A bathrobe designed by Travilla and (briefly) worn by Marilyn over a bathing suit in the ‘fashion show’ scene from How to Marry a Millionaire will be auctioned in the annual Legends sale at Julien’s on June 13-14, as Chris Jenkins reports for Arts and Collections International. Among the other items on offer will be an archive for photographer Manfred ‘Linus’ Kreiner, including his images of Marilyn on her publicity tour for Some Like It Hot in 1959 (as seen here gracing the catalogue cover.) More details to follow….
“June 1st marks the 93rd birthday of Hollywood legend Marilyn Monroe. included in the auction are her iconic bathrobe worn in one of her most famous roles as Pola Debevoise in How to Marry a Millionaire (20th Century, 1953) (estimate: $20,000-$40,000); her pair of rhinestone ear clips with three strands of teardrop-shaped rhinestones (estimate: $30,000-$40,000) and her six-stranded iridescent crystal necklace in purple and green (estimate: $10,000-$20,000); the two piece period costume she wore in one of her earliest roles in the film Ticket to Tomahawk (20th Century, 1962) (estimate: $40,000-$60,000); a ‘Rudi Gernreich Design for Walter Bass’ black chiffon overblouse with dolman sleeves and elastic waistband (estimate: $15,000-$20,000); Marilyn Monroe’s personal copy of the script for her film Something’s Got To Give (20th Century, 1962) (estimate: $10,000-$15,000); a cast of Marilyn Monroe’s hand and foot prints from Grauman’s Chinese Theatre in Hollywood when she and her Gentlemen Prefer Blondes (20th Century, 1953) co-star Jane Russell immortalized their hand and foot prints on June 26, 1953 (estimate: $10,000-$20,000); a collection of rare large format photographs taken of Marilyn Monroe dressed in various swimsuits, negligees and dresses by Harold Lloyd (range of estimates: $600-$800); a collection of 33 vintage Marilyn Monroe lobby cards including How to Marry a Millionaire (20th Cent. Fox, 1953), Gentlemen Prefer Blondes (20th Cent. Fox, 1953), River of No Return (20th Cent. Fox, 1954), The Seven Year Itch (Warner Bros., 1955) and more (estimate: $800-$1,200); colour slides of Monroe’s visit and 1954 performance for the troops in Korea (estimate: $600-$800) and more.”
UPDATE: Marilyn’s bathrobe from How to Marry a Millionaire has sold for $2,400. More results from the Legends sale here.
A letter from Marilyn to Lee Strasberg will be sold online during the Classic Hollywood sale at RR Auctions this Thursday, May 23. While Marilyn talks frankly about her emotional problems and disappointments in life, she also proposed an ambitious plan for her future career. Sadly, her goals would never be realised as she passed away just eight months after the letter was written. It is dated 19 December, 1961, and like other letters from her final years, it was typed (probably by a secretary), and was previously published in the 2010 book, Fragments. Coming from her estate (along with all her personal possessions, 75% was passed on to Lee after she died), it is the first time the letter has gone up for auction with an estimate of $20,000. Further details, including a full transcript, are also available here.
“This is an important personal letter and please don’t start to read it until you have the time to give it your careful thought. This letter concerns my future plans and therefore concerns yours as well since my future development as an artist is based on our working together. All this is an introduction; let me outline the recent events, my ideas and my suggestions.
As you know, for years I have been struggling to find some emotional security with little success, for many different reasons. Only in the last several months, as you detected, do I seem to have made a modest beginning. It is true that my treatment with Dr. Greenson has had its ups and downs, as you know. However, my overall progress is such that I have hopes of finally establishing a piece of ground for myself to stand on, instead of the quicksand I have always been in. But Dr. Greenson agrees with you, that for me to live decently and productively, I must work! And work means not merely performing professionally, but to study and truly devote myself. My work is the only trustworthy hope I have. And here, Lee, is where you come in. To me, work and Lee Strasberg are synonymous. I do not want to be presumptuous in expecting you to come out here for me alone. I have contacted Marlon on this subject and he seems to be quite interested, despite the fact that he is in the process of finishing a movie. I shall talk with him more thoroughly in a day or two.
Furthermore, and this must be kept confidential for the time being, my attorneys and I are planning to set up and [sic] independent production unit, in which we have envisaged an important position for you. This is still in the formative phase, but I am thinking of you in some consultative position or in whatever way you might see fit. I know you will want enough freedom to pursue your teaching and any other private interests you might want to follow.
