Marilyn’s marriage to Arthur Miller is featured in a new book, The Art of the Affair: An Illustrated History of Love, Sex and Artistic Influence. Her platonic friendships with Truman Capote and Ella Fitzgerald are also mentioned. The Art of the Affair is a collaboration between novelist Catherine Lacey and illustrator Forsyth Harmon.
The San Francisco Chronicle has reposted their front page from January 15, 1954 – the day after Joe DiMaggio married Marilyn at City Hall.
“’Joltin’ Joe DiMaggio wedded the girl of his and many other men’s dreams yesterday afternoon in San Francisco City Hall,’ the story read.
‘The time and place of the wedding was kept a closely guarded secret and only 500 people managed to hear about it in time to turn the corridors outside Municipal Judge Charles S. Peery’s chambers in a madhouse,’ The Chronicle’s Art Hoppe wrote.
‘Marilyn, it seems, had made the mistake of calling her studio in Hollywood yesterday morning and letting it in on her plans to be married at 1 p.m. A studio official casually mentioned it as fast as he could to all the major news services.'”
And just FYI, January 14 has seen some other significant events – including the release of Clara Bow’s It in 1926, and the publication of Sylvia Plath’s The Bell Jar in 1963 (less than a month after her suicide.)
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.”
In daily life, Marilyn often went unrecognised. This rare photo shows her wearing a black wig. When travelling ‘incognito‘, she sometimes used false names (including ‘Zelda Zonk’.)
In the summer of 1953, Joe DiMaggio joined Marilyn in Canada, where she was filming River of No Return. She took these snapshots of Joe during his visit. Also pictured is Jean Negulesco, who had directed Marilyn in How to Marry a Millionaire. Although his work on River was uncredited, Negulesco may have helped to smooth the differences between Marilyn and the somewhat tyrannical Otto Preminger.
Shortly before her third marriage to Arthur Miller, Marilyn converted to Judaism. This Jewish prayer book was probably a gift from Rabbi Robert E. Goldburg.
Some photos of Arthur Miller, including one taken with Marilyn in 1959.
Marilyn’s Minolta 16mm camera. This model was introduced in 1957.
These photos are of the farmhouse at Roxbury, Connecticut, bought by the Millers after their marriage. It is incorrectly identified in the Julien’s catalogue as Marilyn’s Los Angeles abode. The Millers’ country home required extensive renovations. After their marriage ended, Marilyn kept their city apartment while Arthur lived at Roxbury until his death in 2005.
Marilyn with her friend, actor Eli Wallach, in 1957. They would later co-star in The Misfits (1961.)
Correspondence with Xenia Chekhov, widow of Marilyn’s acting teacher, Michael Chekhov.
“A single-page typed, unsigned file copy of a letter dated December 19, 1958, to ‘Mrs. Chekhov’ reading ‘My husband and I were so happy with the pictures you sent us of Mr. Chekhov. We will treasure them forever. I am not able to shop for Christmas, as you may already know I have lost the baby, so I would like you to use this check as my Christmas greetings with all my most affectionate good wishes. My husband sends you his warmest regards.’ The letter is accompanied by Xenia Chekhov’s response written on a notecard dated January 10, 1959, reading in part, ‘[Y]our personal sad news affected me very much and I could not find the courage to write you sooner. All my warmest feelings of sympathy go out to you and Mr. Miller.’ This is a deeply personal note with an acknowledgement of a miscarriage in Monroe’s own words.”
“An assortment of receipts from seven different bookstores: including: Doubleday Book Shop, Beekman Place Bookshop, and E. Weyhe Inc., all of New York City, and Wepplo’s Book Store, Lee Freeson, Martindale’s Book Stores and Hunter’s Books, all of Los Angeles. Titles include The Great Gatsby; Van Gogh’s Great Period; I , Rachel; An Encyclopedia of Gardening; Hi – Lo’s – Love Nest; a book listed simply as ‘Yves Montand’, among others. The receipts are dated 1958 and 1960.”
A Royal Quiet de Luxe model typewriter owned by Marilyn.
Various letters from Marilyn to her stepdaughter, Jane Miller.
“A 1957 letter is written to Janie at summer camp and recounts a number of amusing stories about Hugo the Bassett Hound reading in part, ‘He got kicked by that donkey. Remember him? His nose swelled up with a big lump on top and it really wrecked his profile. I put an ice pack on it and it took several days for it to go down but the last time I saw him it was pretty well healed. Bernice is taking care of him and the house while I am at the hospital.We are going home tomorrow and then I will write you by hand. Listen, I had better stop now because I want to get off a note to Bobby today. Don’t worry about me in the hospital. I am feeling much better now and I have the funniest Scotch nurse.’ (Marilyn had recently been taken to hospital after suffering an ectopic pregnancy.)
