Author and creative writing tutor Alyson Faye will be leading a 2-hour presentation and workshop, Marilyn Monroe: The Journey From Starlet to Feminist Producer and Icon at 2 pm on Thursday, May 2, at The Craft House in Saltaire, Shipley. Admission costs £25 per person and includes refreshments: more details here.
Dear Los Angeles: Letters and Diaries 1542-2017, edited by David Kipen, is a new anthology featuring two missives from Marilyn herself among its assorted diary entries and correspondence. The first – dated February 2nd, 1962 – is extracted from a letter to her stepson, Bobby Miller, recounting her meeting with the Attorney General, Robert F. Kennedy during a dinner party at Peter Lawford’s home. (You can read it in full by clicking on the images below.)
The second – which she wrote just over two weeks later, on February 17 – is a brief note to the German Consul, Mr. Volkmar von Fuehlsdorff.
Marilyn was also mentioned by director Elia Kazan (her friend and former lover) in a tongue-in-cheek letter dated July 27, 1955. It’s unclear who Kazan was addressing, but his words are clearly in jest (Marilyn was in New York at the time.)
Permission to open ‘The Marilyn’, a new speakeasy-style cocktail on Monroe Street, NYC, has been denied, Bowery Boogie reports. Monroe Street is in the Two Bridges district of Manhattan. While in theory it sounds like perfect branding, it seems the developers failed to address residents’ concerns.
Two Bridges is located near the footings of the Manhattan Bridge and Brooklyn Bridge, the subject of a touching 1955 poem by Marilyn…
The gulf between Marilyn’s private and public personae is explored in a new video essay created by Lara Mubayadeen and Luke Jamieson for Film School Rejects. The short film’s title, ‘Actress Must Have No Mouth’, is lifted from Marilyn’s private journals, collected in the 2010 book, Fragments. Other quotes are superimposed onto archival footage of Marilyn talking to the press, but unfortunately, some of her actual responses to reporters’ questions – often intelligent and witty – have been cut out, giving the footage a retrospective note of tragedy.
Vintage website Flashbak has compiled transcripts of Marilyn’s poetry, as well as a list of the 430 books she owned (first posted here on ES Updates, of course!) They have also included a quote from the English novelist Jeannette Winterson about Eve Arnold’s famous photos of Marilyn reading Ulysses.
“This is so sexy, precisely because it’s Marilyn reading James Joyce’s Ulysses. She doesn’t have to pose, we don’t even need to see her face, what comes off the photo is absolute concentration, and nothing is sexier than absolute concentration. There she is, the goddess, not needing to please her audience or her man, just living inside the book. The vulnerability is there, but also something we don’t often see in the blonde bombshell; a sense of belonging to herself. It’s not some Playboy combination of brains and boobs that is so perfect about this picture; it is that reading is always a private act, is intimate, is lover’s talk, is a place of whispers and sighs, unregulated and usually unobserved. We are the voyeurs, it’s true, but what we’re spying on is not a moment of body, but a moment of mind. For once, we’re not being asked to look at Marilyn, we’re being given a chance to look inside her.”
On Friday, August 3, 1962, Marilyn called her close friend Norman Rosten and talked about her plans to visit New York that fall, urging him joyfully, ‘Let’s start to live before we get old.’ By Sunday, the world was mourning her death. Norman wrote this poem while Marilyn was still alive, but she never had a chance to read it.
“We who spread the rainbow under glass
And weigh the most elusive sky and air,
Of that clan I come to track your heart –
But I’m baffled by those loose strands of hair.
You stand, finger at your lips, lost
In a long-abandoned heaven. No one within,
The angels gone, and all the harps undone.
What legend draws you there? O hurry down!
Surely your home’s with us, and not the gods.
Below your sealed window as you watch,
A river barge goes by, someone waves,
You laugh and throw a kiss for him to catch.
You’re not to be rescued wholly in this world.
It must be so. As many are saved,
That many drown. I see you clinging
To rooms, to phones, forgotten to be loved.”
Today marks the 61st anniversary of Marilyn’s marriage to Arthur Miller, on June 29, 1956. Over at History Buff, Mary Miller (no relation, I assume) looks back on a ‘tragically beautiful’ wedding, quoting a diary entry from Marilyn herself.
“I am so concerned about protecting Arthur I love him—and he is the only person—human being I have ever known that I could love not only as a man to which I am attracted to practically out of my senses about—but he [is] the only person … that I trust as much as myself—because when I do trust my- self (about certain things) I do fully.”
Multimedia artist Philippe Parreno’s 2012 video installation, Marilyn – based on her own writings as collected in the 2010 book, Fragments, and originally exhibited in Switzerland – is featured in a new retrospective of his work in film, Philippe Parreno: Thenabouts, on display at the Australian Centre for the Moving Image (ACMI) in Melbourne until March 13, as Christopher Allen reports for The Australian.
“The most successful and memorable work in the exhibition was devoted to Marilyn Monroe, a figure who for half a century has been a kind of cultural palimpsest: the original actress, talented, intelligent, tragic, is overlaid with Warhol’s adoption of her as emblematic of the way that the modern mass media turns celebrities into two-dimensional patterns akin to brands or logos.
