The annual Hollywood Legends auction at Julien’s, set for April 29, features a number of Marilyn-related items, including a 1961 check book which, as UK tabloid The Mirror reports, shows she was overdrawn at the time.
Here are some of the more unusual lots…
“A Marilyn Monroe novelty game night set. The Brown & Bigelow set contains two decks of playing cards, one showing Monroe in the ‘A New Wrinkle’ pose and one of Monroe in the ‘Golden Dreams’ pose from her 1949 Red Velvet photo session with Tom Kelley, and a set of four tin coasters showing Monroe in the ‘Golden Dreams’ pose and ‘Marilyn Monroe’ printed on each. Contained in a black flocked presentation box, stamped with an image of Monroe and branded text that reads ‘Always First/ with the Best Figures/ T D F CO.’ at lower right.”
Rare photos taken by Bruce Davidson during filming of Let’s Make Love.
A number of items related to photographer John Florea, including this contact sheet from the ‘Heat Wave’ number in There’s No Business Like Show Business.
A personal note from photographer Zinn Arthur to Marilyn and Milton Greene, probably penned during filming of Bus Stop.
CONTACT, an exhibition of famous images and their original contact sheets, includes images of Marilyn captured by Lawrence Schiller on the set of Let’s Make Love, and is on display at the Fahey/Klein Gallery in Los Angeles until January 28, reports L’Oeil De La Photographie.
Darryl F. Zanuck may have blamed Marilyn for delays in the River of No Returnshoot, but co-star Robert Mitchum did not, writing on this letter, “Dig!!! Marilyn – my girl is your girl, and my girl is you. Ever – Bob.”
After a bitter legal battle with Twentieth Century Fox, Marilyn returned triumphantly to Hollywood in 1956, armed with a list of approved directors.
Her first project under the new, improved contract was Bus Stop. Several lots of annotated script sides are up for bids this week.
“This is the first film Monroe made after beginning to study at the Actors Studio in New York City with Lee Strasberg, and the notations in these script sides demonstrate her method. Some of the notes are sense memories, like the following notation written after the line ‘I can’t look’: ‘Effective memory (use Lester – hurt on lawn),’ most likely referencing Monroe’s childhood playmate Lester Bolender, who was in the same foster home with Monroe. Another note adds ‘(almost to myself)’ before a line to inform her delivery or ‘Scarfe [sic] around my arms) Embarrassed.'”
Arthur O’Connell, who played Virgil in the movie, sent Marilyn his best wishes after she was hospitalised with pneumonia.
“A collection of Marilyn Monroe envelopes, messages and notes, including a florist’s enclosure card with envelope addressed to Monroe and a message that reads ‘To make up for the ones you didn’t recall receiving at the hospital. Please stay well so we won’t go through this again’, signed by ‘Arthur O’Connell – Virgil Blessing.’ Also included are five handwritten notes in an unknown hand that reference Clifton Webb, Lew Wasserman and Paula Strasberg.”
“The letter is dated simply June 9, and it accompanied the latest version of the script for The Prince and the Showgirl. Olivier discusses Monroe’s dialogue and that he has ‘written some extra dialogue and a direction or two.’ He reports on where they are in the script writing process and that they have cut the script down from ‘well over 3 hours’ to 2 1/2, to 2 hours 10 minutes. He continues about the scenes that were and were not cut, including ‘The Duke of Strelitz is, I think essential, as otherwise they will be saying what’s the matter with them – why the heck can’t they get married, particularly in view of Grace Kelly and all that, and our only answer to that question must be Yes but look at the poor Windsors do you see?’
On an amusing note, Olivier mentions, ‘By the way Lady Maidenhead has degenerated to Lady Swingdale because I am assured the Hayes Office will not believe there is also a place in England of that name.’ He closes ‘I just called up Vivien at the theatre … and she said to be sure to give you her love. So here it is and mine too. Longing to welcome you here. Ever, Larry.'”
Marilyn had many advisors on this film, including husband Arthur Miller who made suggestions to improve the script.
“Some of your dialogue is stiff. Also some expressions are too British. If you want me to, I can go through the script and make the changes – – in New York. I think the part – on one reading, is really the Best one … especially with you playing it. You are the one who makes everything change, you are the driving force … The basic problem is to define for yourself the degree of the girl’s naivete. (It could become too cute, or simply too designing.) It seems to me, at least, that they have not balanced things in Olivier’s favor. … It ought to be fun to do after BusStop. From your – (and my) – viewpoint, it will help in a small but important way to establish your ability to play characters of intelligence and cultivation. … Your loving Papa – (who has to rush now to make the plane – see you soon! – free!) – Art.”