The 1958 letter is typed on the back of a piece of stationery from the Hotel Bel-Air and is addressed, ‘Dear Janie-bean.’ The letter, written as Marilyn prepared for Some Like It Hot, reads in part, ‘Thanks for helping me into my white skirt. I almost didn’t make it -but now that I’m busier I’ll start losing weight – you know where. Along with ukulele lessons I have to take I’m learning three songs from the 1920 period. … I don’t know how my costumes in the picture will be yet. I’ll let you know.'”
Three colour slides from the estate of Frieda Hull, showing the Millers leaving New York for Los Angeles in November 1959. Marilyn’s parakeet, Butch, travelled with them. He was a noisy passenger, constantly squawking, “I’m Marilyn’s bird!”
An electroplate ice bucket, made in England, and a receipt for 12 splits of Piper Heidsieck champagne, delivered to the Millers’ bungalow at the Beverly Hills Hotel during filming of Let’s Make Love in December 1959.
Address books from 1955 and 1962. The first includes a handwritten ‘to-do list’, with entries such as “as often as possible to observe Strassberg’s [sic.] other private classes”; “never miss my actors studio sessions”; “must make strong effort to work on current problems and phobias that out of my past has arisen.”
Perhaps the biggest surprise in the Julien’s sale is that Marilyn was planning to buy a home in New York, even commissioning a series of architectural drawings for a property on East 61st Street in November 1961. In addition to her rented Manhattan apartment, she bought a small bungalow in Los Angeles in 1962, but clearly hadn’t given up her dream of a permanent East Coast base.
“An original letter from John E. Holland of the Charles F. Noyes Real Estate Company dated October 18, 1961, addressed to Miss Marilyn Monroe, 444 East 57th Street, New York, “Attention: Miss Marjorie Stengel” (Monroe’s secretary). The letter reads in part, ‘L]ast summer Mr. Ballard of our office, and I showed you the house at the corner of 57th Street and Sutton Place and Mr. Arthur Krim’s house on Riverview Terrace. I spoke to Miss Stengel yesterday and told her of a house which we have just gotten listed for sale at 241 East 61st Street. She asked me to send you the particulars on this house as she thought you might be interested in it. I am enclosing our setup. … The garden duplex apartment is now occupied by the owner and would be available to a purchaser for occupancy. You may possibly have been in this apartment as Miss Kim Novak … just moved out in September. Before that it was occupied by Prince Aly Khan.’
An original letter from John E. Holland of the Charles F. Noyes Real Estate Company dated November 15, 1961, addressed to Miss Marjorie Stengel, stating, ‘I am enclosing herewith Photostats which I had made of the drawings adding a stairway which would include all or half of the third floor with the duplex garden apartments. These sketches may be somewhat confusing, but I could easily explain them if you would like to have me do so,’ together with six Photostat copies of original architectural drawings for the redesign of an apartment located at 241 East 61st Street in New York. The drawings go into great detail as to the redesign of the apartment, with space for an art studio and specific notes stating, ‘This could be another bedroom or boudoir, or health studio with massage table, chaise lounge, private living room…or…with numerous closets.'”
“An extraordinary, blue cloth over board, ‘project management‘ three-ring binder kept by one of Monroe’s assistants chronicling the purchase and ongoing renovation and decoration of her home located at 12305 Fifth Helena Drive in Brentwood, California. The notebook begins with an information sheet and lot diagram as well as a typed renovation and additions budget for the property totaling $34,877.36 against a purchase price of $57,609.95. The book also contains approximately 28 pages of notes on various renovation projects and to-do lists; a page with notes regarding terracing and planting the hillside; seven drawings of exterior floor plan for possible apartment above the garage for a cook; three renderings of options for a table and another decorative element for the home; and a listing of bills due as of August 16, 1962. The last page of the book lists ‘Moet – Champagne vintage 1952/ et Chandon a Epernay/ Cuvee Dom Perignon – 13.88.’ The book lists dates that furniture is due to be delivered from various suppliers, many after Monroe’s death, as well as dimensions of each room of the home for the purpose of ordering ‘white India’ carpet. It also has estimates to have the pool resurfaced, water heater moved, fountain built, and laundry room and shower expanded for people using the pool as well as notes about decoration of a ‘play room,’ fabrication of a new gate, bars for windows, and shelving to be built, among many other things.
