Marilyn at Julien’s: Kiss Hollywood Goodbye

In our final post ahead of the November 14 event at Julien’s Auctions, A Southern Gentleman’s Collection, we focus on Marilyn’s marriage to Arthur Miller and the last years of her life. (You can read all posts about this sale here.)

“A group of six audio recordings including: 1) a late 1950s-era 3-inch reel tape (Type 151) featuring interviews Monroe conducted with Look magazine and Chicago disc jockey Dave Garroway, housed in its original box with handwritten annotations reading in part ‘May Reis’ [Monroe’s longtime New York-based secretary]; 2) a 33 1/3 RPM record labeled “M. Monroe – Belmont / Side 1 / Side 2[her 1960 interview with Georges Belmont for Marie Claire]; 3) another 33 1/3 RPM record identical to #2 but sides 3-4; 4) another 33 1/2 RPM record identical to #2 but sides 5-6, content unknown on all; 5) a 78 RPM record on the RCA Victor label of the star singing ‘The River of No Return’ and ‘I’m Gonna File My Claim;’ and 6) a 45 RPM record same as the 78; further included with a CD of the reel tape; all originally from the Estate of May Reis. And sold separately, a publicity still from River of No Return, autographed by Marilyn.”

Recordings SOLD for $3,840; photo SOLD for $10,240

“A legal-sized financial document from Woodbury Savings Bank in Connecticut, two hole punch marks on left side, dated ‘Sept. 9, 1957,’ filled out in blue fountain pen ink by Arthur Miller, briefly outlining the couple’s finances, noting their annual income as ‘$50,000,’ interestingly, Miller adds that there is a ‘suit pending against M.M. Productions,’ both signed twice on the lower margin, with MM’s reading ‘Marilyn Monroe Miller;’ also included is a related photocopied document from the same bank.” And sold separately, a window card for The Prince and The Showgirl (1957.)

Document SOLD for $4,480; poster SOLD for $384

“Nine original snapshots depicting Marilyn at Ebbets Field in Brooklyn on May 12, 1957 as she makes a guest appearance at a soccer match between the U.S. and Israel. And sold separately, a medical insurance form from Associated Hospital Service of New York, entirely filled out in blue ballpoint ink by Miller when the couple was applying for insurance, noting their address on ‘Tophet Road, Roxbury, Conn.’ and noting Monroe’s health issues as ‘Appendix Removed / 5% (hearing) impairment, Ectopic Pregnancy,’ oddly, Miller checked off ‘no’ under ‘female trouble’ for his wife, signed by Miller on page 3 and further signed by Monroe right below but in different blue ballpoint ink.”

Photos SOLD for $1,024; document SOLD for $3,750

“Miscellaneous paperwork from 1958 including: an invoice from Carl Perutz Photography sent to Marilyn at her NYC address on ’18 June 1958;’ and four receipts from the Yellow Cab Company of Los Angeles ranging in date from July 14 to July 16, 1958, showing that MM was at the Hotel Bel Air, Saks Fifth Avenue, and a mysterious address at 8719 Bonner Drive; though her name does not appear anywhere on the receipts, they come from the same files as the Perutz invoice.”

SOLD for $512

“Telegram dated October 28, 1958, sent to Jack Lemmon by the producer of Some Like It Hot, reading in part ‘By reason of the illness of Marilyn Monroe, please be advised / that we hereby exercise the right to suspension…;’ and sold separately, a standard check from the ‘Marilyn Monroe Productions, Inc.’ account … matted under a 1970s-era re-issue soundtrack album from Some Like It Hot.”

