Plans to bring Seward Johnson’s giant sculpture, ‘Forever Marilyn’, to Palm Springs are now in motion, the Desert Sunreports.
“‘Forever Marilyn,’ the popular 26-foot-tall statue of actress Marilyn Monroe that was on display in downtown Palm Springs from 2012 to 2014, will return to the city permanently, Mayor Robert Moon and Councilman J.R. Roberts said Wednesday. The city has not officially announced Marilyn’s return and has not finalized details on when it expects the statue back and where it may go, but Roberts said both a new downtown park and Town and Country Center were options.
‘Marilyn has become somewhat of an icon for Palm Springs and some love her and some not so much, but at the end of the day she’s become part of our brand,’ Roberts said. ‘And she was discovered here poolside in Palm Springs,’ he added, referring to a legend that she was first scouted by a talent agent in 1949 at Charles Farrell’s Racquet Club compound.
The statue, created by Seward Johnson, first came to Palm Springs as part of a loan arranged by the Sculpture Foundation, an organization the artist founded to promote public art and sculpture. In 2014, the 16.5-ton stainless steel and aluminum sculpture that depicts the screen legend from a scene in the 1955 film The Seven Year Itch, was shipped to New Jersey for a retrospective on the artist’s work. It was later exhibited in Connecticut and the Australian city of Bendigo.
Since ‘Forever Marilyn’ left, PS Resorts, a nonprofit group that aims to boost tourism in Palm Springs, has been working to bring the Instagrammable icon back to downtown. City Manager David Ready couldn’t confirm exact details about the statue’s cost, but said it was estimated to be more than $1 million. Moon said the city is ‘not putting any funds’ into the acquisition of the statue.
Moon said he knew the idea to locate the state in the center of Town and Country would be controversial. ‘Some people are going to love it and some people are going to hate it,’ he said in his State of the City Speech, noting the statue would be several feet higher than the Town and Country roofline.
Since the statue left Palm Springs, various plans have been discussed to bring it back and install it at a temporary location; one proposal would have seen the Agua Caliente Band of Cahuilla Indians host it at the tribe’s casino at Calle Encilia and Andreas Road. That plan never came to fruition. Another plan is to locate the returning Marilyn in a new downtown park envisioned for a plot across from the Palm Springs Art Museum. The park has been in the works for years but has yet to come to fruition.”
One of Seward Johnson’s ‘Forever Marilyn’ sculptures is currently greeting visitors to Reading Public Museum in Pennsylvania. (As reported last month, another of these statues is now in the foyer of the R.W. Norton Gallery in Shreveport, Louisiana.) And it’s not the first time an iconic Monroe image has come to Reading. Back in 2012, a screening of My Week With Marilyn at the Goggleworks cinema was accompanied by a guest appearance from Monroe collector Gene London, who brought along Marilyn’s dress from The Prince and the Showgirl (one of several copies made, as she wore the same dress for most of the movie.)
Carol Channing, the legendary Broadway star who originated the role of Lorelei Lee in Gentlemen Prefer Blondes, has died aged 97.
Born in Seattle in 1921, Carol and her parents moved to San Francisco when she was two weeks old. Her mother Adelaide was of German Jewish descent and her father George was part African-American (on his mother’s side.) A newspaper editor by profession, George was also a Christian Science practitioner and teacher.
At sixteen, Carol left home to major in drama in Bennington College in Vermont. In 1941, she won her first Broadway part as Eve Arden’s understudy in a revue, Let’s Face It! That year she was married for the first time, to writer Theodore Naidish. They divorced after five years.
In 1948, Carol won a Theatre World Award for her featured role in another revue, Lend An Ear. Stacy Eubank noted in Holding A Good Thought For Marilyn: The Hollywood Years, that on June 16, a little-known starlet, 22 year-old Marilyn Monroe, attended the opening night at the Las Palmas Theatre in Hollywood, where she was photographed with director Bill Eythe and actor Bill Callahan.
Illustrator Al Hirschfeld published a caricature of Carol as a flapper in the show, the first of many portraits to come. She even credited his artwork with helping her win the part of Lorelei Lee in Gentlemen Prefer Blondes.
