things which I consider vital to the telling of the story, and which I want to emphasise in the script. These are (1) The love story between Dorothy and Malone [Elliott Reid]; (2) Dorothy’s genuine affection for Lorelei.
This is not a satire. It is a solid and honest comedy … We must be completely sold on Dorothy’s love for Malone, or we won’t be able to accept her taking him back. And we must be sold on her real affection for Lorelei or we won’t be able to understand her sticking her neck out for her in the courtroom scene.
In order to accomplish these two things we must be willing, if necessary, to sacrifice comedy in these particular scenes …”
In March 1953, Zanuck contacted writer Nunnally Johnson, director Jean Negulesco and others involved with How to Marry a Millionaire, to express his satisfaction at how CinemaScope technology was enhancing the movie.
“… Almost in all instances the composition has been vastly improved over previous material. The full figure shot of [Lauren] Bacall on the bed and the big closeup filling the screen of Monroe were unique examples of the new medium.
I am still opposed to too much camera movement. I fully believe that while we have to occasionally move the camera we should put the emphasis on moving the actors …”
In 1954, Zanuck mooted the idea of a torrid biblical epic, The Queen of Sheba. It was never made, although United Artists would later produce Solomon and Sheba, starring Gina Lollobrigida.
“In a nutshell, this should be the story of a glamorous but evil temptress … As you know, confidentially, I have even flirted with the idea of Marilyn Monroe as Sheba. I think it might be one of the biggest box-office combinations of all time …”
And in 1955, Zanuck revealed that he had been offered I’ll Cry Tomorrow, the sensational biopic about alcoholic singer Lillian Roth, as a potential vehicle for Marilyn (then involved in a contractual dispute with Fox.) After Zanuck passed on it, the film was produced at MGM.
“This is a very interesting, solid, downbeat story and, while it has an outstanding performance by Susan Hayward, I considered it to be overrated … We turned down I’ll Cry Tomorrow, frankly because we were all afraid of the subject matter and of the fact that Lillian Roth was not a really famous personality. [Producer Julian] Blaustein wanted it but only if he could get Marilyn Monroe for the role …”
Zanuck left Fox to become an independent producer in 1956. By the time he returned in 1962, the studio was fighting bankruptcy. Reportedly, it was Zanuck who argued for Marilyn to be re-hired for Something’s Got to Give, although she would pass away before her final studio battle was concluded.
In 1960, columnist Hedda Hopper asked Zanuck why he had left Hollywood. His response makes it clear that he had anticipated the demise of the studio system…
“I just got well fed up with being an executive and no longer being a producer. That’s what the job became. Actors are now directing, writing, producing. Actors have taken over Hollywood completely with their agents. They want approval of everything … scripts, stars, still pictures. The producer hasn’t got a chance to exercise any authority! … What the hell, I’m not going to work with them!”
A 1955 nude calendar sold for $5,120, while a $160 check signed by Marilyn to psychoanalyst Dr. A. Gottesman in 1952 fetched $3,840 at Julien’s Online Entertainment Auction this weekend. You can read more about the 78 Marilyn-related lots – mostly documents from her personal archives – over here.
An online entertainment sale, featuring 78 Marilyn-related lots, is set for August 19 at Julien’s Auctions. In addition to photos by Andre de Dienes, Bert Stern and George Barris, and an original nude calendar from 1955, there are also numerous documents from her personal files which shed new light on her life and career. Here are some selected highlights:
“A counter check written entirely in Monroe’s hand in black ink dated February 26, 1952, and paid to Dr. A. Gottesman, in the amount of $160. The check is drawn on Monroe’s Bank of America account. Monroe lists her address as the Beverly Carlton Hotel. Gottesman was a psychoanalyst Marilyn started seeing in the early 1950s. “
“A colorful birthday card sent to Marilyn for her 30th birthday by business manager and friend Inez Melson. In her message Melson acknowledges she’s been informed that Marilyn has transitioned the responsibility for the care of her mother Gladys away from Inez. Melson’s handwritten message reads, ‘Dearest Marilyn, This little card not only wishes you a Happy Birthday, but says “au-revoir.” I say this because Mr. [Irving] Stein was in this morning and told me of the new arrangement with the Arthur Jacobs Company with respect to taking care of all matters relating to Mrs. Eley. I am truly sorry, dear one, but you know you can always call upon me if you should ever need me. With fondest love, always, Inez.’ The original transmittal envelope is included. Melson managed Marilyn’s finances and business affairs throughout the early portion of Marilyn’s career. Interestingly, Melson ended up becoming the executrix of Marilyn’s estate after her death, which included ensuring the care of Marilyn’s mother who passed away in 1984. Inez passed away in 1985.”