Telegram SOLD for $768; check + album SOLD for $2,560

“A standard address book with navy blue leather covers and A to Z tabs, kept by May Reis [Monroe’s longtime New York secretary] on the star’s behalf for a number of years, inside pages contain Reis’ handwritten entries in pencil or various colors of ballpoint ink for Monroe’s personal and business contacts including (in alphabetical order): Rupert Allan, Elizabeth Arden, Richard Avedon, Kenneth Battale, Saul Bellow, Chateau Marmont, Michael Chekhov, Jack Cole, George Cukor, Lilly Daché, Agnes Flanagan, Bob Fosse, Ben Gazzara, Lotte Goslar, Sydney Guilaroff, Lillian Hellman, Hedda Hopper, Hotel Bel Air, John Huston, William Inge, Jax, Anne Karger, Marianne Kris, Leon Krohn, Ann Landers, Erno Laszlo, Jean Louis, Carson McCullers, Inez Melson, Isidore Miller, Berniece Miracle, Monroe Six, Eunice Murray, Jean Negulesco, Norman Norell, Clifford Odets, Louella Parsons, Lena Pepitone, The Plaza Hotel, Henry Rosenfeld, Hedda and Norman Rosten, Eva Marie Saint, Norma Shearer, Frank Sinatra, Sidney Skolsky, Allan Snyder, John Steinbeck, Paula Strasberg, Western Costume Co., Billy Wilder, and Shelley Winters, among a few others; also included are a few notes relating to the stars personal identification numbers as well as bank accounts; Reis’ ownership signature is penned on the second page next to a date of ‘1958;’ Monroe penciled in a note on the last page reading ‘Roxbury Conn. / Tophet Rd.'”

UNSOLD – reserve not met

“A single page of personalized stationery, dated ‘April 15, 1960,’ to ‘Mr. Ehrlich,’ reading in part ‘Will you please convey my sincere appreciation to the public and critics of Chile for awarding the Laurel de Oro as Best Actress of 1959,’ signed in black fountain pen ink in the lower right corner ‘Marilyn Monroe;’ with its original transmittal envelope. And sold separately, a contact sheet showing Marilyn in a scene from Some Like It Hot (1959.)”

Letter SOLD for $3,750; contact sheet SOLD for $768

“A small receipt from Gray Reid’s in Reno, Nevada noting a date of ’16 Aug 60′ and that ‘$6.07’ was spent, verso has a blue ballpoint ink handwritten annotation (not in MM’s hand) reading ‘Black / Umbrella’ — probably the umbrella that Marilyn bought for her acting coach, Paula Strasberg, during shooting of The Misfits.”

SOLD for $256

“A black silk and ostrich feather wrap with two black velvet arm straps, label reads ‘Made to Order / Rex / Inc. / Beverly Hills / California;’ displayed in a shadow box with a black and white image of the star wearing it during a 1960 photo shoot with Eve Arnold. Interestingly, this piece may have been used as a prop in MM’s last and unfinished 1962 film, Something’s Got To Give as a similar wrap can be seen in her tote bag in the sequence where she watches her children in the swimming pool.”

SOLD for $10,240

“A deep brownish-black mink fur stole, rectangular shaped with slightly flared ends, lined in a black and gold brocade textured raw silk, no labels present.” [Worn by Marilyn to the premiere of The Misfits in 1961.]

SOLD for $5,760

“A group of seven accessories including: 1) a pair of cat eye sunglasses with rhinestone detailing; 2) their case made of beige vinyl and brown plastic, stamped ‘Cosmetan / Sun Glasses;’ 3) a cordovan alligator eyeglass case stamped in part ‘Schilling;’ 4) a red cotton eyeglass case with a label reading in part ‘Devonaire of California;’ 5) a sterling silver shoe horn, stamped ‘Sterling’ on both sides; and 6-7) a pair of orange plastic shoe trees.”

