How to Marry a Millionaire will be screened at 7 pm today (Wednesday, March 11) at the Lincoln Theatre in Damariscotta, as part of ‘Maine in the Movies’, a series celebrating the state’s bicentennial. Loco, the character played by Betty Grable, spends a romantic interlude in Maine (although the picture was filmed in LA.)
“It is one of those movies which any age group can’t help but be charmed by – even as you wince at the signposted slapstick and archaic female sensibilities. The story is simple: three young women, Loco (Grable), Pola (Monroe), and Schatze (Bacall) plot to marry each other off to a millionaire husband. They rent an expensive apartment, put their heads together, and snare their prey.
Loco discovers Waldo, who is married and owns a lodge in Maine. Not great news to find, but her reaction to the news of his lodge delights him so much that he invites her to accompany him there. Those fascinated by old Hollywood will get a tremendous kick out of seeing three legends playing to their strengths – not to mention a delightfully understated, elegant turn from William Powell – in the splendor of CinemaScope.”
Marilyn is featured in Christian Blauvelt’s new guidebook with a difference, Cinematic Cities: New York – The Big Apple on the Big Screen. Published by TCM, the book features the subway grate on 52nd and Lexington where Marilyn filmed her iconic ‘skirt-blowing scene’ for The Seven Year Itch in 1954. The exclusive Sutton Place South apartment building where she resides in How to Marry a Millionaire (1953) is also mentioned, although the exterior is only briefly seen and the movie was actually shot in Hollywood.
Of course, Marilyn would rent her own apartment at Sutton Place South for several months in 1956, until her marriage to Arthur Miller. Another cast member, William Powell, also had a prior cinematic link to Sutton Place, as footage from his 1936 comedy classic My Man Godfrey suggests the mansion where he works as a butler was also in the area (as it has a stunning view of the nearby Queensboro Bridge.)
“A single page removed from a trade publication such as Variety or The Hollywood Reporter with text reading in part ‘Thank you / Marilyn Monroe’ — an ad the star placed in the publication to thank the Hollywood Foreign Press Association for her 1962 Golden Globe win for ‘World Favorite Actress,’ mounted to cardboard; found in Monroe’s own files. ”
SOLD for $512
A framed still photo showing Marilyn with co-stars June Haver, William Lundigan and Jack Paar in Love Nest (1951); and a costume test shot for Don’t Bother to Knock (1952.)
Photo sets SOLD for $640 and $896, respectively
Marilyn and Jane Russell performing ‘Two Little Girls From Little Rock’ in Gentlemen Prefer Blondes, as seen on the cover of LIFE magazine in 1953. Marilyn’s costume is expected to fetch a maximum $80,000 – see here.)
Magazine SOLD for $896; costume SOLD for $250,000
A still photo of Marilyn during filming of River of No Return in 1953. The gown she wore while performing the theme song is expected to fetch a maximum $80,000 – see here.
Photo set SOLD for $1,152; costume SOLD for $175,000
Travilla’s costume sketch for the ‘Heat Wave’ number in There’s No Business Like Show Business (1954), and a colour transparency of Marilyn in costume for a wardrobe test shot. (The costume itself is estimated to fetch up to $80,000 – see here.)
Sketch SOLD for $11,520; photo SOLD for $750; costume SOLD for $280,000
A framed still photo of Marilyn performing ‘Heat Wave‘, and a custom-made, one-of-a-kind poster made for the Century Theatre in the Hamilton, Ontario area to advertise a raffle to win tickets to see There’s No Show Business Like Show Business.
Photo SOLD for $750; poster SOLD for $1,280
“A group of three, all original prints with a glossy finish, depicting the star behind-the-scenes on the set of her 1956 20th Century Fox film, Bus Stop; all have typed text on the bottom margin noting to credit Al Brack who was a ‘Sun Valley, Idaho photographer.'”
SOLD for $576
A pair of memos regarding Milton Greene’s photos from the set of The Prince and the Showgirl; and, sold separately, a contact sheet. The second memo reads in part, ‘Dear Mike, The print you sent me, that Marilyn Monroe said she had killed, is incorrectly numbered. Marilyn is right – she did kill it.’ Both memos are dated April 11, 1957, and are addressed to ‘Meyer Hunter.’ Lois Weber, one of Monroe’s publicists at the time, authored both memos.”