“A September 8, 1956 letter to Marilyn from Mary Lee Fairbank reading in part, ‘We’ve just got back and looking forward to having you both for dinner – what night? How many? Who particularly do you want to meet – political, (undecipherable), fluff, philosophical, scientifical (sic).’ The original envelope, also included, is addressed to Mrs. Arthur Miller, Parkside House, Englefield Green, Surrey, where Marilyn and husband Arthur Miller stayed for four months while filming The Prince and the Showgirl.” [Possibly from Mary Lee Fairbanks, who married actor Douglas Fairbanks Jr. in 1939.]
“An April 2, 1957 letter to Marilyn from Margaret Hohenberg, M.D., reading, ‘I am sending you your file for the sessions you had during March. I hope you are getting along in your new analysis, yet I want to repeat what I said last time over the phone: Whenever and for whatever reason you may want to see me again – you will be always welcome.’ Hohenberg was Marilyn’s psychoanalyst from 1955 through early 1957.”
“An original program for Cat on a Hot Tin Roof from its run at the Erlanger Theatre in Chicago, IL for the week of July 7, 1957 signed by American character actor and producer/director Delos Smith. On the cover, Smith wrote, ‘How sweet of you to ask my autograph! We are closing Saturday, then I go to Kansas for two weeks on income taxes, then back to N.Y. Read page 13. Love, Delos.'”
“An August 21, 1957 letter from [theatre director] John Gerstad. The letter reads, ‘Dear Miss Monroe, Arnold Schulman introduced us in Sardi’s quite a few months ago. Arnold figured that since I had directed The Seven Year Itch for Broadway and you had made the picture that we should meet. This is just to tell you how much I enjoyed your picture The Prince and the Showgirl, particularly your fetching performance. I hope this note finds you in good health. Sincerely yours, John Gerstad.’ Also included, a carbon copy of a December 5, 1957 letter sent to Gerstad from Marilyn, reading, ‘I am sorry it took so long to answer your note. It was very nice of you to write telling me that you enjoyed my performance in The Prince and the Showgirl. Thank you for your kindness. Warmest regards. Sincerely …'”
A November 13, 1957 handwritten letter to Marilyn from Stefan Lorant, which reads, ‘I have sent you the picture in which Lincoln looks like your husband. I hope you like it. It was so good to meet you at Amagansett. With kindest regards to you and your husband, Stefan Lorant.’ Lorant is referred to as a pioneering Hungarian-American filmmaker, photojournalist, and author. Included is a carbon copy of the response letter dated December 4, 1957 reading, ‘I am so happy with the picture you sent me of Lincoln. It was kind of you to remember. My husband loves it a much as I do, and we both feel it is probably one of the best of the Lincoln portraits. Thank you again for your thoughtfulness. Perhaps we will be seeing you again soon. We haven’t seen Mary Bass since the summer but we hope to. With kindest regards from my husband and myself.’ Mary Bass was the executive editor of Ladies’ Home Journal.”
“A small notecard dated November 13, 1957 with a very unusual message. The card reads, ‘Please forgive this extreme personal intrusion: It is my utmost desire to learn if you were adopted from an Iowa orphanage around 1935. I am looking for a browneyed (sic) sister formerly named Geraldine. Sincerely, Ruth Webb.’ Included is a carbon copy of the response letter dated December 5, 1957 reading in part, ‘For your information, I am not the person you describe, as I have never even been in Iowa. I hope you will find the person you are looking for.’ Interestingly, Marilyn herself signed the original letter, and not a secretary as was the case for a great deal of Marilyn’s correspondence.”
“A July 16, 1958 letter to Marilyn from Dr. Eugen Grabscheid that reads in part, ‘I am sorry to hear that the complaints after your flight have increased. I am very sure that everything will come out all right as long as the treatment is not overdone.’ This letter is likely referencing Marilyn’s flight from New York to Los Angeles on July 7, to meet with director Billy Wilder about Some Like it Hot.”
“A carbon copy of an October 21, 1958 letter to Marilyn from Rex Taylor in reference to Marilyn’s interest in painting. The letter reads in part, ‘I just talked with Jon Whitcomb who tells me you are quite interested in painting. He also tells me that you would like too (sic) take the Famous Artists Painting Course. At Jon’s request we are making you a scholarship student but I am at a loss as to where to forward the textbooks since, as I understand it, you will be in Hollywood for sometime (sic) before returning to New York City,’ and ‘I thought you might be interested in seeing a recent story on the army of Hollywood painters.’ Included with the letter is a reprint of a story referencing film stars taking up painting with a picture of Tony Curtis featured.” (Marilyn did subsequently take this course, and some of her artwork survives – more info here.)
“A small notecard originally affixed to a floral arrangement with a personal message from Oscar winning American actress Eva Marie Saint and her husband American television director and producer Jeffrey Hayden. The notecard reads, ‘We are so happy about the beautiful news. Best Wishes.’ The greetings are likely in response to the news that Marilyn and husband Arthur Miller were expecting a child. Sadly Marilyn miscarried in December, 1958. Also included, the original carbon copy response letter from Marilyn to the couple reading, ‘Thank you so very much for the beautiful flowers and the good wishes. My best to you both.'”