SOLD for $7,500

“A two page hand-written note on light blue pieces of notepaper from the Los Angeles Institute for Psychoanalysis, penciled by the star in full “‘CR 12151 Western Union / Dear Marlon / I need your / opinion about a / plan for getting / Lee out here on more / than a temporary / basis please / phone me as soon / as possible / Time / is of the essence / Marilyn;’ evidently written for a telegram that she was sending to Brando about Actors’ Studio head Lee Strasberg. And sold separately, a telegram from Brando dated ‘1962 Jan 13,’ sent to Marilyn at her ‘882 North Doheny Apt 3’ address, reading in full ‘Tried to reach you by fone must leave city this weekend / sorry / Marlon,’ with a number of stamps and other handwritten delivery annotations evident; seeming to be Brando’s response to Monroe’s note.”

Marilyn’s note SOLD for $6,400; Marlon’s telegram SOLD for $2,560

“A standard postcard from the Fontainebleu Hotel in Miami, signed in blue ballpoint ink on the verso ‘To Gisele / Thank you / so much! / Marilyn Monroe.'” [Marilyn stayed overnight at the Fontainebleu in 1962 with her former father-in-law, Isidore Miller.]

SOLD for $2,500

“A large collection of approximately 130 loose-leaf ‘colored’ script change pages given to the star throughout the production of Something’s Got to Give, as the script was being revised on a regular basis, noting numerous and various dates in April and May of 1962, many pages are paper-clipped or stapled together by their revision date, a number of them have the star’s name penned in the upper right hand corner (though not in her hand) or small notes addressed to her, Monroe’s own handwritten annotations appear on a few pages, mainly as directions to herself such as ‘drop voice – / lean against post’ or additional dialogue she added such as ‘if you’d take it out’ and the like, she also circled her character’s name [“Ellen”] on many pages; two pink pages are torn with one having Monroe’s penciled annotation reading ‘No good one.’ And sold separately, an oversize colour photo taken during Marilyn’s 1962 session with Bert Stern for Vogue magazine, entitled ‘I Beg Of You‘.”

Script pages SOLD for $12,800; photo SOLD for $5,120

Sold separately, these contact sheets are among several lots featuring photos by Bert Stern.

Contact sheets SOLD for $1,152 and $896, respectively

“A telegram dated ‘1962 Jun 1 AM 9 55,’ sent to Marilyn at her Fifth Helena Drive address in Brentwood, CA, reading in full ‘Happy Birthday Hope Today And Future Years Bring You / Sunny Skies And All Your Heart Desires As Ever / Joe’ — most likely DiMaggio as it was sent from ‘Madrid Via RCA.'”

SOLD for $6,250

“A ticket reading in part ‘May 19, 1962 / Madison Square Garden / Gala All Star Show’ — the now-historic event celebrating President John F. Kennedy‘s 45th birthday, plus a photo of Marilyn during her performance of ‘Happy Birthday, Mr President’. And sold separately, a group of four telephone bills, sent to “M. Monroe” from General Telephone Company, ranging in date from April 30 to July 30, 1962, listing all the long distance calls she made to cities noted on the bills as ‘NYC, Bkln, Queen, Wbury, Engla, Telav’ and, most interestingly, to ‘Wash’ a number of times in July — so maybe she was calling the Kennedys?”

Ticket + photo SOLD for $896; telephone bills SOLD for $4,375

“A 1960s-era Steno spiral-bound notebook filled with about 45 pages of notes and reminiscences penned in blue ballpoint ink that George Barris wrote down while he was working with the star in the summer of 1962; appearing to be taken verbatim from conversations the two had, the subjects mentioned are quite varied and range from Monroe’s favorite films to her health to people on her mind at that particular time such as President Kennedy, Arthur Miller, Joe DiMaggio, Cyd Charisse, Marlon Brando, Paula Strasberg, and Greta Garbo; other topics include living in California, nude scenes in films, her termination from her last film, sex, on being a sex symbol, marriage, children, and life philosophy in general; some of the notes appear to have been jotted down later or even after the star’s death but in any case, it’s a fascinating look into the star’s psyche as recounted by someone who closely worked with her at the very end of her life. And sold separately, a signed photo by Barris.

