John Garfield, a legendary movie ‘tough guy’ of the 1940s, trained in the New York theatre and after his Hollywood breakthrough, became a prototype for the next generation of ‘rebel actors’ including Marlon Brando. In He Ran All the Way: The Life of John Garfield, biographer Robert Knott describes the star’s alleged encounter with the young Marilyn Monroe on the set of John Huston’s We Were Strangers (1949.)
“[Sam] Spiegel brought agent Johnny Hyde and a young blonde starlet on the set. Spiegel asked Huston to film a silent test of the blonde, using as little film, time and money as possible. Huston said he would, but as soon as the producer left the set Huston asked [Peter] Viertel to write a scene for the girl to play on camera with Julie (Garfield’s real name was Julius.) The next day Huston, cameraman Russell Metty and Julie spent a good part of the day filming this brief screen test with the young blonde, one Marilyn Monroe. Spiegel was furious at Huston’s insubordination and blamed the director for letting the film fall behind schedule another day. Indifferent to Spiegel’s ranting but appreciative of Monroe’s potential, Huston cast her in a small role in his next film, The Asphalt Jungle. (No one seems to know what happened to that test film of Monroe and Garfield; one wonders if the actor made a pass at her.)”
The actress and singer, Lola Albright, has died in Toluca Lake, California aged 92, according to the Hollywood Reporter.
Lola Jean Albright was born in Ohio in 1924. Her parents were gospel singers, and she became an accomplished pianist. After performing on the radio in Cleveland, she moved to Hollywood and worked as a model. In 1949, she won her first important film role opposite Kirk Douglas in Champion.
Albright was director John Huston’s initial choice to play Angela Phinlay, the young mistress of a crooked businessman, in his 1950 heist movie, The Asphalt Jungle. However, the part ultimately went to another blonde. Some have suggested that Albright thought the role was too minor, or that she wanted a higher salary. Others claimed that MGM’s Lucille Ryman campaigned on behalf of her latest protégée, Marilyn Monroe. Huston later said that Marilyn got the job ‘because she was damned good.’
In 1952, Albright married actor Jack Carson, whom had been her co-star in Tulsa (1949.) She worked with Frank Sinatra in The Tender Trap (1955), and began to make her mark on television. In 1958, she secured her best-known role, as nightclub singer Edie Hart in the popular detective series, Peter Gunn. She was signed up by Columbia Records, and recorded two albums with Henry Mancini’s orchestra. In 1961 she married Bill Chadney, who played piano on the show.
She continued working in both television and movies, starring in A Cold Wind in August (1961), and playing love interest to Elvis Presley in Kid Galahad (1962.) In 1964, she appeared with Jane Fonda and Alain Delon in Rene Clement’s Joy House. A year later, she replaced an ailing Dorothy Malone for fourteen episodes of the TV soap opera, Peyton Place. Albright was named Best Actress at the Berlin Film Festival for her role in Lord Love a Duck (1966.) She was reunited with Kirk Douglas in The Way West (1967), and played David Niven’s wife in The Impossible Years (1968.)
Her penultimate movie role was in the 1968 Doris Day comedy, Where Were You When the Lights Went Out? Albrightwould make frequent cameo appearances on television until her retirement in 1984. In later years, she enjoyed single life and caring for her pets, and never missed the spotlight.
David Krauss has given a rave review to the Criterion Collection’s new edition of The Asphalt Jungle (available on DVD and, for the first time, BluRay) over at High Def Digest.
“Though MGM produced many all-star pictures in the past (Grand Hotel and Dinner at Eight chief among them), The Asphalt Jungle was its first true ensemble film. Sterling Hayden and Louis Calhern receive top billing, but neither were big stars at the time, nor were Sam Jaffe, James Whitmore, Jean Hagen (who two short years later would make her biggest splash – and receive an Oscar nomination – as squeaky-voiced silent star Lina Lamont in Singin‘ in the Rain), or a gorgeous young actress by the name of Marilyn Monroe, who makes a huge impression in two brief scenes as Emmerich’s nubile mistress. (Much of the movie’s poster art showcases Monroe to make her seem like the star, but nothing could be further from the truth.) Harold Rosson, who was married to another blonde bombshell, Jean Harlow, 15 years before, beautifully photographs the 24-year-old Marilyn, bringing out both her innocence and allure, and under John Huston’s tutelage she files an affecting portrayal that belies her inexperience. The Asphalt Jungle would prove to be Monroe’s big break, and the actress herself cited the performance as one of her career highlights.”