Though I am committed to my analysis, as painful as it is, I cannot definitively decide, until I hear from you, because without working with you only half of me is functioning. Therefore, I must know under what condition you might consider coming out here and even settling here.
I know this might sound quite fantastic, but if you add up all the possible advantages it should be quite a rewarding venture. I mean not only for Marlon and me—but for others. This independent production unit will also be making pictures without me—this is even required for legal reasons. This will offer an opportunity for Susan if she should be interested and perhaps even for Johnny. And Paula would have a great many opportunities for coaching. As for you, Lee, I still have the dream of you some day directing me in a film! I know this is a big step to take, but I have the wish that you might realize out here some of the incomplete hopes that were perhaps not fulfilled for you, like Lincoln Center, etc.
So I don’t know how else to persuade you. I need you to study with and I am not alone in this. I want to do everything in my power to get you to come out—within reason—as long as it is to your advantage as well as mine. So, Lee, please think this over carefully; this is an awfully important time of my life and since you mentioned on the phone that you too felt things were unsettled, I have dared to hope. I have meetings set up with Marlon and also with my attorneys and will phone you if there are any important new developments. Otherwise, please get in touch with me.”
Also on offer, the 1952-53 editions of Who’s Who in Hollywood, autographed by a multitude of stars, are a treasure trove for movie buffs. Marilyn is listed in the category ‘Super Stars: The Younger Set.’ (EDIT: unsold)
The lamp seen in the restaurant scene from How To Marry a Millionaire (here, with Alex D’Arcy) was used as a prop in other Fox movies, including The Girl Can’t Help It, starring that other fifties blonde, Jayne Mansfield. (EDIT: Unsold)
“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.”
Actress Barbara Eden is best-known for her zany role in the 1960s sitcom, I Dream Of Jeannie. She also starred in the TV spin-off of How to Marry a Millionaire, which ran from 1957-59. Her ditzy character, ‘Loco Jones’, was a blend of the roles played by Marilyn and Betty Grable in the 1953 movie. And as Barbara revealed in a recent interview for Studio 10, she would later meet Marilyn in the flesh.
“She eventually met Monroe, as they both shared the same stand-in – Evelyn Moriarty. Recalling the meeting, Eden said: ‘Marilyn was over there doing wardrobe tests. I’m standing there with [Evelyn], and Marilyn came out and [Evelyn] said, “Marilyn, I want you to meet my other star”.’
Monroe was filming her last movie at the time and Evelyn later confided in Barbara following the famous actress’ death, claiming she never believed the reports at the time.
‘Evelyn said, ‘”She would never take her own life”. I just feel it was probably an accident,’ Eden said. ‘She wanted to get to sleep, and took too many [pills]… I hope that’s what it was.'”
The latest issue of UK magazine Yours Retro includes a four-page cover story celebrating 60 years of Some Like It Hot.Marilyn is also featured alongside fellow bombshells Jean Harlow, Marlene Dietrich, Rita Hayworth and Lana Turner in a separate article about Hollywood makeovers.
In the current issue of Scotland’s Weekly News, her role as short-sighted Pola in How to Marry a Millionaire is mentioned in an article about wearing glasses. (And don’t forget her recent spot in Country Life magazine.)
In some ways, Rock Hudson was Marilyn’s male counterpart as a misunderstood sex symbol of 1950s Hollywood. They partied together at the How to Marry a Millionaire premiere in 1953, and in 1962 Rock would present Marilyn with her final award at the Golden Globes. Sadly they never worked together, but Rock was the initial favourite for her leading man in Bus Stop; and in 1958, she was considered for Pillow Talk before deciding to make Some Like It Hot instead. (Doris Day got the part, the beginning of a great comedy partnership with Rock.)
Until now, it has been unclear how well the two stars knew each other (although a recent hack tome made the unlikely claim that Marilyn and Rock were lovers – as we now know, Hudson was gay.) In a critically praised new biography, All That Heaven Allows, author Mark Griffin draws on interviews with Rock’s secretary, Lois Rupert, who claims they often spoke on the phone. Although the frequency of their conversations may be questioned, the obvious affection of their Golden Globes photos combined with this information could suggest that Rock was one of the few Hollywood figures trusted by Marilyn in her final months – and Griffin also reveals that Hudson generously donated his fee for narrating the 1963 documentary, Marilyn, to a cause very close to her heart.
