All About Eve and Niagara will be screened on US television as part of TCM’s Salute to Fox, airing on July 24 and again on July 31, Laughing Place reports.
Marilyn is featured twice in the latest issue of UK nostalgia magazine Yours Retro (with Elizabeth Taylor gracing the cover.) Firstly, a portrait of the young Norma Jeane (signed ‘to my dear sister,’ Berniece Miracle), in a feature about autograph hunters; this article also mentions the sale of a baseball signed by Marilyn and Joe DiMaggio for almost $60,000 in 2011 (see here.) Secondly, Marilyn’s so-called ‘snake costume’, designed by Travilla for Bus Stop and seen again on Leslie Caron in The Man Who Understood Women (1959), in the regular Film Buff column.
All About Eve features in a spread about ‘Oscar’s First Ladies.’ And the rise to fame of Diana Dors, labelled ‘Britain’s answer to MM’, is also profiled in this issue – but the comparison is unfair to both women, whose talents were on a par yet very different.
All About Eve will be screened today at the Enzian Theatre in Maitland, Florida at midday.
All About Eve will be screened at 7 pm next Wednesday, May 29, at the Capitol Theatre on West 65th Street in Cleveland, Ohio. Part of the Happy Hour Classic Series, admission costs $10 and includes a free cocktail or soft drink plus light appetizers from 6 pm onwards.
Thanks to A Passion For Marilyn
Marilyn made most of her major films during the 1950s, so it’s no surprise to find her movies cropping up in entries for the 5 Favourite Films of the Fifties blogathon, hosted today at the Classic Film & TV Cafe. Over at Silver Screen Classics, Paul Batter picks The Asphalt Jungle; at Aurora’s Gin Joint, All About Eve makes the cut. From Monroe’s starring roles, Annette Bochenek chooses Gentlemen Prefer Blondes on Hometowns to Hollywood; Texan blogger Story Enthusiast favours How to Marry a Millionaire; and finally, author Laura Wagner selects the decade’s last Monroe movie, Some Like It Hot, over at Lady Eve’s Reel Life.
“The 1950s were also Marilyn Monroe’s zenith years. She’d been only a starlet in the late ‘40s, with minor roles in minor films, and she lived not very far into the ‘60s. Throughout the ‘50s, however, she was a comet ablaze on silver and Technicolor screens around the world. A superstar.
She started the ‘50s with small roles in two classics, John Huston’s The Asphalt Jungle (1950) and Joseph L. Mankiewicz’s All About Eve (1950). Lesser films continued but, thanks to Howard Hawks and Gentlemen Prefer Blondes (1953), she was able to demonstrate her gift for comedy and shoot to the stratosphere in the glittery role of a dizzy but good-hearted showgirl, Lorelei Lee. Later that year she co-starred with Lauren Bacall and Betty Grable in another huge hit, How to Marry a Millionaire, playing a near-sighted Lorelei Lee type. By the time she made The Seven Year Itch (1955) for Billy Wilder, she no longer needed big name co-stars to help attract a wide audience, she was a phenomenon. At this point Marilyn Monroe wanted to prove herself as a serious actress and so she next appeared in Bus Stop (1956), a William Inge drama directed by Josh Logan. She would finish the decade working with Billy Wilder again, this time on his comedy masterpiece Some Like it Hot (1959).
My Marilyn Monroe pick has to be Some Like it Hot, a flawless film. Penned by Wilder and his writing partner Izzy Diamond, a pair that produced some of the smartest, snappiest and most worldly screenplays ever, Some Like it Hot is classic screwball … The roles of Joe/Josephine, Jerry/Daphne and Sugar Kane give the actors – Curtis, Lemmon and Monroe – showcases to die for. And each of them delivers and then some. Directing Marilyn was a task that tested Wilder to the limit. But he was convinced that if he could be patient enough to coax it out of her, he’d get the performance he wanted. And he did.”
All About Eve is (rightly) included in Indiewire‘s list of 40 films that defined 20th Century Fox, which has now officially merged with Disney. However, I think Marilyn’s string of hits at the studio – such as Gentlemen Prefer Blondes and The Seven Year Itch, to name just two – also merit consideration.