A group of invoices dating to February 28, 1962, from various Mexican boutiques listing the purchase of a great number of pieces of furniture and home furnishings, purchased in Mexico for Monroe’s Fifth Helena Drive residence. Together with a two-page typed signed letter dated July 26, 1962, signed ‘Mura’, giving a full report to Monroe’s secretary Eunice Murray regarding her buying trip in Mexico. The letter demonstrates the fact that Monroe was still quite actively working on her home at the time of her death.”
Marilyn inspired many within the Pop Art movement, including Andy Warhol, Richard Hamilton and Pauline Boty. Now another British artist of this period has come to light, with a recent exhibition and a profile in The Guardian. Sue Dunkley produced at least two paintings based on photographer John Bryson‘s 1960 cover story for Life magazine, and the private drama that unfolded between the Millers and the Montands during filming of Let’s Make Love.
“This substantial series of Pop Art paintings on large canvas have recently been rediscovered in Dunkley’s London studio by her daughter and brother. The works in the series were produced between 1968 and 1972, and notably take as their subject the assassinations of John F. Kennedy and Robert Kennedy, the female body, and human relationships, often touched by violence and betrayal. A large number of pastel studies for these works and independent sketches have also been discovered, many of which explore intimacy, sexuality and the role of women in changing eras.
These works are often populated by numerous faces and figures, sometimes difficult to discern and placed in uneasy dialogue with one another. Dunkley herself often appears in the works, looking on or departing, merging the political and personal in both intimate and yet culturally significant works of art. These early works employ the bold and graphic language of Pop Art, referencing familiar media imagery and fashion photography. Recognisable images such as Ethel Kennedy’s screaming face and outstretched hand following Robert Kennedy’s assassination alongside images of Marylin Monroe recur, as if ghosts on the edge of these significant events and moments in history. Dunkley returned to Monroe often, fascinated by her seemingly irreconcilable sexuality and vulnerability, the impossible expectations placed on her to be both child and sex symbol.”
Norman Brokaw, former head of the William Morris Agency, died on October 29, aged 89. His uncle, Johnny Hyde, co-founded the legendary Hollywood talent hub, and gave the teenager his first job in the mailroom in 1943.
By 1949, Hyde was infatuated with Marilyn Monroe, who at 23 was barely a year older than his nephew. During their two-year relationship, Hyde secured her important roles in The Asphalt Jungle and All About Eve, and a long-term contract at Twentieth Century Fox.
A copy of Marilyn’s original William Morris Agency contract, recently sold at Julien’s Auctions for $7,680, included a covering letter signed by Norman Brokaw. In an article for Huffington Post, Brokaw’s son Joel recalled, “There were lots of wonderful memories he shared with me about his family, his uncle Johnny Hyde and Marilyn Monroe (including the time that he got screamed at when he was about to sit on their sofa and crush the plaster model of her new chin.)” If true, this story may add some credence to the longstanding rumour that Marilyn underwent minor cosmetic surgery at this time.
When Hyde died of a heart attack in December 1950, Marilyn was bereft. According to J. Randy Taraborrelli, author of The Secret Life of Marilyn Monroe, Brokaw accompanied Marilyn to Cedars of Lebanon Hospital in Los Angeles, but his uncle passed away before their arrival. (However, there are several competing versions of this story.)
Marilyn’s next serious romance, with baseball hero Joe DiMaggio, began in 1952. According to Taraborrelli, the couple first met two years earlier, when Brokaw arranged for her to play a walk-on part in Lights, Camera, Action, an NBC variety show. (If this was the case, the footage may not have survived as it is not documented elsewhere. But Marilyn did film a TV commercial during the same period, so she wasn’t entirely unaccustomed to the small screen.) After filming, she and Brokaw dined at the famous Brown Derby restaurant, where I Love Lucy star William Frawley if he could introduce her to his pal, Joe DiMaggio.
As they left the restaurant, Norman and Marilyn approached the ‘bashful’ sportsman. At the time, she was one of the few Americans who had never heard of DiMaggio. The next morning, Brokaw said, Joe called him and asked for Marilyn’s phone number – although whether he had the courage to follow through is unknown.