Miguel Ferrer, the accomplished character actor whose many screen credits include Robocop and Twin Peaks, died last week aged 61, The Guardian reports.
He was born on February 7, 1955 to singer Rosemary Clooney and her husband, actor Jose Ferrer. Among his impeccable Hollywood connections (his cousin is George Clooney), Miguel enjoyed an early encounter with Marilyn Monroe which reveals a great deal about her love of children.
In her 1999 autobiography, Girl Singer, Rosemary recalled throwing a party at her New York home in the winter of 1955, shortly after Miguel was born. Film director John Huston came with Marilyn, who had recently moved to the city. Rosemary had only met her once before, but Marilyn immediately asked if she could see the baby. Without even brushing the snow off her fur coat, Marilyn headed upstairs to the nursery. About an hour later, Huston asked Rosemary, ‘What the hell’s she doing up there?’ She replied that Marilyn was ‘playing with the baby.’
Before his death, Miguel reprised his role as the gruff FBI forensic pathologist, Albert Rosenfeld, in the forthcoming new series of Twin Peaks. He is not the only cast member with a connection to Marilyn, as her Bus Stop co-star Don Murray will also be making a cameo appearance.
Inge Morath: On Style is a new book focusing on the late photographer’s work in fashion and film. Her images of Marilyn on the set of The Misfits are elegant and tender, and the knowledge that Morath would become Arthur Miller’s third wife adds a note of poignancy. Author Justine Picardie writes about Inge’s work with director John Huston, and her later encounter with Arthur which led to a long and happy marriage, in a blog post for the Magnum website.
“This was also the period when Morath first started working with the director John Huston; one of her earliest assignments was to photograph the stills for his film Moulin Rouge in London in 1952, which was to be the start of a lifelong friendship … Huston would later describe Morath as ‘a high priestess of photography,’ a woman with ‘the rare ability to penetrate beyond surfaces and reveal what makes her subject tick.’
Morath’s friendship with Huston was to play an important part in her personal life, as well as her career. In 1959, she travelled to Mexico to photograph the making of his film The Unforgiven … The following year, Morath visited the set of another of Huston’s films, The Misfits, accompanied by her Magnum colleague, Henri Cartier-Bresson.
When Morath was subsequently asked by the New York Times about the experience of photo- graphing Monroe, she described the actress as ‘kind of shimmery. But there was also this sadness underneath. A poetry of unhappiness. That was what was so mesmerizing, the twofold thing you got, the unhappiness always underneath the joy and the glamour…that was the poetry.’ In the same interview, Morath added one more intriguing fragment to the story. ‘I once dreamt we both danced together, Marilyn and I. It was beautiful.'”
The Asphalt Jungle will be released on DVD and Blu-Ray as part of the prestigious Criterion Collection in December. With many special features, Criterion editions are a cineaste’s dream, attesting to its long-held status as the definitive heist movie. Directed by John Huston, The Asphalt Jungle gave Marilyn her first important role (although not a large one) and was her own favourite film.