“Joseph L. Mankiewicz’s All About Eve (1950) made 20th Century Fox the crown jewel of Oscar players when it nabbed a record 14 Academy Award nominations and won six prizes, including Best Picture. The drama is the first film to earn nominations in all six major Oscar categories: Director, Picture, Actor, Actress, Supporting Actor, and Supporting Actress.”
The new stage adaptation of All About Eve, starring Gillian Anderson and Lily James, has now opened at London’s Noel Coward Theatre, to mixed reviews. In today’s Guardian, Jenny Stevens goes back to the source, describing Joseph L. Mankiewicz’s 1950 classic as “a perfect feminist film.”
“‘All the wittiest lines in the film belong to the women,’ says film critic Molly Haskell. ‘These women are never just pathetic. Mankiewicz is so fascinated by women and sympathetic towards them: he gives them importance, he gives them idiosyncrasy, he gives them their personalities.’
So many films from that era don’t hold up, but All About Eve still feels radical. It takes the theme of women being silenced, forced to listen to men and learn from them regardless of their own talents, and turns men into the butt of the joke. When Margo throws a birthday party for her partner, the director Bill Sampson, the poison-penned theatre critic Addison DeWitt turns up with a young blonde on his arm, a Miss Caswell (played by the then little-known Marilyn Monroe). Channing suggests Eve and DeWitt should talk about their shared love of the theatre. ‘I’m afraid Mr DeWitt might find me boring after too long,’ says Eve, saccharinely coy. ‘Oh you won’t bore him, honey,’ says Miss Caswell. ‘You won’t even get the chance to talk.’
It is an extraordinary scene, says Haskell, ‘especially when you consider that Monroe’s character is not meant to have lines. She’s meant to be just a bimbo. Yet out of this bimbo come these words of wisdom. Everyone has dignity and authority in their own way in the movie.'”
In the new play, Miss Caswell is played by Jessie Mei Li. As you can see below, she looks lovely in the role, but wisely avoids doing a Monroe impersonation. Tickets are selling out fast, but in association with the National Theatre and Fox Stage Productions, a live performance will be broadcast at selected cinemas across the UK and USA from April 11 onwards – pick your nearest venue here.
Thanks to Fraser Penney
Following the news that The Misfits will be staged at the Dublin Theatre Festival later this month (see here), London’s Evening Standard reports that All About Eve will open at the Noel Coward Theatre next February for a limited 14-week run, with Gillian Anderson and Lily James recreating the lead roles played by Bette Davis and Anne Baxter in Joseph L. Mankiewicz’s Oscar-winning 1950 movie. Of course, All About Eve is all about life in the theatre, and it’s not the first time it’s crossed over to the stage. In 1970, Lauren Bacall won a Tony award for Applause, a hit Broadway musical adaptation. This new take will also feature music, by the acclaimed singer-songwriter P.J. Harvey. It’s not clear yet who will play the supporting character of Claudia Caswell, whose original incarnation gave Marilyn one of her first big breaks.
Last December, it was reported (here) that Disney had bought Twentieth Century Fox’s assets from its most recent owner, Rupert Murdoch. And on July 27, as Variety reports, the Fox-Disney merger went ahead with a $71.3 billion buyout. Marilyn’s films for her home studio will be included in the purchase. As many commentators wonder what this will mean for the venerable Fox brand, the Hollywood Reporter looks back on its colourful past with a series of articles including the fraught relationship between longtime studio head Darryl F. Zanuck and the biggest star of all – Marilyn – during 1951-62, a period described as the ‘Monroe Years’ (preceded by ‘Eve’s Gold Rush’ in 1950, a reference to the Oscar-laden All About Eve in which Marilyn had a small part.) Firstly, film historian Leonard Maltin offers a eulogy for Fox, and the personalities who made it great.
“Zanuck always had someone waiting in reserve in case one of his stars became uncooperative. Betty Grable was hired as a threat to musical star Alice Faye and soon surpassed her as Fox’s premier attraction (and No. 1 pinup) of the 1940s. Faye grew tired of Zanuck’s belittling behavior and walked off the lot one day without saying goodbye. (Zanuck wouldn’t have survived in the #MeToo or Time’s Up era. He was notorious for taking advantage of starlets.)