Notebook SOLD for $8,750; photo SOLD for $2,560

Casting Marilyn’s Leading Men in ‘Blonde’

Marilyn and George Sanders in All About Eve

After almost a decade in development, it looks like Andrew Dominik’s Netflix adaptation of Joyce Carol Oates’ controversial novel, Blonde, is finally moving ahead – though depending on whether you liked the book (I didn’t), this may or may not be good to hear. In March, it was announced that Ana de Armas will play Marilyn. Now, the Observer reports, casting is in process for the roles of George Sanders, who starred with Marilyn in All About Eve; Joseph Cotten, her leading man in Niagara: and her Some Like It Hot co-stars Tony Curtis, Jack Lemmon and Joe E. Brown.

Marilyn, Shirley and ‘Irma La Douce’

Irma La Douce, Billy Wilder’s 1963 comedy starring Shirley MacLaine as a sweet-natured Parisian hooker and Jack Lemmon as the hapless gendarme who falls for her, is being released on Blu-Ray for the first time. The lead role is said to have been rejected by Marilyn, although it’s easy to imagine her as Irma, and she had loved working with Lemmon on Some Like It Hot.

She may still have harboured a grudge against Wilder, who had spoken harshly about her in the past; but he was also considering her for his next movie, Kiss Me Stupid (which was released in 1964, starring Kim Novak.) In fact, nearly all of Wilder’s subsequent movies feature a character who could conceivably have been played by Marilyn.

Although some say Marilyn refused to play a prostitute, she had previously performed a scene from Anna Christie at the Actors Studio, and was still hoping to star as Sadie Thompson in Rain. In any case, in 1962 she was focused on working off her old contract at Fox. And by the time Irma La Douce opened, Marilyn had passed away.

Although Shirley’s persona was more kooky than sex goddess, both she and Marilyn excelled in tragi-comic roles. Some Came Running (1958) and Can-Can (1959) were offered first to Monroe, and in 1964, MacLaine would star in What A Way To Go!, which Fox had planned as Marilyn’s next picture.

‘Some Like It Hot’ On TV

Tina Louise as ‘Candy’, with Joan Shawlee reprising her role as Sweet Sue

Over at the Marilyn Remembered blog, Lorraine Nicol has contributed several excellent posts to celebrate 60 years of Some Like It Hot – including a tribute to Billy Wilder, a look behind the scenes, how it fared on the awards circuit, and this intriguing piece about a television pilot for a nixed spin-off series.

“With the ever increasing popularity of television, it’s no surprise that The Mirisch Company would try and turn their most successful film: Some Like It Hot into a ongoing television series.

The series would focus on the mishaps and adventures that Joe and Jerry would face in their new identities, trying to recreate the magic that was created on film by bringing it into peoples homes and television sets throughout the year.

The premise of the show was this: Joe and Jerry (Tony Curtis and Jack Lemmon reprising their roles for the pilot) are still on the run from the mob, so they decide to up their game and go under the knife for a complete facial transformation (enter the two new actors playing Joe and Jerry: Vic Damone and Dick Patterson.)

There is no mention of Sugar in the pilot, she has been replaced by a character called Candy Collins (Tina Louise). Collins is Studs Columbo’s moll who eventually falls for Joe after he reveals his true identity to her … The pilot was shot at NBC studios in mid March 1961 and quickly vanished into thin air.”

Chris Lemmon On ‘Some Like It Hot’ At 60

Photo by Richard C. Miller

Chris Lemmon, son of Jack, has talked to Fox News‘ Stephanie Nolasco about his dad, Marilyn, and Some Like It Hot – although as he was just four years old at the time of filming, his perspective comes from what his father told him. Nonetheless, it gives valuable insight into the dynamic on the set. (Later in the article, Chris also tells a more speculative tale about Marilyn and President Kennedy, which I discussed previously here.)