New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
Audio commentary from 2004 by film historian Drew Casper, featuring recordings of actor James Whitmore
New interviews with film noir historian Eddie Muller and cinematographer John Bailey
Archival footage of writer-director John Huston discussing the film
Pharos of Chaos, a 1983 documentary about actor Sterling Hayden
Episode of the television program City Lights from 1979 featuring John Huston
Audio excerpts of archival interviews with Huston
Excerpts from footage of the 1983 AFI Lifetime Achievement Award ceremony honoring Huston, featuring actor Sam Jaffe and the filmmaker
1) An employment card dated June 8, 1950 (when Marilyn was filming All About Eve at Twentieth Century-Fox); and a change of rate card from the same studio dated November 5, 1953, noting her salary increase from $750 to $1,250 weekly (she was by then starring in Gentlemen Prefer Blondes.) Another letter from Fox’s casting director, Lew Schreiber advises Marilyn that filming of Time and Tide will commence on April 14, 1959. (Her role was ultimately played by Lee Remick in the renamed Wild River.)
2) A ‘Golden Dreams’ calendar from 1953; a ‘New Wrinkle’ lithograph by Tom Kelley; and the first issue of Playboy, signed by Hugh Hefner.
3) Candid photos of Marilyn dining with troops in Korea, 1954; and behind the scenes of Let’s Make Love (1960.) Also, a photo of Marilyn with Manfred Kreiner on location for The Misfits, and 3 photographs taken by Gene Daniels at the Golden Globes ceremony, 1962.
4) A scrapbook commemorating the 40th anniversary of the Princess Cafe, Iowa Falls, in November 1955. A telegram from Marilyn to actress Margery ‘Madge’ Meredith (once a waitress at the cafe, she gained notoriety in Hollywood after being jailed for complicity in an assault on her former manager – but was freed in 1951 after the court concluded she had been framed) and referring to the cafe’s owners, Harry Pergakis and Ernie Karrys, reads, “AM JEALOUS YOU INVITED INSTEAD OF ME. I STRUCK OUT WITH JOE AND CAN’T EVEN GET TO FIRST BASE WITH HARRY AND ERNIE =MARILYN MONROE=”
5) A drawing of a nude woman signed by Marilyn, who inscribed and gifted the drawing to Broadway set designer Boris Aronson. Sanguine on paper, inscribed in blue ink “For Boris -/ Waiting – Wondering -/ Woman – Marilyn Monroe Miller” mounted to matteboard and undated. The drawing has been referred to as ‘an erotic self-portrait.’
Arthur Miller worked with Aronson on A View From the Bridge around the time of Miller’s divorce and budding relationship with Monroe. Aronson, when he first met Monroe, is quoted by Elia Kazan as having said, ‘That’s a wife?’ Kazan shared that quote and evidently its sentiment by answering the question in his autobiography as, ‘Hell no!’
6) Marilyn’s own copies of Doctor Pygmalion by Maxwell Maltz, and The Unfinished Country by Max Lerner. A copy of John Huston’s 1930 script, Frankie and Johnny, with the inscription, “Marilyn dear/ All those years ago/ when you were hardly/ born I wrote this for/ you – the perfect Frankie/ Johnny (himself)/ Huston.” (So much for my theory that it was connected to the Elvis Presley movie!)
7) Personal letters to Marilyn from Jean Negulesco, Inez Melson and William Inge; documents regarding Marilyn moving to Milton Greene’s Connecticut home in 1954;
8) A lidded Wedgwood Jasperware trinket box owned by Marilyn, and assorted hair and make-up items, including a container of Erno Laszlo face powder.
9) The chaise longue featured in the title song from Let’s Make Love.
10) Limited edition etchings of Marilyn by Al Hirshfeld.
11) An expense form from Marilyn Monroe’s public relations agency, Arthur P. Jacobs Company Inc., dated June 11, 1962, for costs incurred through long-distance calls made to Monroe by Pat Newcomb in April 1962. Accompanied by a black and white photograph of Newcomb with Monroe at John F. Kennedy’s birthday gala held in May 1962.
12) A Mexican tapestry purchased by Marilyn for her final home in Brentwood, Los Angeles; her script for Something’s Got to Give, marked ‘revised screenplay’, from February 1962; a letter from Westwood Memorial Park to Marjorie Plecher (future wife of Allan ‘Whitey’ Snyder), thanking Plecher for helping to dress Marilyn for her funeral; and the original grave marker, which has been replaced.