Zanuck reigned until 1956, when he resigned from Fox and moved to France to become an independent producer. In the fractious years that followed, the studio wooed him back for projects more than once, even allowing him to cast his mistresses (Bella Darvi, Juliette Greco, et. al) in leading roles. But while movie attendance soared during the years following World War II, it sank nearly as quickly with the introduction of television. Fox’s response was to unveil a widescreen process called CinemaScope and its aural equivalent, stereophonic sound. Films like the biblical epic The Robe drew people back to theaters. So did Fox’s newest star, blonde bombshell Marilyn Monroe.
It was believed the wildly expensive epic Cleopatra — which paid Elizabeth Taylor an eye-popping $1 million salary — nearly bankrupted 20th Century Fox, but president Spyros Skouras already was selling off the company’s valuable backlot (now known as Century City) before the movie’s budget ballooned to $44 million. Facts aside, Cleopatra became a scapegoat for all of the studio’s ills.
In a final coup, Darryl F. Zanuck returned to Fox in the early 1960s and named his son, Richard Zanuck, president … Then, in 1970, Zanuck Sr. fired his son and sparked an Oedipal family feud that sucked in Zanuck’s ex-wife — Richard’s mother, a major shareholder — and ended with the elder Zanuck being pushed out of the studio he co-founded. Repeated changes of regime and ownership in the ensuing years took their toll on the company that had once put its distinctive imprint on such classics as Laura, Miracle on 34th Street, Twelve O’Clock High and All About Eve.”
In another article, ‘Life in the Foxhole‘, Mitzi Gaynor describes the working atmosphere at Fox as ‘like a family’, while Don Murray recalls his movie debut at the studio, and his mercurial leading lady…
“Zanuck loathes Marilyn Monroe (‘He thought I was a freak,’ Monroe once said) and nearly tears up her first contract after her nude Playboy cover comes out. But by 1953, Monroe has three of the studio’s biggest hits — Niagara, Gentlemen Prefer Blondes and How to Marry a Millionaire — and renegotiates a new contract paying $100,000 a picture and giving her creative approval. Her first film under the new deal is 1956’s Bus Stop, co-starring Don Murray. ‘I’d never done a feature before,’ says the actor, now 88, ‘so I didn’t know what to expect. From what others on the set told me, Marilyn was on her best behavior. She’d just been to the Actors Studio, and she really wanted to concentrate on her acting. But even so, she was late every day. She’d get to the studio on time, but then she’d spend hours dawdling in her trailer, getting the nerve up to act. She was trying hard — she would sometimes do 30 takes in a scene — but she was very anxious about her acting. She would actually break out in a rash before the cameras would start filming. The cameras gave her a rash.'”
Finally, you can read Marilyn’s take on Fox, and Zanuck – as told to biographer Maurice Zolotow – here.
Among the cast of All About Eve (1950), three would die in tragic circumstances: Marilyn, George Sanders, and Barbara Bates, who appears as wannabe actress Phoebe in the final scene. Although her screen time was brief, it amounts to one of the greatest endings in Hollywood history. Interestingly, her part was reportedly considered for Marilyn before she was cast as Miss Caswell. Barbara also appeared in another early Monroe film, Let’s Make It Legal (1951).
Barbara was born in Denver on August 6, 1925, and came to Hollywood in her teens after winning a beauty contest. There she met Cecil Coan, a publicist for United Artists. They were married, and despite Barbara’s extreme shyness, she submitted to his designs to make her a star, appearing in such films as Johnny Belinda, June Bride and Cheaper By the Dozen. Like Marilyn, Barbara alternated between bit parts and posing for cheesecake, but her career didn’t take off as Marilyn’s did.
By the mid-1950s, Barbara’s emotional instability made her increasingly unreliable, and her last screen credit was in a 1962 episode of the British TV series, The Saint. After her husband was diagnosed with cancer, Barbara gave up acting to care for him, but the strain made her depression worse. A year after his death in 1967, Barbara was remarried to a childhood friend in Denver. But sadly this still wasn’t enough to turn her life around, and in early 1969, she was found dead by gas poisoning in a car inside her mother’s garage.