Memos SOLD for $312.50; contact sheet SOLD for $500
Still photo of Marilyn with co-stars Tony Curtis and Jack Lemmon in a scene from Some Like It Hot (1959.)
Photo set SOLD for $576
“A pair of colour slides of Marilyn Monroe in a scene from How To Marry a Millionaire (1953), and during a press conference for Let’s Make Love with co-star Frankie Vaughan on January 16, 1960.”
Still photos taken by Lawrence Schiller during filming of the ‘pool scene’ in Something’s Got to Give.
Photo sets sold for $1,280 each
“A collection of approximately 65 pieces comprising only photocopied scripts and documents, all related to Marilyn Monroe’s films. Some film titles have more than one copy of the script, and some feature the working title and not the final one. All are bound into 20th Century Fox covers of various colors and appear to be the studio’s ‘loan out’ or ‘library’ copies. Pieces include (in alphabetical order): All About Eve (a treatment only), As Young As You Feel (2 scripts ), Bus Stop (3 scripts), Dangerous Years (1 script), Don’t Bother to Knock (2 scripts), The Full House (1 script), Gentlemen Prefer Blondes (2 scripts plus 4 related documents), How to Marry a Millionaire (3 scripts plus 1 related document), Let’s Make Love (2 scripts), Love Nest (2 scripts), Monkey Business (2 scripts plus 2 related documents), Move Over, Darling (1 script), Niagara (2 scripts plus 4 related documents), O. Henry’s Full House (2 scripts plus 1 related document), River of No Return (1 script plus 5 related documents), The Seven Year Itch (3 scripts), Something’s Got to Give (1 script), There’s No Business Like Show Business (3 scripts plus 7 related documents), Ticket to Tomahawk (2 related documents), and We’re Not Married (1 script plus 1 related document). Also included are a few miscellaneous pieces related to Monroe. “
Film historian Rudy Behlmer has died aged 92, Varietyreports.
“Behlmer was among the most widely respected historians of Golden Age Hollywood, in part because of his insistence upon researching ‘primary source material’ and not relying on faulty memories or exaggerated press accounts of the time.
Memo From David O. Selznick, which Behlmer edited from thousands of Selznick’s private letters, telegrams and memoranda, was a best seller in 1972. Behlmer first interviewed the Gone With the Wind producer for a 1963 article for Films in Review, one of dozens of magazine pieces he wrote over the decades.
Other books followed: Hollywood’s Hollywood: The Movies About the Movies (with co-author Tony Thomas, 1975), Inside Warner Bros. 1935-1951 (1985), Behind the Scenes: The Making Of… (1989) and Memo from Darryl F. Zanuck (1993).
But essays and journalism were only part of Behlmer’s life. He enjoyed a lively and successful career in television and advertising throughout the 1950s and ’60s … He was director on ABC’s Ray Anthony Show, featuring the big-band leader and his orchestra, during the 1956-57 season, and served as executive producer and director for KCOP from 1960 to 1963, overseeing various shows including his own Movies’ Golden Age. “
InMemo From Darryl F. Zanuck: The Golden Years at Twentieth Century Fox, which is still in print after a quarter of a century, Behlmer offered insights into Marilyn’s prickly relationship with her studio boss, including this letter he sent to her North Crescent Drive address in December 1951, regarding her leading role in Don’t Bother to Knock and her insistence on having her dramatic coach Natasha Lytess on the set. (This was a battle Zanuck ultimately lost: Natasha continued working with Marilyn – much to the annoyance of her co-workers – until she was replaced by Paula Strasberg in 1956.)
“… I think you are capable of playing this role without the help of anyone but the director and yourself. You have built up a Svengali and if you are going to progress with your career and become as important talent-wise as you have publicity-wise then you must destroy this Svengali before it destroys you. When I cast you for the role I cast you as an individual …”
This memo from September 1952 reveals Zanuck’s vision for Gentlemen Prefer Blondes, in which Marilyn would play Lorelei to Jane Russell’s Dorothy – making clear that he recognised how crucial their friendship was to the movie. (This memo was addressed to producer Sol Siegel, director Howard Hawks and writer Charles Lederer.)