“A July 23, 1959 letter to Marilyn from Mrs. Frank Klein, regarding an article her daughter had written for speech and drama class during her freshman year in high school. The assignment was to write about the voice of a well-known personality. The typed article, also included with this lot, reads in part, ‘Marilyn Monroe’s voice is high-pitched and soft-toned. Her manner of speaking is breathless and rapid. Her voice has an appealing little girl quality. It convey’s (sic) Miss Monroe’s screen personality, the only one with which I am familiar, to perfection.'”
More fan mail, including a torn-up 1958 letter from Phil D’Agostino, asking Marilyn to send two signed photos daily for 2 months; a small photo sent by Myrna E. Phaire, who also gave Marilyn artwork previously sold at Julien’s; and an unsigned drawing.
“A Western Union telegram from publicist Pat Newcomb, addressed to Marilyn at her 444 East 57th Street, New York apartment, dated April 16, 1961 reading, ‘Hey friend. You know I knew even before and that I understand, but please call me today. I want to talk to you. Love, Pat.’ It’s unclear what this telegram is referencing. A number of events were occurring in Marilyn’s life at this time. Just five days prior to the date of this telegram Marilyn attended an opening day baseball game at Yankee Stadium with former husband Joe DiMaggio. They’d been on vacation together in Florida just weeks prior. In early March Marilyn was released from Columbia Presbyterian hospital. On March 7, Marilyn attended the funeral for August Miller, the mother of third husband Arthur. “
“A greeting card from Rupert Allan, who handled Marilyn’s publicity and press inquiries for several years. The card’s message from Allan reads in part, ‘I am already much better after a day in the sun: none of the pressures of the office, and the fabulous mineral waters and whirlpool bath treatment for my pinched nerve. It is so hot and relaxing.’ Included is the original transmittal envelope date stamped May 4, 1961.”
“A small red gift tag with an attached red ribbon. The tag reads, ‘Happy Christmas, 1961,’ and ‘George Cukor,’ written in silver ink in Cukor’s own hand. Interestingly, research indicates that Cukor agreed to direct Something’s Got to Give in November of 1961, and this card was likely attached to a Christmas gift he gave to Marilyn considering they’d soon be working together again.”
“A small notecard, presumably originally affixed to a floral arrangement due to its size and artwork, with a personal message from two-time Oscar winner Shelley Winters. The card reads, ‘All your fellow students from the Actors Studio California branch at the moment thinking of you.’ The card is signed, ‘Shelley W.'” [UNDATED]
“A small notecard with embossed letters reading ‘WADLEY & SMYTHE, NEW YORK.’ The handwritten note on the card reads, ‘May the days of your years be gentle always. Sincerely, Joan Blondell.’ A comparison of Blondell’s known autograph resembles the signature on the card, indicating it’s very likely she wrote the note herself. Blondel starred in more than 100 productions both in film and television, her most notable being her performance in the 1951 film The Blue Veil, for which she received an Academy Award nomination. Younger generations will recognize her as Vi, one of the waitresses at the Frosty Palace in the 1978 cult classic, Grease. [UNDATED]
“An oversized birthday card with an image of Marilyn on the cover together with an image of Brigitte Bardot. The card’s cover reads, ‘Brigitte Bardot or Marilyn Monroe.’ The message inside offers the bearer a night with Bardot or Monroe for $2.00 with the coupon printed in the card. A handwritten message on the card’s inside cover reads, ‘Tell M.M.M. I’ve saved up $1.62 already yet. Love, Del’ under a greeting that reads, ‘For your Birthday.’ An interesting yet crass greeting card featuring Marilyn herself (and likely without her approval) sent to the film star by a fan. [UNDATED]
UPDATE: The nude calendar, and check to Dr. Gottesman were the biggest sellers among the Marilyn-related lots – more details here.
The results are in for this year’s Legends sale at Julien’s Auctions. A number of photos from the Manfred ‘Linus’ Kreiner archive (see above) were sold, with the Marilyn-related lots fetching up to $3,800. These photos were recently featured in Parade magazine (see here.)
Within the fan community, biographer Gary Vitacco-Robles won a telegram from Lauren Bacall congratulating Marilyn after her wedding to Joe DiMaggio, for $1,582.50. The biggest Marilyn-related sales, however, were her costume from A Ticket to Tomahawk (sold for $22,400), and her bathrobe from How to Marry a Millionaire (which fetched $28,800.) Here are some more highlights:
A rare ‘Page 3’ copy of Playboy‘s first issue, signed by Hugh Hefner ($16,00)
A cast of Marilyn’s hands and feet from Grauman’s Chinese Theatre ($25,600)
A black chiffon overblouse ($19, 200)
A six-strand, iridiscent crystal necklace in purple and green ($11,250)
A pair of rhinestone clip earrings ($28,125)
Marilyn’s script for Something’s Got to Give, dated August 30, 1961 ($12,800)
And finally, I’ve added the maximum bids for each item featured in my previous posts – learn more about this fascinating auction here.