After a much-publicised courtship, Joe and Marilyn tied the knot in 1954. Taraborrelli writes that early on in their brief, tempestuous marriage, a worried Joe called Brokaw, and they met for drinks at the Polo Lounge of the Beverly Hills Hotel. When Joe explained that he wanted Marilyn to stop making films, Norman replied, “She’s not going to give up her career any more than you would have before you were ready to do it.” (Joe later sought advice from other Hollywood friends, including Sidney Skolsky, and would remain close to Marilyn long after their divorce.)
By then, Brokaw was building up the Morris Agency’s new TV division. He persuaded stars like Barbara Stanwyck to try the new medium, and negotiated a pioneering deal for Kim Novak, granting her a share in the profits of her films. In 1965, he secured a lead role for Bill Cosby in I Spy, making him the first black actor to achieve star status on a major television network.
During the 1970s, Brokaw added high-profile names in sport and politics to the agency’s roster. His career continued into the new century, and he was also a philanthropist, serving on the board of directors at Cedars-Sinai Medical Center (formerly Cedars of Lebanon), and St Jude Children’s Research Hospital.
Norman Brokaw died at his home in Beverly Hills. He is survived by his wife, Marguerite Longley, six children and four grandchildren.
Recent updates to the Immortal Marilyn website include a sensitive piece about Marilyn’s endometriosis and miscarriages; profiles of her contemporaries, Anita Ekberg and James Dean; a vintage piece from Uncensored magazine, about Marilyn and Frank Sinatra; an interview with Marilyn collector Sirkku Aaltonen; and a new regular feature, the weekly news roundup.
Richard A. Schwartz, a Professor Emeritus at Florida International University and author of several books about the Cold War era, has published a new play, Collaborators: Elia Kazan, Arthur Miller and Marilyn Monroe. Beginning with the accidental death of a journalist on the eve of Marilyn’s 1956 wedding to Arthur, the action then looks back to their first meeting five years earlier, when he unsuccessfully pitched a movie to studio head Harry Cohn. Marilyn was casually dating Arthur’s friend and creative partner, Elia Kazan, at the time.
However, it was Arthur she fell for – it has often been rumoured that he continued corresponding with her after returning to his wife and children in New York. Using a split stage, Schwartz imagines what Arthur might have written to her, comparing his inner turmoil with her heady rise to fame (and ongoing association with Kazan.)
The other main strand of the drama is the very different responses of Miller and Kazan to the red-baiting era. Although it’s clear that both had long since left their youthful dabblings with communism far behind and posed no threat to national security, Kazan chose to inform on fellow travellers in the theatre, thereby saving his Hollywood career, while Miller – supported by Marilyn – refused to ‘name names’, and was ultimately vindicated as a liberal hero. Unsurprisingly, their alliance came under strain, and they didn’t work together again until after Marilyn’s death, on the controversial After the Fall.
The Millers’ marriage is portrayed in two scenes: the beginning is represented by Marilyn’s alleged discovery of unflattering comments in Arthur’s journal, during filming of The Prince and the Showgirl; while the end is marked by another heated argument during production of The Misfits. But that omits a long period of relative stability in Marilyn’s otherwise turbulent life. Perhaps Schwartz could have added a further scene to reveal Marilyn’s vulnerability, and show how painful experiences, like her multiple miscarriages, may have caused her depression.
As it is, Schwartz’s portrayal of a self-destructive Marilyn seems to echo Maggie, the suicidal star in Miller’s After the Fall. He is on safer ground with his male protagonists, and the trial scenes are compelling – perhaps because those events are a matter of public record, rather than private conjecture – and with careful revisions to his characterisation of Marilyn, Collaborators could be a genuinely provocative play.
For those interested in learning more about this topic, Barbara Leaming covered it in detail in her 2000 biography of Marilyn, and Ron Briley’s The Ambivalent Legacy of Elia Kazan will be published next month.
Among the items included in Julien’s November auction is a letter sent to Marilyn by Jean Kennedy Smith, apparently describing MM and her brother Bobby as ‘the new item’. This will already be familiar to many fans, as biographer Anthony Summers reprinted it in Goddess (1985.)
Martin Nolan, executive director at Julien’s, has cited the note as evidence that ‘there was in fact a relationship between Bobby Kennedy and Marilyn Monroe.’ Several news outlets have followed his lead, including the Telegraph. However, other sources close to RFK do not believe they were romantically involved.
“Efforts to prove an affair between the two began in the 1960s. At the time Bobby Kennedy, who was married and had 11 children, was his brother’s Attorney General.
FBI Director J Edgar Hoover, as part of his titanic feud with Bobby Kennedy, tried and failed to catch the politician with the actress.