13) Photos by Joseph Jasgur, Andre de Dienes, Phil Burchman, George Barris, Bruno Bernard, Milton Greene, Philippe Halsman, John Bryson, Sam Shaw, Jack Cardiff, Lawrence Schiller.
The camera equipment of photographer Don Dondero will be auctioned at the Holabird Western Americana Office, Reno, on April 17, reports Reno Gazette-Journal. The Reno-based photographer chronicled much of Marilyn’s 1960 stay in the city, including her arrival; a press conference with the cast of The Misfits, and a birthday party for John Huston at the Mapes Hotel; a weekend break at the Cal-Neva Lodge; and her return to the city after a week’s rest in hospital.
“In the second half of the 20th Century, if a photograph from Reno appeared in a national or international publication, it likely came from the camera of the late Don Dondero.
When he died in 2003 at age 83, the lifelong Nevadan was eulogized by then Gov. Kenny Guinn, who said, ‘Thanks to Don Dondero, future generations of Nevadans will have a glimpse of our state’s history.’
Born in Ely and raised in Carson City, Don Dondero took his first ‘celebrity’ photo at age 12 when he snapped a shot of President Herbert Hoover outside the state capital.
He graduated from Carson High School in 1937 and enlisted in the Navy after Pearl Harbor, becoming a pilot and flying bombers. In 1944, his plane was shot down over the Philippines as he bombed a Japanese merchant ship in Manila Bay. Dondero parachuted safely into the bay and was hidden in the jungle by Filipino guerrillas for 40 days until he could be rescued. He was awarded the Distinguished Flying Cross for sinking the enemy vessel.
After the war, Dondero returned to Carson City and married his high school sweetheart, Elizabeth Franks. He worked for the state of Nevada for several years before moving his growing family to Reno to open his own photography business.
Affable, talented, intelligent and dependable – he never missed a deadline – Dondero became Reno’s go-to photographer from the 1950s into the 1990s. His work appeared in publications around the globe. As longtime newspaperman Warren Lerude said, ‘Dondero owned the Reno dateline.’
Reno was the divorce capital of the world at the time and photos of celebrities in town to get ‘the cure’ were in high demand. In addition, the Mapes, Riverside and other downtown hotels were bringing in top-name entertainment. He photographed celebrities including Marilyn Monroe, Clark Gable, Judy Garland, Bing Crosby, Louis Armstrong, John Wayne and Frank Sinatra and political leaders including John F. Kennedy and Lyndon Johnson.
‘He promoted Reno more through his photos than any one individual,’ said Harry Spencer, a former Mapes publicist and longtime friend of Dondero.”
This letter from Marilyn Monroe to John Huston, in which she rejects a part in the director’s planned film on Sigmund Freud (from the Margaret Herrick Library of AMPAS), was posted today by James Grissom on the Follies of God Facebook page. The letter was also discussed recently on the Stars and Letters blog.
Marilyn was advised against this project by her controversial psychiatrist, Dr Ralph Greenson, who had just begun treating her and would do so until her death, less than 2 years later. He was in contact with Anna Freud, who objected to the film being made. Marilyn had seen her as a patient a couple of times, and would leave part of her estate to the Anna Freud Children’s Clinic in London.
Monroe wrote to Huston on November 5, 1960 – shortly after they completed The Misfits. Although I strongly believe she had the capacity for more serious work, I think this role would have been traumatic for her personally. It certainly was for Montgomery Clift, as he clashed with Huston many times during filming.
Suzannah York replaced Marilyn as ‘Cecily’, a character loosely based on Freud’s patient, Anna O., opposite Clift in Freud: The Secret Passion (released four months after Marilyn’s death, in December 1962.)
“November 5, 1960
I have it on good authority that the Freud family does not approve of anyone making a picture of the life of Freud– so I wouldn’t want to be a part of it, first because of his great contribution to humanity and secondly, my personal regard for his work. Thank you for offering me the part of ‘Annie O’ and I wish you the best in this and all other endeavors.