“Fox News: What was your father’s relationship like with Marilyn Monroe?
Lemmon: It was terrific. He saw Marilyn for what she was, unlike the persona … Marilyn had her own gimmick. But that wasn’t her at all. She was a very dedicated actress and a very intelligent woman. But also a very troubled woman who was hit by stardom way too quickly. She just simply didn’t know what to do with it. So my father instantly took to her because he saw those qualities. My father easily took to everybody. Jack Lemmon could get along with a log.

Fox News: How did your father cope with Marilyn’s troubles on set?
Lemmon: The truth is Marilyn did have some problems on the set. She was nervous that it could get in the way. There’s that famous story involving the line, ‘Hi, I’m Sugar’ … She had to do 30 takes of that. [Actually, the line was ‘It’s me, Sugar.’] That was the day before they shot that huge scene in the train car with the booze. Billy tended to be very rough with his shots. He didn’t want anyone messing around with his stuff.

But she and my father, they nailed it on the first take. That’s the performance you see on the screen. He easily befriended her. She was flirty with him because she thought it might bring some spice into the scene. And of course, he flirted right back. And that’s how that great scene between them was born. That was all one take.”

‘Some Like It Hot’ at 60

Some Like It Hot opened at cinemas across the US sixty years ago today, on March 29, 1959. In an article for Perth Now, Troy Lennon celebrates the diamond anniversary of one of the most beloved movies in history.

“The press were out in force at Marcus Loew’s newly refurbished Capitol Theatre on Broadway in New York to cover one of the biggest film premieres of the year. It starred matinee idol Tony Curtis and up-and-coming comic talent Jack Lemmon, best known from comedy hits Mr Roberts and Bell Book And Candle.

The support cast of actors was also stellar, with big names from classic gangster films … Quirky, sexy, slightly subversive and the work of one of the most in-demand directors at the time, Billy Wilder, it had hit potential. But what really made Some Like It Hot such a big deal was that it was Marilyn Monroe’s first film in nearly two years. Monroe had been taking time off to focus on her marriage to playwright Arthur Miller.

On the night of the premiere, March 29, 1959, 60 years ago today, Monroe, accompanied by Miller, told reporters Lemmon was the ‘funniest man in the world’ and like the rest of the audience laughed all the way through the film. Critics also loved it and Some Like it Hot is now regarded as one of the all-time great film comedies.

The film was inspired by a 1935 French farce titled Fanfare d’Amour (Fanfare Of Love), about two musicians, Jean (Fernand Gravey) and Pierre (Julien Carette) … Gravey’s love interest, bandleader Gaby, was played by Australian actor Betty Stockfeld.

The story and screenplay were co-written by German screenwriters Michael Logan and Robert Thoeren, who had fled Germany in 1933 after the Nazis came to power. After the war they returned to Germany and in 1951 remade the film as Fanfaren der Lieben.

For the leads Wilder wanted Frank Sinatra as musician Joe and singer Mitzi Gaynor as bandmember Sugar. But Sinatra never turned up for the audition and when Monroe discovered Wilder was doing the film she wanted to play Sugar … having Monroe as a drawcard gave Wilder a freer hand with the rest of the casting. He had already asked Tony Curtis to play Jerry, but without Sinatra he instead cast him as Joe and Lemmon as Jerry.

The director was fastidious about the look of the film. It was to be shot in black and white, because it was a period piece and a tribute to gangster films, also so that it would be easier to pass off Curtis and Lemmon as women. Famous Australian-born designer Orry-Kelly worked on the costumes (winning the film an Oscar).

During filming, Monroe was as difficult as ever … Curtis did his best to disguise his irritation but Lemmon was sympathetic, trying to calm Monroe’s nerves.

But the result was screen magic. From the moment Monroe sashays past Lemmon at a train station causing him to utter ‘That’s just like Jell-O on springs’ the farce hardly ever lets up.