“There are two things which I consider vital to the telling of the story, and which I want to emphasise in the script. These are (1) The love story between Dorothy and Malone [Elliott Reid]; (2) Dorothy’s genuine affection for Lorelei.
This is not a satire. It is a solid and honest comedy … We must be completely sold on Dorothy’s love for Malone, or we won’t be able to accept her taking him back. And we must be sold on her real affection for Lorelei or we won’t be able to understand her sticking her neck out for her in the courtroom scene.
In order to accomplish these two things we must be willing, if necessary, to sacrifice comedy in these particular scenes …”
In March 1953, Zanuck contacted writer Nunnally Johnson, director Jean Negulesco and others involved with How to Marry a Millionaire, to express his satisfaction at how CinemaScope technology was enhancing the movie.
“… Almost in all instances the composition has been vastly improved over previous material. The full figure shot of [Lauren] Bacall on the bed and the big closeup filling the screen of Monroe were unique examples of the new medium.
I am still opposed to too much camera movement. I fully believe that while we have to occasionally move the camera we should put the emphasis on moving the actors …”
In 1954, Zanuck mooted the idea of a torrid biblical epic, The Queen of Sheba. It was never made, although United Artists would later produce Solomon and Sheba, starring Gina Lollobrigida.
“In a nutshell, this should be the story of a glamorous but evil temptress … As you know, confidentially, I have even flirted with the idea of Marilyn Monroe as Sheba. I think it might be one of the biggest box-office combinations of all time …”
And in 1955, Zanuck revealed that he had been offered I’ll Cry Tomorrow, the sensational biopic about alcoholic singer Lillian Roth, as a potential vehicle for Marilyn (then involved in a contractual dispute with Fox.) After Zanuck passed on it, the film was produced at MGM.
“This is a very interesting, solid, downbeat story and, while it has an outstanding performance by Susan Hayward, I considered it to be overrated … We turned down I’ll Cry Tomorrow, frankly because we were all afraid of the subject matter and of the fact that Lillian Roth was not a really famous personality. [Producer Julian] Blaustein wanted it but only if he could get Marilyn Monroe for the role …”
Zanuck left Fox to become an independent producer in 1956. By the time he returned in 1962, the studio was fighting bankruptcy. Reportedly, it was Zanuck who argued for Marilyn to be re-hired for Something’s Got to Give, although she would pass away before her final studio battle was concluded.
In 1960, columnist Hedda Hopper asked Zanuck why he had left Hollywood. His response makes it clear that he had anticipated the demise of the studio system…
“I just got well fed up with being an executive and no longer being a producer. That’s what the job became. Actors are now directing, writing, producing. Actors have taken over Hollywood completely with their agents. They want approval of everything … scripts, stars, still pictures. The producer hasn’t got a chance to exercise any authority! … What the hell, I’m not going to work with them!”
In this 2014 article for Bustle, Anneliese Cooper ranked her favourites among Marilyn’s comedy performances, both on the big screen (in Gentlemen Prefer Blondes, How to Marry a Millionaire, The Seven Year Itch and Some Like It Hot) and her famous offscreen ‘Monroeisms.’
Among the many luminaries featured in James Bawden and Ron Miller’s book, Conversations WithClassic Film Stars, are Joseph Cotten, who played Marilyn’s murderous spouse in Niagara;and Rory Calhoun, her roguish husband in River Of No Return; and Cary Grant, the unwitting object of her desire in Monkey Business.
Thanks to Gia at Immortal Marilyn
“I never met a girl as introverted as Marilyn. The whole fame explosion had just set in and whenever we filmed on location at Niagara Falls, great crowds gathered to see her. She couldn’t cope, retreated into her shell.
Director Henry Hathaway was a tough taskmaster at the best of times. He got so exasperated with Marilyn and her Russian acting coach [Natasha Lytess], he finally banned the woman from the set. I tried to keep her distracted. At night there’d always a party in my hotel suite, but she’d look in, say hi, and then go off with her instructress. We’d wait hours for her to show up. Hathaway started shooting rehearsals as backup and found she was less mannered there and actually used some of the footage.