In today’s post about the upcoming Legends event at Julien’s Auctions, let’s take a look at Marilyn’s fashion and beauty habits, and what they cost her. (Read more about the June 13-14 sale here.)
UPDATE: I have added the final bids to each item.
“A typed letter on Jamie, Inc. letterhead dated July 24, 1958 in regards to a newspaper article reporting that Marilyn’s new white platinum bleach is breaking off her tresses. The letter, from the president of Jamie, Inc. reads, ‘Enclosed is a clipping from one of our daily newspapers regarding damage to your hair. We are sending you under separate cover our hair conditioner. If used according to directions, it will allow you to bleach your hair as light and as often as you desire. I am sure you will find that you will no longer have hair damage of any kind, and you will also be able to obtain a truer color.’ Enclosed with the letter is the original newspaper clipping referencing Monroe’s hair.” (SOLD for $1,152)
“An October 19, 1959 invoice for the storage of several of Marilyn’s furs, including a white ermine coat, a black fox stole trimmed with silk, a ranch mink coat, a white beaver coat, a white fox stole, a black fox stole, and a white fox stole and muff, among others. Nearly all of the furs listed on this receipt are instantly recognized in photos of Marilyn at publicity and red carpet events. ” (SOLD for $750)
“An extensive collection of statements from Lilly Dache Boutique and Beauty Salon in New York, with dates throughout 1958 and 1959, together with a letter addressed to Marilyn informing her that she has an overdue balance of $238.40.” (SOLD for $768)
“A grouping of shopping receipts addressed to Marilyn Monroe Miller for various purchases, one receipt specifies an alteration to a tweed item for her stepdaughter, Janie Miller. Also included is an envelope from the famed clothing line address to Jax in Beverly Hills.” (SOLD for $875)
“A receipt from I. Magnin & Co. addressed to Mrs. Arthur Miller at the Beverly Hills Hotel, dated December 23, 1959, for the purchase of ‘5# Original,’ indicating a purchase for the famed perfume, widely believed to be a favorite of Monroe’s. Interestingly, the order was specified to be delivered to ‘Dorothy Blass,’ a name Marilyn occasionally used for past purchases and deliveries to disguise her identity. During this period Marilyn was completing filming of Let’s Make Love. Research indicates she actually called out sick on this date.” (SOLD for $1,152)
“A black chiffon overblouse. Label reads ‘Rudi Gernreich Design for Walter Bass.’ A separate paper label reads ‘Style 104 M. Monroe.'” (SOLD for $19,200)
In another look at the upcoming Legends sale at Julien’s Auctions on June 13-14 (see previous posts here), Marilyn rubs shoulders with her fellow stars.
UPDATE: I have added the final bids to each item.
“A group of eight telephone messages from April, May and June 1961 while Marilyn was staying at the Beverly Hills Hotel. Messages from those instantly recognized in Marilyn’s inner-circle include Frank McCarthy of Twentieth Century-Fox, comedian Ernie Kovacs, and director George Cukor. Interestingly, Marilyn received a message from a “Dr. Goddard” on May 28. Dr. Goddard is presumably the husband of Grace Goddard, who fostered Marilyn as a young child.” (SOLD for $1,600)
“A typed form letter from Dorothy Frooks, publisher of The Murray Hills News, inviting Marilyn to the annual Pro-American Rally on September 25, 1959, which would take place ‘between 37th and 38th Streets.’ Included is a handwritten letter from Cowboy Tex Weinstein asking Marilyn to attend. ” (SOLD for $375)
“A telegram to Marilyn from Lauren Bacall, dated January 18, 1954, congratulating Marilyn on her marriage to baseball legend Joe DiMaggio. The telegram reads, ‘All the best luck always. Couldn’t be more delighted for you. Now you’ll really know how wonderful life can be. Love, Schatze Bogart.’ Interestingly, Bacall signed the telegram using the first name of her character in How to Marry a Millionaire, the film she had starred in with Marilyn the year prior to the Monroe/DiMaggio wedding, and the last name of her movie star husband, Humphrey Bogart. The telegram is addressed to ‘Mrs. Joe DiMaggio’ at Marilyn’s apartment on North Doheny Drive in Beverly Hills.” (SOLD to Gary Vitaccco-Robles, author of Icon: The Life, Times and Films of Marilyn Monroe, for $1,562.50)
“A one-page typed letter to Marilyn from television personality Jack Benny, dated July 13, 1961. The letter reads in part, ‘This little note is merely to say that I do hope you will be feeling much better and that I miss seeing you – even though it is on rare occasions.’ The letter is signed, “Love – Jack,” in his own handwriting. Also, a holiday card from Mary and Jack Benny from 1954. Marilyn’s first-ever television appearance was on The Jack Benny Show on September 13, 1953. They remained friends throughout her entire life.” (SOLD for $750)