In his autobiography William Sullivan, Hoover’s Deputy Director at the FBI, wrote: ‘Hoover was desperately trying to catch Bobby Kennedy red-handed at anything he ever did. We used to watch him at parties.’
Eventually, Hoover concluded ‘the stories about Bobby Kennedy and Marilyn Monroe were just stories.’
Much of the speculation about Monroe and the Kennedys in the following decades centred instead on her alleged relationship with President Kennedy.”
In an article for Immortal Marilyn, Marijane Gray remains sceptical.
“Most occasions where this letter is quoted conveniently leave out the first few sentences because they certainly cast doubt on any romantic relationship. Here’s what the note says in full:
‘Dear Marilyn, Mother asked me to write you and thank you for your sweet note to Daddy-he really enjoyed it and you were very cute to send it. Understand that you and Bobby are the new item! We all think you should come with him when he comes back East! Thanks again for the note-Love, Jean Smith.’
The excised portions certainly put a completely different perspective on it, which explains why they’re excised…..it takes away from a possible scandal. The patriarch of the Kennedy clan, Joe Kennedy, had suffered a stroke and had to undergo months of physical therapy. More than likely, Marilyn had heard about his health issues from her close friend Pat Lawford and sent a get well note, as she was known to be very compassionate to anyone who was ailing. Although we don’t know the date Jean’s note was written, it could have been any time from February to June 1962. This is the time period that people severely lacking in credibility and the authors who believed them reported that there were affairs going on with one or both Kennedy brothers. However, no one can explain why the alleged mistress was being invited to family events (that the wives of both men would have attended), was writing cheerful notes to their father and being thanked for it by their mother and sister. The reference to Marilyn and Bobby being an ‘item’ more than likely refers to them amusing dinner party guests by doing the twist at [their] first meeting back in February. However, these things tend to get overlooked because they don’t support the myths, which in turn doesn’t bring in high book sales or sky rocketing auction bids.”
Marilyn & Sinatra, an hour-long play with songs, is playing through this weekend at London’s Jermyn Street Theatre. Here’s a selection of reviews…
“On the face of it, Marilyn is a gift: the sex symbol, the pills and drink, the suicide, the famous husbands and lovers … But it’s too much of a gift. Writers and directors seem to feel that all they have to do it to put the life, or part of it, on the stage, and they have a hit show on their hands.” – Traffic Light Theatregoer
“There appear to be a number of versions of the story of their relationship, though this play prefers to avoid being unnecessarily sensationalist. It is quite likely, given how private conversations are acted out on stage, that there was a modicum of artistic licence going on – the play never claims to be a verbatim account of who said what and when.” – London Theatre 1
“In his prologue to the audience, the writer and director, Sandro Monetti, explains that the premise of the show was inspired by Monroe’s final moments spent listening to various Sinatra albums. The overall performance also benefits from its desire to connect with the audience, with the actors interacting with them while they sing hits made famous by both stars.” – The Upcoming
“A palpable lack of insightful direction remains a recurring problem with this show, as each character tends to stand (or sit) around on the side-lines while the other narrates dialogue that is both awkward and awkwardly delivered … Erin Gavin bears a passable resemblance to the star and does vulnerability well, even if her voice has an occasional sharp edge to it that Marilyn’s carefully nuanced delivery never did.” – Theatreworld IM2
“We are presented with two narrations, starting from the first falterings of Monroe’s marriage to Joe DiMaggio. In her spoken role, Erin Gavin captures the breathy, seductive tones that Monroe used on screen, although there is more devotion to the accent than to its volume, rendering some lines inaudible even within the tiny confines of the Jermyn Street Theatre. There are the signs of vulnerability there, despite Monetti’s clunkingly obvious script, and although her attempts to sing the actress’s trademark songs ‘I Wanna Be Loved By You’ and ‘Diamonds Are a Girl’s Best Friend’ are beset with timing issues, one does wish that Gavin (a co-producer of this show) had better material with which to develop her impersonation.” – Reviews Hub
“It’s quite a moving show … Not really a musical, this little piece is firmly a play with songs. And little is the operative word. It really is very short. Perhaps it would be better staged in a double bill with another short item.” – Musical Theatre Review
“Marilyn Monroe’s story has been told on stage hundreds of times in dozens of different ways but her character is always compelling. The play only just scratches the surface, never really delving deeply into what made Marilyn and Sinatra tick. It falls short of being truly emotional but is entertaining …” – Bargain Theatreland