A photo of Marilyn Monroe taking tea at the Savoy Hotel, London, with Sir Laurence Olivier at a press conference for The Prince and the Showgirl on July 15, 1956, is included in the Love From London: A City of Stars exhibition at the Getty Images Gallery, London, until October 9. (Other subjects include Audrey Hepburn, Elizabeth Taylor and Brigitte Bardot.)
These races started in 1960 when the San Francisco Chronicle and the Phoenix Sun challenged each other to a race. The winner was Hollywood director John Huston, who was filming “The Misfits” nearby. Two stars of the film, Marilyn Monroe and Clark Gable, were among the spectators as camels ran a 100-yard dash through the middle of this Comstock Lode town. – Wall Street Journal
(I suspect that this event may not have been quite so enjoyable for Marilyn, who like her character, Roslyn, was acutely sensitive to the welfare of animals.)
There could hardly be a more perfect setting for a Marilyn Monroe movie season than the Warhol Museum, Pittsburgh. The screenings accompany the Marilyn: Life as a Legend exhibit, which runs from October 23 through to January 2.
Nice to see two of Monroe’s lesser-known films on schedule: Don’t Bother to Knock (a 1952 thriller containing one of Monroe’s most impressive dramatic performances) and River of No Return, a visually arresting Cinemascope western from 1954, with some great musical numbers from Marilyn (though a bit light on realism!)
November 12, 2010
Don’t Bother to Knock(1952) 76 min. Directed by Roy Ward Baker
Niagara (1953) 92 min. Directed by Henry Hathaway
November 19, 2010
River of No Return(1954) 91 min. Directed by Otto Preminger
December 3, 2010
Gentlemen Prefer Blondes(1953) 91 min. Directed by Howard Hawks
How to Marry a Millionaire(1953) 95 min. Directed by Dir. Jean Negulesco
December 10, 2010
Some Like It Hot(1959) 120 min. Directed by Billy Wilder
Pittsburgh author and journalist Barry Paris will introduce the film.
December 17, 2010
The Misfits(1961) 124 min. Directed by John Huston
‘You fellows are always talking about sweater girls. I don’t know what the fuss is about. Take away their sweaters and what have they got?’ – Marilyn Monroe, 1952
French designer Gerard Darel, who acquired Marilyn’s famous cable-knit sweater in the Christies’ auction of 1999, has used it as the inspiration for his autumn collection – though as you can probably tell, his model isn’t blessed with Marilyn’s sumptuous curves.
Marilyn finally whipped off her sweater to reveal a sheer black leotard, after singing ‘My Heart Belongs to Daddy’ in the 1960 musical, Let’s Make Love, co-starring the French-Italian singer and actor, Yves Montand.
Read my tribute to this great character actor, who played Raymond Tabor in The Misfits, here
Andrew Dominik‘s big-screen adaptation of Blonde, previously said to start shooting in January 2011, may be postponed, after Casey Affleck confirmed he will be working with Dominik on a crime movie at that date, according to the Film School Rejects blog.
Blonde will be based on Joyce Carol Oates‘ 2000 novel of the same name, about the life of Marilyn Monroe. It was generally well-received by critics, with some even calling it Oates’ masterpiece. However, its reception among Monroe fans has been more mixed, because of its fairly loose relation to the facts of Marilyn’s life.
In 2001, Blonde was adapted for television, with Poppy Montgomery (Without a Trace) as Monroe. While her performance was good, the mini-series was widely considered to be a disappointment.
Last May, Dominik’s more ambitious plans to remake Blonde were outlined in Screen Daily:
Dominik, who last directed The Assassination of Jesse James by the Coward Robert Ford, explains his desire to make Blonde: “Why is Marilyn Monroe the great female icon of the 20th Century? For men she is an object of sexual desire that is desperately in need of rescue. For women, she embodies all the injustices visited upon the feminine, a sister, a Cinderella, consigned to live among the ashes.”
He added, “I want to tell the story of Norma Jean as a central figure in a fairytale; an orphan child lost in the woods of Hollywood, being consumed by that great icon of the twentieth century.”