Parreno has recreated the hotel room at the Waldorf Astoria that Monroe occupied in New York in 1955. The camera pans around the room while the actress’s voice describes its design and furnishings: wall coverings, sofas, desks, coffee-table, ornaments. And then the camera switches to a close shot of a fountain pen writing on hotel stationery: we seem to be watching Monroe’s own pen forming her own words in her own handwriting.
But the voice is disembodied and we do not see the hand holding the pen, for all is done through computerised robotic movements. The speech is synthesised from recordings of the star’s voice, and the handwriting robot has been programmed to reproduce samples of her script. As both voice and handwriting routines are repeated, we realise that something mechanical is going on, and this is confirmed as gradually the camera takes a longer view, progressively revealing parts of the illusion.
First we see bits of scaffolding, then gradually we are shown the mechanism holding and moving the pen. And then the camera pans out to reveal that the whole room had really been a set built in a studio. Marilyn Monroe, as it turned out, had not only been reduced to a brand in her own day, but could now be synthetically reproduced, mechanically cloned as it were; a reflection, perhaps, on the further reduction of the actor, in the mass media world, to a consumer product.
The ending was interesting from another point of view too, because it was almost cliched in its use of the trope of illusion revealed. But it was also significant in being one of the few clear endings in a body of films mostly with little sense of starting or finishing.
Watching Parreno’s lengthy and not always gripping body of work, I couldn’t help reflecting that Aristotle was on to something with his conception of plot as the basic structuring device for stories.
At least the Marilyn Monroe film conformed perfectly to his definition of an ending: an action that implies something before it but nothing after it.”
Marilyn’s annotated script for her final, incomplete movie, Something’s Got to Give, has been sold at the Nate D. Sanders Hollywood Memorabilia auction for $25,000. While reporters have poked fun at her minor spelling errors – such as ‘leeding him on’ – her comments are often perceptive. ‘Needs more jokes’, she remarked – an opinion shared by others during this troubled production.
If this script looks familiar, that’s because it sold at Julien’s only a month ago for $10,240. Other items from the event have also been spotted on auction sites like EBay, confirming that Marilyn’s personal property is becoming a magnet for investors. A disused grave marker from her crypt, also sold in November, attracted no bids this time around.
“Monroe’s handwritten pencil notes begin with her character’s (Ellen Wagstaff Arden) introduction in the script on page 12 and carry through to the end on page 149, even including notes on the verso of the last page and back cover, such as a note reading, ‘Joke writers Mel Brooks / Herb Gardner / Need spice / raisins / Need some funny lines.’ There are notes in Monroe’s hand on approximately 42 pages in the script, ranging from simple dialogue corrections and changes to in-depth sense memory notes when doing a scene that required a deeper emotional connection and understanding. Regarding her character’s introduction, as she interacts with naval personnel who saved her after being marooned on an island for five years, Monroe writes, ‘1 – Gayity [sic] 2 – Excitement 3 – Then Dazed.’ In one scene, Monroe references Arthur Miller’s children to better help her relate to her character’s children, ‘Bobby M. / and early Janie / except their [sic] mine.’ Throughout the script, Monroe writes succinct dialogue and character notes: ‘Stunned / Dazed – sky high with adventure’, ‘dead pan/I really don’t know’, ‘anticipating the joys’, ‘Trying to think or remember’, ‘start to wonder what’s from now on’, ‘I don’t know he knows’, ‘easy/very intimate/very real’, ‘[L]et me get into something more comfortable / leading him on -‘. Included is a small card with call times and scenes to be shot, and a small scrap of paper with a note in Monroe’s hand wondering why they are shooting out of sequence, as well as notes about using Miss vs. Mrs.”
This copy of the script is dated March 29, 1962. Another version, including revisions dated April 23 and 27, and with eighteen pages annotated by Marilyn, went unsold, after being purchased at Julien’s last month for $12,800.
“Some of the highlights include notes Monroe made for Scene 168, in which she interacts with her children in the movie, who don’t recognize her as they were too young when she became stranded on an island for five years and presumed dead. These hand-annotated typewritten pages were inserted into the script for this particular scene – one of the few that Monroe completed before her untimely death. Within these pages, Monroe writes a series of notes regarding her preparation: ‘Real thought’, ‘Mental Relaxation’, ‘Look for the light’, ‘Place the pain/feeling where it is not in the brow’, as well as specific sense memories to help find the emotional truth with her character’s feelings toward her on-screen children, ‘Substitute children – B & J if necessary’, perhaps referring to Arthur Miller’s children Bobby and Jane. There are also some notes from Monroe regarding her work with a Swedish dialect coach. Peppered throughout the script are further dialogue notes, changes and line strikes. Interestingly, the script also includes notes in an unknown hand giving blunt, critical assessments and insights of the script’s scene descriptions, direction and dialogue. These notes start on the script’s first page, ‘Note for Marilyn/He has to woo her not the way it is / new blue pages’ and continue in blue pen, ‘Dull’, ‘Naggy, ‘Make it funny!’ and ‘Smugly’. Interestingly, Monroe reacts to some of these notes, either changing dialogue and scene direction or, in some cases, striking the note itself if she doesn’t agree with it.”
And in other news, a Frank Powolny portrait of Marilyn – signed by the lady herself to ‘Jimmie’ – was sold at R.R. Auctions for $24,959 this week, as part of the Tom Gregory Collection.