“A one-page typed letter to Marilyn, dated June 17, 1958, in regards to the release of SNOOPY, the new book by famed cartoonist Charles Schulz, creator of the comic strip Peanuts. The letter reads, ‘Dear Miss Monroe, As I promised some weeks ago I am having sent to you under separate cover a few copies of Charles Schulz’s new “Peanuts” book, SNOOPY, which just came in from the bindery. I hope you like SNOOPY as much as we like publishing him.’ The letter is signed, ‘Sincerely yours, Theodore S. Amussen, Vice President.'” (SOLD for $576)
“A collection of approximately 30 vintage magazines, books, and other publications, from the collection of actress Morgan Fairchild: including Movieland magazine (October 1952); Silver Screen magazine (October 1953); Song Fan magazine (July 1954); LIFE magazine (November 1959); TV and Movie Screen magazine (September 1960); LOOK magazine (January 1961); LIFE magazine (August 1964); the cover of Show magazine (September 1972, framed); Parade magazine (framed); and the August 6, 1962, edition of the Los Angeles Times with the headline ‘Marilyn Monroe Found Dead.’ Together with six books on the life of Monroe, several greeting cards with Monroe’s image, and a poster produced from a photo by Philippe Halsman showing Monroe at the gym.” (SOLD for $768)
“An original clipping from a Mexican newspaper detailing Marilyn’s visit to the National Institute for the Protection of Children on March 1, 1962, and her donation of $1,000.00 to the institute. Also included is a document translating the article, reading in part, ‘The American actress Marilyn Monroe yesterday visited the National Institute for the Protection of Children where she greeted the president of that organization, Mrs. Eva Samano de Lopez Mateos, to whom she gave 12,500 pesos – one thousand dollars – for the needy children.'” (SOLD for $768)
“An unsigned carbon-copy of a letter, likely from May Reis, Marilyn Monroe’s secretary, to hairdresser Kenneth, dated July 16, 1958. The letter reads in part, ‘Thank you for sending on Miss Monroe’s chignon but I am sorry it has not turned out as she had ordered it so it is being returned to you under separate cover.'” (SOLD for $192)
“A one-page handwritten letter from press agent Patricia Newcomb to Marilyn, dated June 2, 1956. The letter reads in part, ‘Enclosed is a copy of your eye perscription (sic) which I got this morning from Lee Seigel. I am also sending you another bottle, in case you might be running short.’ Also, ‘I mailed your records and hair dryer today, so they should arrive by the end of the week.'” (SOLD for $1,125)
“A one-page typed letter to Marilyn from Nunnally Johnson, dated February 1, no year specified (but probably sent after their 1962 meeting at the Beverly Hills Hotel, to discuss Something’s Got to Give.) The letter reads in part, ‘This is to put it on paper that I’ve rarely had a merrier evening. There’s no question about it, the only way to discuss business is over a bottle or two of champagne, with occasional reflections on sex to keep everything in balance. And if ever the occasion rises you may cite me as a bloke who also likes to sit and talk with you.’ The letter is hand-signed. A well-known screenwriter, Johnson worked on a number of projects related to Monroe, including We’re Not Married, and How to Marry a Millionaire.” (SOLD for $2,240)
“Two letters from the Actors’ Studio, dated January 10 and 12, 1961, regarding the Actors’ Studio Benefit scheduled for March 13, 1961. The January 10 letter announces, ‘Marilyn Monroe will be one of the stars who will draw the lucky tickets for our door prizes and for the Dance Contests.’ The letter is signed by Lee Strasberg, Cheryl Crawford and Elia Kazan (facsimile signatures). The second letter, sent by the benefit’s coordinator, asks Marilyn if it would be possible to take a photo of her wearing a fur coat that will be raffled as a door prize. The letter further requests that Marilyn write to executives at United Artists asking them to reserve tables at the event.” (SOLD for $768)
“Three letters, all dated in January of 1961, referencing possible film projects for Marilyn’s consideration. The January 3 letter from George Chasin is on MCA letterhead and references Touch of Mink, written by Stanley Shapiro (later filmed with Doris Day.) The January 26 letter, also on MCA letterhead, references a screenplay entitled The Notorious Lady, and is signed by Marvin Birdt with a copy to Chasin (later filmed with Kim Novak as The Notorious Landlady.) The January 31 letter is on Twentieth Century-Fox Film Corporation letterhead and references A Lost Lady, and is signed by Frank McCarthy, Director of Public Relations at the studio. (Based on one of Marilyn’s favourite novels (according to her friend and masseur, Ralph Roberts), and previously filmed as Courageous with Barbara Stanwyck in 1934, but dissatisfied with the result, author Willa Cather had banned all movies based on her work.) In this same letter McCarthy writes, ‘Congratulations again on The Misfits and I hope it will achieve the great success it deserves.'” (SOLD for $512)