“It was while he was on location for A Gathering Of Eagles that Rock received word that a friend had died. As Lois Rupert recalled, ‘Rock met me at his front door with the news … “Monroe is dead” is all he said.’
Only five months earlier, Rock and Marilyn Monroe had posed for photographers at the annual Golden Globes ceremonies. In images captured of the event, Monroe, who was named World Film Favourite, is beaming as Hudson enfolds her into a protective embrace. With a shared history of abuse and exploitation, it was inevitable that these two should be drawn to each other. Recognising that he posed no sexual threat to her, Monroe had latched on to Hudson and had lobbied for Rock to co-star with her in Let’s Make Love as well as her uncompleted final film, Something’s Got to Give.
Lois Rupert remembered that in the early 1960s, Rock regularly received late-night distress calls from Monroe as well as another troubled superstar. ‘If it wasn’t Marilyn Monroe crying on his shoulder, then it was Judy Garland,’ Rupert recalled. ‘It was almost like they took turns. Marilyn would call one night and Judy the next. He was always very patient, very understanding with both of them, even though he wasn’t getting much sleep. I think he liked playing the big brother who comes to the rescue.’
Within ten months of Monroe’s death, 20th Century-Fox would release a hastily assembled documentary entitled Marilyn. Fox had initially approached Frank Sinatra about narrating, but when the studio wasn’t able to come to terms with the singer Hudson stepped in. Hudson not only provided poignant commentary – both on and off camera – he donated his salary to help establish the Marilyn Monroe Memorial Fund at the Actors Studio.”
On November 4, 1953, one of Marilyn’s most popular movies – How to Marry a Millionaire – opened in Beverly Hills. It was Marilyn’s first big premiere, and she was dazzling that night. I was lucky enough to see it on the big screen earlier this year, and you can read my review here. Over at Marilyn Remembered, Lorraine shares some facts about the movie.
Jon W. Chu, director of this summer’s hit comedy Crazy Rich Asians, was influenced by How to Marry a Millionaire, as Christopher Campbell reports for Film School Rejects. (Although Millionaire isn’t a musical, it’s great to see it still inspiring today’s filmmakers.)
“Growing up in America, Chu likely was exposed more to Hollywood musicals than anything that looked like Crazy Rich Asians. In an interview for Birth.Movies.Death, he cites the movie How to Marry a Millionaire (pictured) starring Marilyn Monroe, Lauren Bacall, and Betty Grable as women who, unlike Rachel in Crazy Rich Asians, are gold diggers trying to snag a wealthy beau. Chu says:
‘I was taking from old musicals like How to Marry a Millionaire – old Hollywood films, and I love the idea that we could have been in those movies, but we weren’t. We had the same style and swag. So to be able to nod to that in our score, our costumes, was really nice…’
While you’re at it, go ahead and watch Marilyn Monroe’s other hit musical from the same year, Gentlemen Prefer Blondes. She plays a golddigger in that movie, too, and famously sings about her love of diamonds in a musical number that inspired the video for Madonna’s ‘Material Girl,’ which is on the Crazy Rich Asians soundtrack as covered by Sally Yeh.”
In the New York Times, Winnie Hu looks back at the history of the ticker-tape parade car which made a brief appearance in How to Marry a Millionaire.
“It is not built for speed. It burns through gas. And it is too big to park on any street. But none of that matters when it is a 1952 Chrysler Imperial Parade Phaeton.
The open-air car in glossy black with red leather seats is New York City’s official parade car and the grande dame of the 30,000 vehicles in the nation’s largest municipal fleet. It stretches 20 feet from front to back to seat up to eight passengers, and it comes with its very own red-carpet floor. It has only one job: ushering V.I.P.s through blizzards of ticker tape on Broadway.
For more than six decades, its back seat has been filled with a who’s who of world leaders and celebrities … The 1952 Phaeton was one of only three that Chrysler made — part of a tradition of custom-made parade cars that once carried the newsmakers of the 1940s, ’50s and ’60s in grand style, all while showing off Chrysler’s latest design in the ultimate bit of product placement. No need to advertise with Queen Elizabeth II, John F. Kennedy, Neil Armstrong and Joe DiMaggio in the car.
The three Phaetons — each in a different color — were owned by the Chrysler Corporation, which based them in New York, Los Angeles and Detroit, and lent them out for processions around the country … The New York car made a cameo in the 1953 film How to Marry a Millionaire, starring Marilyn Monroe.”