It won three Golden Globes, an Oscar and a BAFTA and made bigger stars of Curtis and Lemmon, but was arguably Monroe’s last truly great role.”

Why Marilyn’s Comedy Classic Never Grows Old

As Some Like It Hot returns to cinemas in a new 4K print, Donald Clarke ponders its lasting appeal in the Irish Times.

“The personnel make their own case. Renowned for wrapping subversive cynicism around the most perfectly calibrated jokes, Wilder remains a holy figure in American cinema … Marilyn Monroe’s complex, troubled energy is undimmed by the passing of the years. Jack Lemmon and Tony Curtis, perky actors at home with Wilder’s misanthropy, throw themselves heartily at unusually demanding roles.

But the untouchable status of Some Like It Hot surely results from something broader and more profound. Like a lot of works that figure in ‘greatest ever’ lists, Wilder’s film sits on the cusp between approaches; it straddles the fence between ideas; it incorporates apparently complementary tones. The viewer can approach from a number of angles.

The story around Some Like It Hot layers the picture with further uncertainties. Monroe, who was to die three years later, was famously hard to work with and required dozens of takes to complete even the simplest scene. None of her later films are free from those whispers of impending doom.

There’s more. Some Like It Hot’s position on those charts confirms its status as a work that belongs to the high arts and to popular culture. One is never in any doubt that one is watching the most gifted American film professionals at the top of their game. It’s a tribute to a glorious machine – the Hollywood studio system – as that machine was spluttering into redundancy.”

Marilyn and Judy Holliday Double Bill

Among the upcoming screenings of the newly restored Some Like It Hot is an intriguing double bill. At 1:30 pm on December 16, the 1959 classic will be screened at London’s Regent Street Cinema, followed by It Should Happen To You (1954) at 3:50 pm. Not only does Jack Lemmon appear in both films, but It Should Happen To You also stars Judy Holliday, the blonde star who, alongside Marilyn, was one of the leading comediennes of the era.

The film was directed by George Cukor, who later worked with Marilyn in Let’s Make Love and the unfinished Something’s Got to Give. Judy stars as an out-of-work actress whose life is transformed when she rents a billboard to advertise herself. In his first major film role Lemmon plays a photographer, while Peter Lawford – another figure from Marilyn’s life –   is cast as a rather caddish businessman.

A native New Yorker, Judy Holliday became a star on Broadway with her role as Billie Dawn, a gangster’s moll who falls in love with a straight-laced journalist hired to educate her, in Garson Kanin’s Born Yesterday. Kanin later said that a young Marilyn had auditioned for the big-screen adaptation, but the role was ultimately reprised by Judy.

The two actresses – who both battled ‘dumb blonde’ typecasting, finally met in 1956, as Martha Weinman Lear revealed in a 1988 article for Fame magazine. (Sadly, Judy Holliday’s career would also be cut short when she died, aged 44, of breast cancer in 1965.)

“Thirty blocks downtown, a billboard dominated Times Square. This was in 1956, a cave age, but you remember that billboard. Even if you weren’t born yet you remember that billboard: Marilyn Monroe, starring in The Seven Year Itch, loomed twenty feet tall … in what was, and remains, one of the most powerful images ever to come out of movie advertising.

A few blocks east, more peekaboo: Judy Holliday, the Funny Girl of her day, was transforming herself nightly into just that paper doll, and packing them into the Blue Angel supper club with her impersonation — never mind the makeup, it was an act of brains and will, and it was brilliant — of Marilyn Monroe.

It was my first job, at Collier’s magazine, doing my own impersonation — eager researcher playing cool reporter — and yearning for some epiphanic professional moment. It came…

Leonard Lyons, gossip columnist for the old New York Post, was strolling down Fifth Avenue with Holliday one day, or so he reported, and they ran into Monroe. Reality and illusion head-to-head; how avidly the two must have eyed each other! Introductions were made. Someone said, ‘we ought to get together,’ and the women arranged to have tea at Judy’s apartment in the Dakota, Collier’s to record the event for some ravenous posterity. I was sent to take notes.