“A small notecard to Marilyn from producer Buddy Adler. The notecard reads, ‘Darling, It’s wonderful having you home again. Best wishes, Buddy Adler.’ Adler was the producer of Bus Stop, released in 1956. This card is likely in reference to Marilyn’s return to Hollywood in 1956 after having spent the entirety of 1955 in New York City.” (SOLD for $640)
“A two-page typed letter on Algonquin Hotel letterhead to Marilyn from photographer John Bryson, dated August 6, 1960, in reference to the August 15, 1960 issue of LIFE magazine, in which his photos of Marilyn on the set of Let’s Make Love were published. The letter reads in part, ‘I am very happy, however, to report that we close with a larger than full page of the picture of Arthur swabbing off your back after a hard day’s rehearsal. I think the little girl look in this is the best picture I ever took of you.’ The letter goes on to read, ‘Anyway, it is done and I hope you like it. If you do or do not I would like for you to remember that I think you are one of the best women I have ever known and if you ever need a friend for anything just call day or night. I do not say such things casually.'” (SOLD for $1,280)
“A Western Union telegram from Mary Leatherbee of LIFE magazine dated June 26, 1958, regarding photos of Marilyn taken by Richard Avedon in which she recreated images of famous actresses for a spread entitled ‘Fabled Enchantresses.'” (SOLD for $640)
“A one-page typed letter to Marilyn from Emmeline Snively, dated July 31, 1958. Snively was the owner and manager of the Bluebook Modeling Agency. Marilyn, still Norma Jean at the time, signed with the agency in 1945, and Snively is believed to have assisted her in transforming into Marilyn Monroe. The letter reads in part, ‘We have been following your steady progress over the years, and our students at Blue Book Models regard your success and constant development as an inspiration.’ Included with this letter is a torn portion of the original mailing envelope with Snively’s typed mailing address. Pencil scribbles are visible on the envelope fragment, possibly written in Marilyn’s own hand. It is interesting to note that Snively attempted to stay in contact with Marilyn throughout the star’s career. In fact, she was one of a very few guests from Marilyn’s inner circle who was invited to her funeral.” (SOLD for $640)
“Six documents referencing an agreement, and the dissolution thereof, between Marilyn Monroe and Ben Hecht regarding his authoring her life story. Included is a facsimile copy of the originally signed agreement between Monroe and Hecht, dated March 16, 1954, in which the terms of the agreement are exceedingly clear. Three unsigned carbon copies of this same agreement are included. Also included is a facsimile copy of a two-page letter sent to Hecht by Marilyn’s attorney Lloyd Wright, Jr., in which he demands that Hecht ‘surrender to us on behalf of our client, Miss Marilyn Monroe, all, and I repeat all, copies of any material concerning Miss Marilyn Monroe written by Mr. Ben Hecht, pursuant to his contract of March 16, 1954 with Marilyn Monroe, or otherwise.’ Marilyn partnered with Hecht to write her life story, stating specifically that the article could be published only in the Ladies’ Home Journal magazine.” (SOLD for $640)
“A two-page typed memo from Robert H. Montgomery, Jr. to John F. Wharton regarding ‘Proposed settlement of dispute between Milton H. Greene and Marilyn Monroe. The document clarifies that Monroe will pay Greene $50,000.00 for his stock in Marilyn Monroe Productions, Inc. in five equal annual installments, and also that she will sell to Greene her stock in Milton Greene Studios.’ The document further states, ‘all agreements existing between them are cancelled and of no further force and effect.’ A second two-page original document outlines the distribution of furniture and equipment, including paintings, rugs, a vacuum cleaner, a lamp, a chair and a sofa, typewriters, and other items.” (SOLD for $1,000)
In my latest post for the Julien’s Legends auction, coming up on June 13-14, I’m taking a look at the fan mail, plus letters and greeting cards from friends and family, received (and kept) by Marilyn over the years. (You can read my previous posts, on the How to Marry a Millionaire bathrobe and the photos of Manfred Kreiner, here.)
UPDATE: I have now added the total bids to each item.