Jule Styne’s musical adaptation of the 1926 novel by Anita Loos opened at the Ziegfeld Theatre in December 1949, running for almost two years. In her 2002 memoir, Just Lucky I Guess, Carol wrote that Loos had told Styne, ‘That’s my Lorelei!’ after seeing Lend An Ear in New York. Styne promptly wrote a new song for Carol, ‘Diamonds Are A Girl’s Best Friend.’
In January 1950, Carol made the cover of Time magazine. She was married again that year, to footballer Axe Carson, and they had a son, Channing Carson. After her third marriage to manager and publicist Charles Lowe in 1956, he was renamed Chan Lowe and went on to become a successful cartoonist.
Darryl F. Zanuck swiftly acquired the film rights to Gentlemen Prefer Blondes for Twentieth Century Fox. Carol was duly invited to Los Angeles for a screen test, but it was generally assumed that Betty Grable, the studio’s reigning blonde star of musical comedy, would get the part. In any case, Carol had already decided to take the show to London after the Broadway run ended.
In mid-June of 1951, Marilyn Monroe flew to New York, where she spent several days. Columnist Dorothy Manners would report that she had been given tickets by Fox to see Gentlemen Prefer Blondes – perhaps as a warning to Grable, who was then on suspension. ‘Physically, Marilyn fits the bill,’ Manners noted, ‘but whether she is experienced enough to take on a top comedy performance remains to be seen.’
In her autobiography, Carol claimed that Marilyn was instructed to see the play every night for a month, which is doubtless an exaggeration given Marilyn’s busy schedule. Chronically shy, Marilyn never ventured backstage. “Our orchestra never saw anyone that beautiful before,” Carol recalled. “For the first time they were all looking at Marilyn instead of our conductor…”
That November, after Blondes finally closed, the New York Post‘s Earl Wilson reported that Marilyn hoped to play Lorelei on the screen. In his 1992 biography of Monroe, Donald Spoto wrote that Fox informed Marilyn the part was hers on June 1, 1952 (her 26th birthday.) Nonetheless, the studio kept up the intrigue for several weeks before announcing it to the press, still claiming that Grable would star, with Marilyn turning brunette to play Lorelei’s friend Dorothy.
When the news broke on June 23, Hedda Hopper wrote that Carol had responded with a 200-word telegram to Fox, while Grable denied asking Zanuck for the part. Marilyn was now the studio’s rising star, but as Stacy Eubank observes, she was still on a standard contract and would cost Fox far less than either Grable or Channing.
Gentlemen Prefer Blondes was a golden opportunity for Marilyn, and a huge success when it opened in 1953. “I was heartsick over the whole thing, of course,” Carol admitted, and she also felt that Jack Cole’s flamboyant choreography “completely upstaged” the lyrics.
“I do think it was one of her best movies,” Carol reflected on Marilyn’s performance. “Not funny, however. They didn’t use one word of Anita’s original book, which was hilarious and which was what constantly kept the stage musical on a higher level. Anita didn’t write the musical’s book. So where they didn’t insert the original book it was mundane. It was the stock formula for a dated Broadway musical. I followed Anita’s original Lorelei character ferociously…”
“You can cast Lorelei two ways,” Loos explained. “With the cutest, prettiest, littlest girl in town, or with a comedienne’s comment on the cutest, prettiest, littlest girl in town. I wrote her as a comedy, and Broadway is attuned to satire.” Carol’s broader interpretation was perfect for the stage, whereas Marilyn brought a softer, more innocent quality to Lorelei.
During the 1950s, Carol replaced Gracie Allen as a comedy foil to George Burns. “Finding roles that suit the strange and wonderful charms of Carol Channing has always been a problem to Broadway showmen,” a 1955 cover story for LIFE read. “She looks like an overgrown kewpie. She sings like a moon-mad hillbilly. Her dancing is crazily comic. And behind her saucer eyes is a kind of gentle sweetness that pleads for affection.”