The photographer Howell Conant, was all set up in the living room. The appointed hour came, and no Marilyn. A half hour later, no Marilyn. Judy grew tenser. Finally, after an hour, a person arrived, and it appeared that this person was Marilyn Monroe.

Time has done nothing to dim the details: She wore a black cotton shirt, sleeveless, a brown cotton skirt and flats. There was a big grease stain on the front of the skirt. The belly protruded. The legs were covered with bumps and scabs, which she kept scratching. The platinum hair showed dark at the roots and, when she raised her arm, I saw a luxuriant dark undergrowth. This was before political statements; we were all shaving our armpits. She looked…tatty, a bit. Only the voice was unmistakable, pure sigh (was it afraid to be heard or demanding that we lean in to listen? I have never been sure). Only the skin, which was truly luminescent, would have stopped you in the street.

‘We were getting worried about you!’ Judy cried. Her voice shook, I think with wrath.

‘I’ve got mosquito bites,’ the goddess whispered, and bent to scratch yet again. And though the sequitur escaped me, I instantly and utterly forgave her for being late.

She wanted to makeup her face. Then the two of them thought that it might be fun for Judy to put on her Marilyn face first, while Marilyn watched in the mirror. They began, and it was impossible. Marilyn guided graciously, with soft breathy urgings: ‘Mm, make the eyebrow a little pointier … Yes, that’s right …’ But Judy couldn’t do it. She did it every night, but here, now, in the presence of the real thing…who did not herself look much like the real thing, which gave rise to problems of philosophic scope, because who or where was the real thing? Was it here, in this sweetly scruffy presence, or was this a mere mortal metaphor for the real thing, which was up there on the billboard?

‘Well, uh…’ Marilyn began, and giggled, craning her own head back gingerly, as though trying to ease a stiff neck. And that was when I finally saw, quick study that I was, that both women had the same problem: They were both straining to impersonate Marilyn Monroe.

So they tried it the other way. Marilyn would make up first. ‘Oh, I look awful,’ she said, but in the mirror she took on authority. She set to work with that total Teutonic dispassion of models, a touch of shadow here, a dab of highlight there, an extravagance of mascara, an artful swirling of hair around the roots. I waited, wild with curiosity — Judy too — for the transmutational touch, peekaboo! But Monroe was doing no magic tricks; she was simply spiffing up what she had, as we all do.

And then came this remarkable moment. The child, Jonathan, appeared in the doorway. Judy bent to him and took his hand. ‘Jonathan,’ she said, ‘do you remember that lady we saw in the movie, Marilyn Monroe?’ The cherub nodded. ‘You want to meet her?’ Again he nodded, wide-eyed. ‘Jonathan,’ she said, and her hand swept across the room — flourish of trumpets, roll of drums — ‘this is Marilyn Monroe.’

Marilyn was standing. She had just hitched up her skirt to pull down the blouse from underneath. She looked at the little boy, and he at her, and in that instant it happened. She metamorphosed … And the head tilted easily back, the eyelids closed down, she licked her lips, became that myth and smiled full into the child’s face and sighed, ‘Hi-iiii.’

Conant shot hundreds of exposures that afternoon; not a single one of Marilyn was bad, and most were splendid. Ultimately, what one saw in the room did not matter. Her face, as they say of certain faces — as they first said of Valentino’s face — made love to the camera.

The pictures were never published because Collier’s, soon after, went out of business. The one shown here was taken as a souvenir for me, and I have never looked at it without remembering that moment of her transmutation, and wondering: What on earth she thought she was doing? And it must be that she simply had not thought at all, but had simply heard the bell and gone on automatic. If it was male it was her audience, her element, and she would play to it. This is a gift. It is not necessarily a gift that makes good actors, but it almost invariably makes great performers.”