I asked her about the nude photograph and she said, dead serious, ‘But I had the radio on.’ I’m glad I knew her before the troubles enveloped and destroyed her. I want to remember that superb girlish laughter when I told her an off-colour joke. One day Hathaway shouts at her and she yelled back, ‘After paying for my own wardrobe, my coach, my assistant, and God knows who else I barely have enough left over to pay my shrink!’ And the crowd watching applauded her!”
“She was a phenomenon that I doubt like hell this town will see the likes of ever again. There have been a lot of people trying to copy her one way or another – and to me, they’re third-stringers.”
“Howard Hawks says it’s wonderful we knew and worked with Marilyn before she got difficult. Because she was so winning and adorable in Monkey Business. When I drink that youth serum and am acting like a teenager, Marilyn really got into it. I’m diving off the high board and she’s giggling and waving me on. Years later she asked me to co-star in something called The Billionaire. It was a comedy and she said her husband Arthur Miller was reworking it. Arthur Miller a comedy writer? I ran away and so did Greg Peck, and the completed film, Let’s Make Love, showed she’d become all blurry and distant. It was sad.”
In a blog post for the 25 Years Later site, J.C. Hotchkiss looks back at Marilyn’s comedic roles in Monkey Business, Gentlemen Prefer Blondes, How to Marry a Millionaire, The Seven Year Itch and Some Like It Hot.
“The ‘dumb blonde’ has more depth than you would first think. As someone who has played this ingénue of a character, the ‘ditzy’ blonde needs to know herself. She needs to know the jokes but is NOT the joke. She needs to command the scene, but not be so childlike that the audience stops rooting for her and gets annoyed with her immaturity. Marilyn navigated this fine line throughout her career …
Marilyn fought for a long time to be taken seriously in the acting arena in which she desperately wanted to excel and to be a true actress, not just a pretty face. I believe all these performance showcase that brilliance … To me, she was more than just a beauty. In fact, the internal struggles she was fighting throughout her life made these performances even that much more poignant …
Marilyn was a trendsetter without even trying to be. She just wanted to make people happy, sometimes at the detriment of her own well-being. At least we have her bright smile and contagious laughter on celluloid whenever we need to laugh and remember just how funny and beautiful she was; to remind us of who Marilyn Monroe was and the legacy she wanted us to remember. “
The Palm Springs Cultural Centre is hosting a summer season of Marilyn’s movies each Wednesday at 7 pm, with Niagara on July 10; followed by Gentlemen Prefer Blondes on July 17, How to Marry a Millionaire on July 24, and Some Like It Hot on July 31. On Wednesdays at 7 through August, catch The Seven Year Itch, Bus Stop, Let’s Make Love and Monkey Business. And finally, the retrospective winds up in September with Don’t Bother to Knock and The Misfits.
Elisa from Marilyn Remembered spotted this larger-than-life stencil on the wall of Amoeba Records in Hollywood yesterday, on the corner of Sunset and Ivar. If it looks familiar, street artist Mr. Ramano‘s take on Marilyn as short-sighted Pola in How to Marry a Millionaire was spotted a few years ago in Culver City (although her cool shades had red frames then, not pink.)
The results are in for this year’s Legends sale at Julien’s Auctions. A number of photos from the Manfred ‘Linus’ Kreiner archive (see above) were sold, with the Marilyn-related lots fetching up to $3,800. These photos were recently featured in Parade magazine (see here.)
Within the fan community, biographer Gary Vitacco-Robles won a telegram from Lauren Bacall congratulating Marilyn after her wedding to Joe DiMaggio, for $1,582.50. The biggest Marilyn-related sales, however, were her costume from A Ticket to Tomahawk (sold for $22,400), and her bathrobe from How to Marry a Millionaire (which fetched $28,800.) Here are some more highlights:
A rare ‘Page 3’ copy of Playboy‘s first issue, signed by Hugh Hefner ($16,00)
A cast of Marilyn’s hands and feet from Grauman’s Chinese Theatre ($25,600)
A black chiffon overblouse ($19, 200)
A six-strand, iridiscent crystal necklace in purple and green ($11,250)
A pair of rhinestone clip earrings ($28,125)
Marilyn’s script for Something’s Got to Give, dated August 30, 1961 ($12,800)
And finally, I’ve added the maximum bids for each item featured in my previous posts – learn more about this fascinating auction here.