Her next great role was in Hello, Dolly! (1964.) She befriended Broadway newcomer Barbara Streisand, only to lose out again when the younger actress was cast in the film adaptation. A registered Democrat, Carol campaigned for Lyndon B. Johnson and was a favourite of his wife, Lady Bird. In 1966, she won the Sarah Siddons Award, and finally achieved movie stardom alongside Julie Andrews in Thoroughly Modern Millie (1967), winning a Golden Globe as Best Supporting Actress, and an Oscar nomination.
In 1970, Carol became the first celebrity to perform at a Super Bowl halftime. Three years later, she was revealed to have been on disgraced president Richard Nixon’s Master List of Political Opponents – which she quipped was the highest accolade of her career.
The 53-year-old revisited her early success in Lorelei (1974), a reworking of Gentlemen Prefer Blondes featuring songs cut from the original play, and broke box-office records by selling out for six consecutive days in just 24 hours. She also frequently appeared on television, including a 1987 Jules Styne special in which she performed ‘Little Girl From Little Rock.’
In 1998, Carol separated from her husband of forty years, Charles Lowe. He passed away shortly afterwards. She would marry once more in 2003, after rekindling her romance with high-school sweetheart Harry Kullijian. He died in 2011. Carol maintained her faith in Christian Science, followed a strict organic diet and swore off alcohol.
A much-loved resident of Rancho Mirage, California, Carol had a star dedicated to her on the Palm Springs Walk of Stars in 2010. She returned two years later to honour Marilyn Monroe, praising her “brilliant and unique” performance in Gentlemen Prefer Blondes. Carol also attended a farewell party for Seward Johnson’s giant sculpture, ‘Forever Marilyn‘, when it left Palm Springs for the East Coast in 2014.
The world’s media has been eager to report on the alleged controversy caused by the summer-long installation of Seward Johnson’s ‘Forever Marilyn‘ at Latham Park in Stamford, Connecticut. The sculpture, inspired by the iconic ‘subway scene’ from The Seven Year Itch, shows Marilyn’s dress blowing in the wind – and its placement has her rear end facing a local church.
Although the headlines would have us believe that the church’s response has been one of puritanical outrage, the reality is more nuanced – with even the harshest critics stating that it wasn’t Marilyn herself that they found distasteful, but the overtly sexual way in which she is depicted.
“I just find the position to be offensive,” local resident Lorri Tamburro told the Stamford Advocate. “I looked at it and it was, in my eyes, very disrespectful. I think because with what I saw with all the little kids looking up, the height is ruining it. It’s ruining beautiful Marilyn.”
Parishioner Jean Meyer, however, felt differently. “You’re going to have different opinions on it, but you have to have a sense of humor,” she said. “There are bigger issues to worry about,” said another church member, Maureen Matthews. “But I’ll be interested to see how people talk about it on Sunday.”
“It is art and we don’t believe it’s offensive,” said Sandy Goldstein, who helped to organise this year’s ‘Art in Public Spaces’ exhibit. Pointing out that many nude female statues can be seen in Europe (including near churches), she added, “We absolutely mean no disrespect to the church.”
“The issue is, why that statue?” Rev. Dr. Todd Grant Yonkman of the First Congregational Church wrote in an email to the Associated Press. “Marilyn Monroe was an artist deserving our respect. Why appropriate her image in this way. Is this the best we can do?”
In a report for HuffPost, Carol Kuruvilla spoke with Yonkman:
“He said he understands the statue is a ‘piece of art’ that is ‘designed to make the viewer uncomfortable … It makes me uncomfortable,’ Yonkman told HuffPost in an email. ‘The question for each one of us is, What will you do with your discomfort? I am choosing grace.’.
Yonkman said he and his congregation, which is part of the progressive mainline Protestant denomination the United Church of Christ, don’t plan on taking any action about the placement of the statue. Instead, they want to use it as an opportunity to connect with their community.
The church has been planning to host a Pride event in Latham Park to show solidarity with the LGBTQ community. ‘Marilyn is a gay icon, so it turns out that this may be a fortuitous coincidence,’ Yonkman wrote.”
Seward Johnson’s giant sculpture, Forever Marilyn, is coming to Latham Park in Stamford, Connecticut this summer, as part of an outdoor art exhibition, Seward Johnson: Timeless, as Annette Einhorn reports for Hamlet Hub. You can read more about the exhibit and other events (including a screening of The Seven Year Itch at the Avon Film Centre on June 7) here.