Wild Bunch’s Vincent Maraval told Screen, “We are delighted to finally be working with Andrew Dominik who is one of the most talented young directors in world cinema today. We trust his vision to deliver us a Marilyn biopic which will not be a classic one but a modernRaging Bull which will explore one of the most iconic figures of this century. Whilst the tabloid press has grown in popularity by taking advantage of such tragedies, we at Wild Bunch are seduced by the humanity, the emotion and the tragic destiny of such a powerful character.”
Dominik’s last film as writer/director, The Assassination of Jesse James by the Coward Robert Ford (2007) was highly praised, showing dramatic flair and a keen understanding of American mythology. And Oates’ Blonde is certainly a novel written on a grand scale.
Naomi Watts is slated to star as Marilyn, and though she is a little on the ‘waiflike’ side, her earlier performances in Mulholland Drive and The Painted Veil suggest that Watts has the acting chops to evoke Monroe’s unique combination of mystique and vulnerability.
Like My Week With Marilyn, also due to be filmed shortly, Blonde boasts a gifted actress and director, but the source material is more contentious. Monroe herself is such a fabled figure in the history of cinema that the reality of her life and character is too often over-simplified.
‘It’s scary, playing someone so iconic, whom everyone feels they know,’ Watts has admitted, reports Start Movie News.
Featured in Up From the Vault, an exhibition from the Warner Bros Photo Lab archives, running September 16 – December 30 at the Academy of Motion Picture Arts & Sciences, Los Angeles.
East of Eden, based on John Steinbeck’s novel and starring James Dean, was a Warners production, directed by another of Marilyn’s circle, Elia Kazan.
Marilyn herself appeared in just one Warners film, when the studio co-produced The Prince and the Showgirl (1957.)
“Marilyn Monroe, on the other hand, I was able to take pictures of in an intimate situation rather than a public one. This was in her hotel room in 1956*, when I was covering the film she was making at the time, Some Like It Hot.* She may have been reading a script when I took it. It was just me and her, and she was going about her business. I like the atmosphere, and the fact that it’s a famous person being photographed in an ordinary way. And I found her very sympathetic, I must say. She was nice, smart, kind of amusing, and very approachable. Not a bimbo at all.”
*Actually, Erwitt first photographed Marilyn in 1954, while she was filming The Seven Year Itch in Manhattan. They worked together again on The Misfits (1960.)
Four of Elliott Erwitt’s most iconic images will be presented in the UK for the first time as editioned, large format platinum prints, in an exhibition of fine photographs spanning Erwitt’s distinguished career. Produced in May 2010 using cutting edge technology, and launched at this year’s Recontres D’Arles in July, these 30”x40” platinum prints feature Erwitt’s photographs of racial segregation in North Carolina, 1950; a kiss reflected in the wing mirror of a car, California, 1955; a glamorous movie star Marilyn Monroe … and one of his best loved pictures of the relationship between man and dog Felix, Gladys and Rover (New York, 1976).
Included alongside the platinum set are signed silver gelatin prints of some of Erwitt’s most well-known images: portraits of Marlon Brando (1954), Grace Kelly (1956), Sophia Loren (1962) Che Guevara (1964) and his beloved dogs, as well as his evocative documentary of stolen moments such as the couple dancing in a kitchen in Spain (1952), a dove taking flight (1955), and a mother (his then wife) and baby (1953).
Now in his 80s, Erwitt continues to travel widely and produce both personal and commercial work. This year alone he has shot high profile campaigns for San Pellegrino, Tod’s and the Puerto Rico Tourism board. Recent books include Rome and The Art of André S. Solidor in 2009, and his exhibitions Dog Dogs and his Retrospective continue to tour widely.
September 15 – November 30, Magnum Print Room, London
Toni Westbrook-Van Cleave was only 6 at the time, but she still remembers Marilyn Monroe strapping on a toy gun belt and playing cowboys and Indians with her young brother during a break in filming of “The Misfits.”
Like other residents of the small northern Nevada town of Dayton, she had no clue of the demons that drove Monroe to be consistently late on the set, causing frustrating delays for director John Huston and co-stars Clark Gable and Montgomery Clift.
“She was gorgeous, very sweet, naive,” recalled Van Cleave, who was a $10-a-day extra during a rodeo scene. “She wasn’t snobby. She seemed real down to earth and friendly.”