“An invoice from Southdown Kennel in Roxbury, Connecticut, for boarding and food for Hugo, the lovable basset hound owned by Marilyn and then husband Arthur Miller. The invoice is dated from November of 1958, and is addressed to Mrs. Arthur Miller. Dates specified for boarding of Hugo are July 4-10, July 28-August 5, August 22-24, and August 27-October 30. Also listed is ‘1 case beef’ at a cost of $11.50.” (SOLD for $512)
“A handwritten letter from a young child, undated, reading, ‘Dear Marilyn, How are you? Daddy and mommy saw you. I wish I could of. I am writing you to see if you rember (sic) me. First you saw me playing on the grass at Chaire’s house and then at Patty’s. I went to East Hampton and I got a new bike. It is beautiful.’ The letter is signed Emily Hedda Liss. The letterhead reads ‘Mrs. Joseph Liss, 445 East 68th Street, New York, New York,’ indicating Emily is likely the young daughter of television writer and editor Joseph Liss.” (UNSOLD)
“Two greeting cards sent to Marilyn from fans with get well wishes. One card’s handwritten inscription reads, ‘To a wonderful actress. My best wishes to you. Palma Urso, 1958.’ The other is simply signed, ‘Judy Bawber.’ (UNSOLD)
“A two-page handwritten letter from a fan by the name of Pete Monti, dated June 1, 1959, in which Monti expresses his love and admiration for Marilyn. Passages from the letter read, ‘…every year I send you a gift with my address on the present for you to answer, and tell me if you liked it, but you never answered it. I think the reason for that was because you never received the gifts,’ ‘…I have been a fan of yours since 1950, I even have every book that ever came out with your picture in it,’ ‘there is only one thing I would like you to do for me…is to win the Academy Award for best actress of the year, to show them in Hollywood that your (sic) a real good actress. Everybody tries to imitate you, but they can’t…there is only one Marilyn Monroe, and that’s you.’ The letter is signed, ‘Yours Truly, Pete Monti.’ A photo of Monti in formal attire, together with a female companion, is stapled to the letter. Included also is a typed response to this letter, dated June 19, 1959, reading, ‘Miss Monroe has asked me to thank you most kindly for your birthday remembrance and good wishes. She appreciates your thoughtfulness very much.’ The letter is signed ‘Yours sincerely, Secretary to Marilyn Monroe.’ The letter was likely prepared by May Reis, Monroe’s secretary for several years.” (UNSOLD)
“An undated birthday card to Marilyn from Evelyn Moriarty. Moriarty was Monroe’s stand-in on three films: Let’s Make Love, The Misfits, and Something’s Got To Give.” (SOLD for $750)
“An undated birthday card to Marilyn from Allan ‘Whitey’ Snyder. Snyder was Monroe’s makeup artist from her very first screen-test in 1946 and also for most of her films and public appearances, and even photo shoots.” (SOLD for 5,760)
“An undated birthday card to Marilyn from Augusta and Isidore Miller, the parents of Marilyn’s third husband Arthur Miller. The handwritten message from the Millers reads, ‘And Lots of Mazel + Brucha, Love Mom + Dad.’ In Yiddish this phrase means ‘happiness and blessing.'” (SOLD for $640)
“An undated birthday card to Marilyn from ‘Grace + Daddy,’ the latter being Ervin ‘Doc’ Goddard. Grace’s handwritten note in the card reads, ‘We couldn’t love you more if you were our real daughter.'” (SOLD for $768)
“A handwritten letter to Marilyn and then husband Arthur Miller from Marilyn’s half-sister Berniece Miracle, postmarked April 28, 1960. The letter reads in part, ‘My! How I would love to hear from you and all about what you are doing. I see where Arthur has written a movie, The Misfits. When will the filming start? Hope it’s a big success.'” (SOLD for $1,875)
“A grouping of correspondence to Marilyn from Anne Karger, including three telegrams wishing Marilyn a happy birthday. One telegram is dated June 2, 1957. Interestingly, the other two telegrams are both from 1961, one is dated May 31, and the other is dated June 1. Also included is an undated holiday card with greetings for Christmas and the new year. Anne was the mother of Fred Karger, whom Marilyn fell deeply in love with near the start of her film career. It is widely reported that she had wanted to marry Karger. While the relationship ultimately didn’t last, Marilyn remained very close with his mother. Anne was one of a very few guests from Marilyn’s inner circle who was invited to her funeral.” (SOLD for $1,152)
“A grouping of correspondence to Marilyn from John Moore, including a Western Union telegram dated May 31, 1961, which reads, ‘Wish you were here to celebrate it. Love you.’ This message is likely in reference to Marilyn’s birthday, which was on June 1, the day after the telegram is dated. Also included, an undated, hand-signed Christmas card, and a note that likely accompanied a bouquet of flowers with a message that reads, ‘Will you be my Valentine? John Moore.’ Moore was a fashion designer, interior decorator and close friend of Marilyn’s. He worked for Talmack, and designed many of Marilyn’s clothes; including the gown she wore during the private wedding ceremony in which she married Arthur Miller. He also assisted Marilyn in redecorating the apartment she and Miller shared on East 57th Street in New York City.” (SOLD for $384)
“A one-page handwritten letter to Marilyn from poet and friend Norman Rosten, apparently while he was vacationing in the Arctic Circle. The letter reads in part, ‘This bar of chocolate and paperclip were both bought in this Eskimo village north of the Arctic Circle! Who says the world isn’t round? It’s too round!’ The actual chocolate bar wrapper is affixed to the letter using the aforementioned paperclip. Also included is the original envelope, postmarked January 27, 1959, addressed to Mr. and Mrs. Arthur Miller at 444 East 57th Street, New York, NY.” (SOLD for $640)
“An undated, handwritten note from Joseph M. Schenck to Marilyn, reading simply, ‘Dear Marilyn, I am with you. I know you are right. Joe Schenck.’ Schenck was co-founder of 20th Century Pictures in 1933. When his studio merged with Fox Film Corporation in 1935, Schenck was named chairman. He was an important figure in Marilyn’s early career.” (SOLD for $625)
Surprisingly, Marilyn’s 1961 letter to Lee Strasberg failed to reach the $20,000 estimate at the RR Auctions Hollywood sale on Thursday, May 23. A Marilyn-owned black velvet belt, possibly worn in As Young As You Feel, sold for $7,837.50; while her copy of Something To Live By, a self-help book by Dorothea S. Kopplin, fetched $7,730. You can find out more about the winning Marilyn-related lots here; and the full list is over here.
