Patricia Bosworth Remembers Marilyn

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Patricia Bosworth has written acclaimed biographies of Montgomery Clift, Marlon Brando and Jane Fonda. A lifelong member of the Actors Studio, she also wrote ‘The Mentor and the Movie Star‘, a 2003 article about Marilyn and the Strasbergs for Vanity Fair, and appeared in the 2006 PBS documentary, Marilyn Monroe: Still Life.

In her new memoir, The Men In My Life: Love and Art in 1950s Manhattan, Bosworth recalls her acting days. In an extract published by Lithub, she describes an encounter with Marilyn.

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“I slid into the backseat, where I found Marilyn Monroe huddled in a corner dreamily puffing on a cigarette. Her bleached blond hair was tousled; she seemed to be wearing no makeup. I noticed there was dirt under her fingernails, but I couldn’t stop looking at her. We were about to pull away from the curb when a voice cried out, ‘Hey Lee, goin’ my way?’ and Harry Belafonte hopped in beside me. We drove uptown in silence.

I knew Marilyn was aware I was looking at her. She was used to being looked at, and she wasn’t self-conscious. She had a mysterious indefinable quality that made her a star and separated her from everyone else. At the moment she appeared to be floating in another world as she puffed delicately on her cigarette and blew the smoke softly out of her mouth. The newspapers were full of stories about her—how she’d left Hollywood and come to New York to be a ‘serious actress,’ how Lee was coaching her at his apartment and letting her observe sessions at the Studio.”

Elsewhere, Bosworth confirms that Tennessee Williams had wanted Marilyn to star in Baby Doll (but Gore Vidal thought she was too old.) Bosworth knew many key figures in Marilyn’s life, including Elia Kazan, Lee and Susan Strasberg – who found her father’s ‘obsession’ with Marilyn disturbing.

As Bosworth admits, Marilyn was part of Lee’s inner circle from which she felt excluded. She was also intimidated by Marilyn’s fame, which nonetheless kept the Actors Studio in the headlines. Lee Strasberg often seemed cold and domineering, but Bosworth considered him ‘a great teacher.’

Bosworth, unlike Marilyn, was born into a life of privilege, and forged a stage career as well as starring alongside Audrey Hepburn in The Nun’s Story. However, her impeccable connections couldn’t save her from family tragedy (her brother and father both committed suicide), and an abusive marriage.

The 1950s, as Bosworth observes, was a staid, even repressive decade – but the creativity and rebellion of the 60s was already fermenting. She talks about the impact of the anti-communist witch-hunts, both on the artistic community and her own family, and the rampant sexism she constantly endured.

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Elizabeth Winder will focus on Marilyn’s New York period directly in her forthcoming book, Marilyn in Manhattan: Her Year of Joy, but Patricia Bosworth’s account comes from her own experience. For anyone interested in learning more about the bohemian world that women like Bosworth – and Marilyn – helped to define, The Men In My Life is essential reading.

Collaborators: Marilyn, Miller and Kazan

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Richard A. Schwartz, a Professor Emeritus at Florida International University and author of several books about the Cold War era, has published a new play, Collaborators: Elia Kazan, Arthur Miller and Marilyn Monroe. Beginning with the accidental death of a journalist on the eve of Marilyn’s 1956 wedding to Arthur, the action then looks back to their first meeting five years earlier, when he unsuccessfully pitched a movie to studio head Harry Cohn. Marilyn was casually dating Arthur’s friend and creative partner, Elia Kazan, at the time.

However, it was Arthur she fell for – it has often been rumoured that he continued corresponding with her after returning to his wife and children in New York. Using a split stage, Schwartz imagines what Arthur might have written to her, comparing his inner turmoil with her heady rise to fame (and ongoing association with Kazan.)

The other main strand of the drama is the very different responses of Miller and Kazan to the red-baiting era. Although it’s clear that both had long since left their youthful dabblings with communism far behind and posed no threat to national security, Kazan chose to inform on fellow travellers in the theatre, thereby saving his Hollywood career, while Miller – supported by Marilyn – refused to ‘name names’, and was ultimately vindicated as a liberal hero. Unsurprisingly, their alliance came under strain, and they didn’t work together again until after Marilyn’s death, on the controversial After the Fall.

The Millers’ marriage is portrayed in two scenes: the beginning is represented by Marilyn’s alleged discovery of unflattering comments in Arthur’s journal, during filming of The Prince and the Showgirl; while the end is marked by another heated argument during production of The Misfits. But that omits a long period of relative stability in Marilyn’s otherwise turbulent life. Perhaps Schwartz could have added a further scene to reveal Marilyn’s vulnerability, and show how painful experiences, like her multiple miscarriages, may have caused her depression.

As it is, Schwartz’s portrayal of a self-destructive Marilyn seems to echo Maggie, the suicidal star in Miller’s After the Fall. He is on safer ground with his male protagonists, and the trial scenes are compelling – perhaps because those events are a matter of public record, rather than private conjecture – and with careful revisions to his characterisation of Marilyn, Collaborators could be a genuinely provocative play.

For those interested in learning more about this topic, Barbara Leaming covered it in detail in her 2000 biography of Marilyn, and Ron Briley’s The Ambivalent Legacy of Elia Kazan will be published next month.

 

Marilyn: A Political Animal

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Marilyn had a lifelong affinity with the underdog and a passion for justice. Her hero was Abraham Lincoln. She was proud of her working-class origins, and defended husband Arthur Miller in his stand against red-baiting. She also supported the Civil Rights movement. In an article for Time, Lily Rothman interviews Marilyn’s biographer, Dr Lois Banner, on the subject of her ‘forgotten radical politics.’

“Those beliefs were a product of her time, Banner says: being born in 1926 meant that she was a child during the Great Depression … As a result of her own poverty and her close contact with people of other races, Monroe grew up with progressive views on race and what Banner calls a ‘populist vision of equality for all classes.’

Her background peeked through in her film roles, as she was often cast as a working girl … Even as Monroe stepped out in public in glamorous evening gowns, she favored blue jeans and flat shoes at home.

In 1956, when she married the playwright Arthur Miller, her working-class roots blossomed into full-on political fervor. In 1960, she became a founding member of the Hollywood branch of the Committee for a Sane Nuclear Policy; that same year, as she kept a home in Roxbury, Conn., she was elected as an alternate delegate to the state’s Democratic caucus. She did not hide her pro-Castro views on Cuba or her support for the then-burgeoning civil rights movement.

Broadway was not affected by McCarthyism and anti-Communist investigations to the same extent as the movie business, but Miller was called to testify before the House Un-American Activities Committee shortly before their marriage. Monroe was never called on, which Banner believes was because the anti-Communist Congressmen ‘thought she was just a dumb blonde.’ (In fact, some historians have theorized that Miller saw Monroe as a political shield.)

‘When you put it all together, [her political side] is pretty substantial. But in most of the biographies, including mine, it comes out as salt scattered on the biography, because one gets so fascinated by her psychological makeup,’ [Banner] says. ‘But the political involvements are no less real.'”