The Divine Marilyn exhibition (first reported here) has now opened at Galerie Joseph at 116 rue Turenne in Paris, through to September 22. You can read a report (in French) on the launch over here. (Photos by Joshua Greene, and Ma Zaz at Marilyn Remembered.)
This photo by George Barris, taken in July 1962 – often said to be the last professional photo of Marilyn – graces the cover of Polish magazine Zwierciadlo this month.
In Hungary, Marilyn (as photographed by Alfred Eisenstadt in 1953) makes the cover of July’s Meglepetes Retro, while a Sam Shaw photo covered another Hungarian magazine in June.
As well as the recent New Literary Magazine, Marilyn graced another French magazine cover in June.
And finally, Marilyn (and her favourite singer, Ella Fitzgerald) covered a Romanian magazine in May.
This week marks 63 years since Marilyn married Arthur Miller, and the newlyweds (as photographed by Jack Cardiff a few weeks later) Grace the cover of Le Nouveau Magazine Litteraire‘s summer double-issue (#19), as part of a feature on ‘Literary Couples and Crossed Destinies’, with a short profile inside by Philippe Labro. The magazine is now available from the Newsstand website for £7.78.
Thanks to Eric Patry and Fraser Penney
A Gordon Parks photo of Marilyn has sold for €10,625, and a Cecil Beaton photo (shown above) for €5,000, as part of the Icons Of Glamour & Style auction at Christie’s in Paris yesterday.
It’s a fine Parisian tradition to make Marilyn a poster girl for the annual Champs-Élysées Film Festival (see previous entries here) and this year is no exception. The festival, showcasing independent French and American movies, runs from June 18-25, with guest stars including actors Kyle MacLachlan, Christopher Walken, Jeff Goldblum, and filmmaker Debra Granik.
Hollywood Menteur (or Hollywood Liar) is a new comic book inspired by The Misfits, from the French cartoonist Luz. As you may recall, a despairing Marilyn calls her cowboy friends ‘liars’ during her furious speech in the desert. It’s also the subject of an exhibition in Paris, as Jacques LeRoux tells Marilyn Remembered.
“Today in Paris, I stumbled by accident on the new show at Huberty Breyne Gallery (specialist in Comics Art). It’s the first show ever of caricaturist Luz, who just released his latest comic book … The exhibition presents the original comic strips for show and sale.
You might not have heard about Luz but here in France he is very well know because of his provocative Charlie Hebdo covers and because he is one of the few survivors of the January 7, 2015 terrorist attack and killings at Charlie Hebdo. Shortly after the attack, he decided to quit his work as a newspaper caricaturist and receded into anonymity, guarded 24/7 by government security agents.
Today, I started chatting with the gallery’s owner who told me Luz was at the opening of the show last Thursday (he came heavily guarded, what a life…) and when asked : ‘Why Marilyn?’, he said he became obsessed by Marilyn and The Misfits shortly after the Charlie Hebdo attacks. Watching the movie again and later reading all he could about its stars and the filming, he felt he could relate to the anguish and pain Marilyn was going through at the time (and that himself still goes through, for a whole different reason). And that he felt in love with her all over again.
Hollywood Menteur shows a very violent and disturbing image of Marilyn (and Monty, and Clark, and John…). Marilyn is a woman fighting for her own survival among a team of colleagues, some of them also on their way to extinction. Luz did not want to draw Marilyn in a realistic way but as a metaphor for fright and anger. Just what Luz still feels, 4 years after the Charlie Hebdo attack.
Isn’t it intriguing and moving that Luz found in a screaming Marilyn Monroe his own way of expressing his frustration over the ordeal he went through on that dreadful day at Charlie Hebdo?
One room in the show is all devoted to 8 expressionist portraits of Marilyn. Blood red.
Very intense and powerful stuff indeed…”
In a tribute to filmmaker Agnès Varda, who died last week aged 90, Genna Rivieccio notes on her Culled Culture blog the parallels between Marilyn’s life and the tragic young heroine faced with a cancer diagnosis played by Corinne Marchand in Cléo From 5 to 7, the movie released just a few months before Marilyn’s death, and which helped to launch the French New Wave.
“Although Cléo is beautiful and has a relatively successful singing career, the dark shadow potentially case by the reaper above her won’t go away, nor is it remedied by seeing a fortune teller at the outset of the movie, one who confirms all her worst fears about waiting for some potentially fatal test results from her doctor.
Distraught at first over the reading, Cléo insists to herself that ‘as long as I’m beautiful, I’m alive,’ because ‘ugliness is a kind of death’ so how can she be suffering from it if she’s not aesthetically hideous? Even so, she is aware that if she is dying, it’s only the inside that will matter now–not from a personality or ‘good person’ standpoint, but in terms of it affecting whether or not her demise is imminent. To that former notion, however, Cléo suddenly becomes hyperconscious of the vacuity of her life. Buying hats, lounging around, cursing men. What does it all mean? And what can she do to go on preserving that vacuous little life? Thus, she tells her maid, Angèle (Dominique Davray) that she’ll kill herself if it turns out to be cancer. Angèle does little to comfort her, noting that ‘men hate illness’ and that Cléo ought not to wear a new hat on Tuesday as it’s bad luck.
So, too, did Cléo, a singer who bemoans wanting to project more poignant lyrics but then grows filled with melancholy as she sings a new composition filled with too much death imagery to bear. She wants to remain as she always has been in order to survive, to feel somewhat happy: at the surface of things. Unfortunately, like Marilyn Monroe before her, the woman endlessly preoccupied with her image and looks ends up driving any potential for real and meaningful love away. And as we all know, especially Narcissus, a reflection can’t reciprocate anything, nor love or hate you as much as you do it. Cléo’s childlike [im]maturity, is, in fact, directly related to her self-obsession. In being faced with the reality that her death is imminent, however, she is forced to come to grips with certain truths both about herself and existence that she never would have otherwise.”
PS: And if you should doubt Marilyn’s influence on the nouvelle vague, this photo taken by George Barris just weeks before her death is glimpsed briefly in The Umbrellas of Cherbourg, a 1964 musical directed by Varda’s husband, Jacques Demy, and starring lifelong MM fan Catherine Deneuve. (According to IMDB, the film is set in 1957 which makes it a goof.) And in Demy’s 1963 film Bay of Angels, Jeanne Moreau donned a Monroesque blonde wig to play an unhappy divorcee (not unlike Roslyn in The Misfits) who becomes addicted to gambling.