A letter from Marilyn to Lee Strasberg will be sold online during the Classic Hollywood sale at RR Auctions this Thursday, May 23. While Marilyn talks frankly about her emotional problems and disappointments in life, she also proposed an ambitious plan for her future career. Sadly, her goals would never be realised as she passed away just eight months after the letter was written. It is dated 19 December, 1961, and like other letters from her final years, it was typed (probably by a secretary), and was previously published in the 2010 book, Fragments. Coming from her estate (along with all her personal possessions, 75% was passed on to Lee after she died), it is the first time the letter has gone up for auction with an estimate of $20,000. Further details, including a full transcript, are also available here.
“This is an important personal letter and please don’t start to read it until you have the time to give it your careful thought. This letter concerns my future plans and therefore concerns yours as well since my future development as an artist is based on our working together. All this is an introduction; let me outline the recent events, my ideas and my suggestions.
As you know, for years I have been struggling to find some emotional security with little success, for many different reasons. Only in the last several months, as you detected, do I seem to have made a modest beginning. It is true that my treatment with Dr. Greenson has had its ups and downs, as you know. However, my overall progress is such that I have hopes of finally establishing a piece of ground for myself to stand on, instead of the quicksand I have always been in. But Dr. Greenson agrees with you, that for me to live decently and productively, I must work! And work means not merely performing professionally, but to study and truly devote myself. My work is the only trustworthy hope I have. And here, Lee, is where you come in. To me, work and Lee Strasberg are synonymous. I do not want to be presumptuous in expecting you to come out here for me alone. I have contacted Marlon on this subject and he seems to be quite interested, despite the fact that he is in the process of finishing a movie. I shall talk with him more thoroughly in a day or two.
Furthermore, and this must be kept confidential for the time being, my attorneys and I are planning to set up and [sic] independent production unit, in which we have envisaged an important position for you. This is still in the formative phase, but I am thinking of you in some consultative position or in whatever way you might see fit. I know you will want enough freedom to pursue your teaching and any other private interests you might want to follow.
Though I am committed to my analysis, as painful as it is, I cannot definitively decide, until I hear from you, because without working with you only half of me is functioning. Therefore, I must know under what condition you might consider coming out here and even settling here.
I know this might sound quite fantastic, but if you add up all the possible advantages it should be quite a rewarding venture. I mean not only for Marlon and me—but for others. This independent production unit will also be making pictures without me—this is even required for legal reasons. This will offer an opportunity for Susan if she should be interested and perhaps even for Johnny. And Paula would have a great many opportunities for coaching. As for you, Lee, I still have the dream of you some day directing me in a film! I know this is a big step to take, but I have the wish that you might realize out here some of the incomplete hopes that were perhaps not fulfilled for you, like Lincoln Center, etc.
So I don’t know how else to persuade you. I need you to study with and I am not alone in this. I want to do everything in my power to get you to come out—within reason—as long as it is to your advantage as well as mine. So, Lee, please think this over carefully; this is an awfully important time of my life and since you mentioned on the phone that you too felt things were unsettled, I have dared to hope. I have meetings set up with Marlon and also with my attorneys and will phone you if there are any important new developments. Otherwise, please get in touch with me.”
Also on offer, the 1952-53 editions of Who’s Who in Hollywood, autographed by a multitude of stars, are a treasure trove for movie buffs. Marilyn is listed in the category ‘Super Stars: The Younger Set.’ (EDIT: unsold)
The lamp seen in the restaurant scene from How To Marry a Millionaire (here, with Alex D’Arcy) was used as a prop in other Fox movies, including The Girl Can’t Help It, starring that other fifties blonde, Jayne Mansfield. (EDIT: Unsold)