“The installation will begin on Monday, June 4 when a crane will lift the 26-foot, 30,000 pound Marilyn, in various parts, high into the air before she is assembled in place in Latham Park in Stamford Downtown. The opportunity to capture photos of the flying sculpture parts; legs, torso, skirt, will be from 10:30am to 2pm.
The monumental Forever Marilyn, sponsored by Avon Theatre Film Center, from the Icons Revisited Collection, is just one of 36 sculptures that will be on display in Stamford Downtown. 35 life-size, realistic sculptures from Seward Johnson’s Celebrating the Familiar series will also be on display as part of UC Funds presents Timeless – The Works of Seward Johnson for the Summer of 2018. Installation of the life-size works begins May 30.
The exhibition will kick off with an opening night celebration on Wednesday, June 6, hosted by Stamford Downtown. The event will be held at the Palace Theatre at 61 Atlantic Street from 5:30 to 8:00 p.m. Trolley tours are set to run throughout the evening, offering guests a chance to view many of the sculptures.”
Marilyn’s iconic role in Some Like It Hot is referenced in Georgian filmmaker Zaza Urushadze’s The Confession, which has just premiered at the Chicago International Film Festival, as Daniel Hensel reports for Michigan Daily.
“The Confession follows a preacher, Giorgi, and his assistant, Valiko, as they fill in at a church in a town after the local preacher dies. They bring with them American DVDs and a projector to show in the church, believing that if the townspeople come for the movies, they’ll come to church.
The film series begins with Some Like It Hot, the 1959 Billy Wilder classic with Marilyn Monroe, leading a number of the villagers to note that one of the women in the village, a music teacher named Lili (Sophia Sebiskveradze, My Dad’s Girlfriend), looks an awful lot like the blonde bombshell herself. And sure enough, though she is far from identical, Lili’s styled platinum blonde hair makes a compelling case. Lili and Father Giorgi become friendly, with the preacher encouraging her to come to a confession, where she notes not her sins but rather her place in the village: since her husband’s death, many men lust after her, but she’s not interested in loveless sex.”
Meanwhile, Seward Johnson’s giant sculpture, ‘Forever Marilyn’, is featured in Angels Wear White, a new film from Chinese director Vivian Qu, the Straits Times reports.
“The sexual assault of two 12-year-old girls sets off a harrowing chain of events in the film Angels Wear White (2017). Despite the premise, there is nothing lurid or sensationalistic in Chinese film-maker Vivian Qu’s second directorial feature.
In the film, contemporary society is fraught with dangers and temptations for the young given the corrupting force of money. Qu says: ‘When everything is up for sale, how can a young girl find the right answer for herself and move forward? This has all gotten a lot more complicated.’ She was calling from London where the film was being screened at the BFI London Film Festival.
Qu notes that there are seven female characters in her film, including a giant statue of screen legend Marilyn Monroe. Though they are at different stages of life and have different attitudes towards it, she is essentially writing about women.
But it is not a reductive portrayal along the lines of ‘men are bad and women are to be pitied’. Qu says: ‘We are already in the 21st century, and yet the value of women is something that has not been been really thought about.'”
A large sculpture of Marilyn, currently on display outside the Cairo Opera House, has stirred up controversy, reports Egypt Independent. Recreating the famous ‘subway scene’ from The Seven Year Itch, Ehab al-Asyuti’s sculpture seems derivative of Seward Johnson’s ‘Forever Marilyn’, and some observers have deemed her likeness less than flattering. But while she probably won’t be replacing the Sphinx anytime soon, Marilyn has made quite the comeback – her films were banned in Egypt after she married Arthur Miller and converted to Judaism in 1956.
In August, it was rumoured that Seward Johnson’s giant sculpture, ‘Forever Marilyn’, would be making a permanent return to Palm Springs. This was recently confirmed by the Desert Sun: however, plans for a temporary home at the Spa Casino as soon as November have been scrapped, and the statue will now take up residence at a new downtown park, close to the city’s art museum and due for completion sometime next year.