I Wanna Be Loved, a 12-track vinyl selection of Marilyn’s finest recordings, is now available from French label Le Chant Du Monde via Amazon and other music stores. And for bargain hunters, a 55-track CD boxset has also been released, with a 30-page, fully illustrated booklet (the text is in French, of course.)
Marilyn never went to Cannes, but as the 2016 film festival gets underway, she’ll be there in spirit, WMagazine reports. Magnum photographer Bruce Davidson’s shot of Marilyn with co-star Clark Gable and director John Huston during filming of The Misfits in 1960 is featured in ‘The Art of Behind the Scenes’, an exhibition of images captured on the sets of movies old and new, on display at the Hotel du Cap in Antibes.
Marilyn 1962, a novel (in French) by Sebastien Cauchon about Marilyn’s inner circle during her final months, has just been published in paperback and via Kindle. It is also the subject of an article in the latest issue of Elle magazine (French edition.) As yet there is no English translation for Marilyn 1962, but watch this space.
“Eunice, Whitey, Cherie, Ralph, Inez, Paula, Agnes, Evelyn, May and Ralph again as well as Larry and Pat.
Behind these twelve names: colleagues, friends or close friends around whom Marilyn Monroe lived her last months in Los Angeles in 1962. Her family. In reality nearly all of her employees. Amongst them, not one whose daily professional life was not tied to their privileged relationship with the actress. For a long time simply recurring names stumbled across in the pages of biographies or spotted at the end of film credits. Bit players in Marilyn’s world whose faces could be seen on her periphery in press photographs if you took the trouble to scan the background. A small, attentive, salaried group composing her ‘entourage’ as it is commonplace to define those whose lives revolve around celebrities.
A shadow army with a subtle and shifting social order composed of allies from the outset as well as new recruits, the strong-willed and the discreet, top professionals as well as no-hopers. An entourage at the heart of which co-existed latent conflicts, open hostilities, suspicion, dedication, plots and sometimes sincere camaraderie. What did it mean to them to rub shoulders with Hollywood’s greatest star?”
Women in Dior: Sublime Elegance of a Portrait, opening at the Christian Dior Museum in Granville, Normandy on May 5 (through to September 25), features Marilyn – as photographed by Bert Stern in a black Dior dress – among other iconic women who wore Dior, reports the Malay Mail.
“The exhibition focuses on the elegant women who have showcased Dior’s dresses, garments and accessories in style, from 1947 to the present day. Their personality, style and key moments from their lives are explored through a selection of dresses, photographs, letters, paintings and drawings.
The exhibition will be accompanied by a book, also entitled Women in Dior – Sublime Elegance of a Portrait, written by fashion journalist Laurence Benaïm and published by Rizzoli. The book takes a closer look at the famous figures who marked the history of the French fashion house, exploring their tastes, their memories and — of course — their Dior ensembles.”
Vanity Fair has released a one-off tribute magazine dedicated to Marilyn on the eve of her 90th birthday, as part of their ‘Icons’ series. It is currently available from newsstands in the US only, but can also be ordered from their website.
The cover image, by Bert Stern, has been used twice before by the magazine. It also appears excessively airbrushed, and is a disappointing choice overall. However, there are many more photos inside, as well as some of the better articles about Marilyn published in recent years.
Unfortunately, the special issue also includes more dubious pieces about Marilyn and the Kennedys, citing widely disputed sources like Robert Slatzer and Jeanne Carmen; and Tony Curtis’s questionable claims about his relationship with Marilyn.
Interestingly, the current issue of Vanity Fair‘s regular edition also includes a tribute to MM, with comedienne Amy Schumer recreating her ‘Golden Dreams’ calendar pose on the cover. And in France, Marilyn’s life is chronicled in L’Humanite, among twenty famous names from the 20th century – more details here.
UPDATE: Amy Schumer has been featured in another seemingly Marilyn-inspired cover shot, for American Vogue‘s July issue. (Marilyn wore a very similar red off-the-shoulder dress while promoting Monkey Business in 1952.)
Diamond manufacturer Cartier has made an enchanting Christmas commercial, featuring a cover version of ‘Diamonds Are a Girl Best Friend’, performed by supermodel Karen Elson, from an arrangement by Jarvis Cocker. Of course, Cartier was referenced in Marilyn’s signature song from Gentlemen Prefer Blondes, and Elson is shown being carried aloft by tuxedoed suitors, in a nod to Jack Cole’s original choreography. It was filmed in Paris, where Blondes is partially set. The neckline of her red dress is similar to Marilyn’s in Niagara, and the scene where her flared skirt billows over a subway grate recalls The Seven Year Itch. You can watch the clip here.
“All in all this retrospective showcases some 300 exclusive images and original documents (contact sheets and prints, preliminary proofs, original photo-montages and mock-ups) that shed a unique new light on the work and approach of an exceptional and atypical photographer.”
Marilyn makes the cover of Vanity Fair‘s August issue (French edition only.) If the photo looks familiar, that’s because it was previously used on Vanity Fair‘s US edition, back in October 2008.
And by comparison with Bert Stern’s original photo, you can tell that poor Marilyn has fallen victim to the digital airbrush!
Some fans have suggested that another, more flattering Stern photo could have been used…
The magazine includes an article about Lawrence Schiller’s photos of Marilyn, filming the poolside scene in Something’s Got to Give. As some readers may recall, an extract from Schiller’s book, Marilyn & Me, was published in the US edition of Vanity Fair in June 2012. The French article, however, is written by MM superfan Sebastien Cauchon.
Which begs the question – why wasn’t a Schiller photo used on the cover? Many fans were asking the same question in 2012, when an Andre de Dienes photo was used on the US cover of Vanity Fair, and not Schiller.
The answer, according to Sebastien Cauchon, is that Schiller’s poolside nudes don’t include a full-face, colour shot of Marilyn making eye contact with the camera. Marilyn & Me‘s original cover (later rejected) showed a pensive, full-face shot of MM in a fur hat, on the set of Something’s Got to Give – but not a nude. Presumably Vanity Fair‘s editors felt that a cheerful beach shot from De Dienes – though taken 13 years previously – was more in keeping with the summery, au naturel theme.
And as Sebastien Cauchon explained to members of Immortal Marilyn’s Facebook group this weekend, his article differs from the 2012 extract because its main subject is the proposed Playboy cover shoot Marilyn was considering at the time of her death (though according to Schiller, she was having second thoughts about the project.)
The article includes Hugh Hefner’s letter to Schiller and fellow photographer Bill Woodfield, explaining the concept of the mooted cover – click on the photo below to read in full.
The photo shoot went ahead with model Sheralee Connors taking Marilyn’s place, and was featured in Playboy‘s 1962 Christmas issue.
Marilyn is the subject of another dedicated magazine – the third this year – as part of the French ‘Etoiles du Cinema’ series. It’s widely available in France, 80 pages long, and is said to contain many photos though nothing really new.
Also in France, Marilyn graces the cover of Bonheurs magazine, with a profile inside by author Christian Bobin (she is featured among other great women of history in his latest book, La Grande Vie.)
Across the English Channel, visitors to the current Castle Galleries exhibition should look out for Fine Art Collectormagazine.