Marilyn had strong opinions about the casting of Some Like It Hot. In the minutes from a business meeting at her New York apartment, it is noted that “MCA on the Coast has told [Billy] Wilder that there are ‘legal technicalities holding up her decision’ so as not to offend Wilder. Actually, she is waiting for [Frank] Sinatra to enter the picture. She still doesn’t like [Tony] Curtis but [Lew] Wasserman doesn’t know anybody else.”
This short note penned by Marilyn is thought to be a response to Tony Curtis’ notorious remark that kissing her was “like kissing Hitler.”
Novelist Truman Capote wanted Marilyn to star as Holly Golightly in Breakfast at Tiffany’s. However, her own advisors deemed George Axelrod’s watered-down adaptation unworthy of her talents. The film was a huge hit for Audrey Hepburn, but Capote hated it.
“A clean copy of the screenplay for Breakfast at Tiffany’s written by George Axelrod and dated July 9, 1959. Monroe was considering the part, and she sought the opinions of her professional team including the Strasbergs, her husband, and management team. The script is accompanied by a single-page, typed ‘report’ dated September 23, 1959, which also has the name ‘Parone’ typed to the left of the date. Literary luminary Edward Parone was at the time running Monroe’s production company and most likely is the one who wrote this single-page, scathing review of the script, leading with the simple sentence, ‘I think not.’ It goes on to criticize the screenplay, determining, ‘I can see Marilyn playing a part like Holly and even giving this present one all the elan it badly needs, but I don’t feel she should play it: it lacks insight and warmth and reality and importance.’ It has been long reported that Monroe declined the part upon the advice of Lee Strasberg, but this document provides further evidence that other people in her inner circle advised her not to take the role. Together with a four-page shooting schedule for November 4, 1960, for the film.”
Marilyn was generous to her co-stars in Let’s Make Love, giving a framed cartoon to Wilfrid Hyde-White on his birthday, and an engraved silver cigarette box to Frankie Vaughan. She also asked her friend, New York Times editor Lester Markel, to write a profile of her leading man, Yves Montand. “He’s not only a fine actor, a wonderful singer and dancer with charm,” she wrote, “but next to you one of the most attractive men.”
A handwritten note by Paula Strasberg reveals how she and Marilyn worked together on her role in The Misfits. “searching and yearning/ standing alone/ mood – I’m free – but freedom leaves emptiness./ Rosylin [sic] – flower opens bees buzz around/ R is quiet – the others buzz around.”
In 1962, Marilyn began work on what would be her final (and incomplete) movie, Something’s Got to Give. This telegram from screenwriter Nunnally Johnson, who was later replaced, hints at the trouble that lay ahead.
“The telegram from Johnson reads ‘In Revised script you are child of nature so you can misbehave as much as you please love – Nunnally.’ Monroe has quickly written a note in pencil for reply reading ‘Where is that script – is the child of nature due on the set – Hurry Love & Kisses M.M.’ ‘Love and Kisses’ is repeated, and additional illegible notations have been crossed out.”
“Raw footage of Monroe performing with the children in Something’s Got to Give exists, and Monroe’s notations are evident in the footage. The top of the page reads ‘Real Thought/ Mental Relaxation/ substitute children – B & J if necessary/ feeling – place the pain where it is not in the brow.’ B & J likely refers to Arthur Miller’s children Bobby and Jane. Another notation next to one of Monroe’s lines of dialogue reads simply ‘Mona Lisa’, which does in fact mirror the expression she uses when delivering this line. Even the exaggerated ‘Ahhhhh—‘ that Monroe does at the beginning of each take in the raw footage is written on the page in her hand, reading in full, ‘Ahhh–Look for the light.'”
Marilyn inspired many within the Pop Art movement, including Andy Warhol, Richard Hamilton and Pauline Boty. Now another British artist of this period has come to light, with a recent exhibition and a profile in The Guardian. Sue Dunkley produced at least two paintings based on photographer John Bryson‘s 1960 cover story for Life magazine, and the private drama that unfolded between the Millers and the Montands during filming of Let’s Make Love.
“This substantial series of Pop Art paintings on large canvas have recently been rediscovered in Dunkley’s London studio by her daughter and brother. The works in the series were produced between 1968 and 1972, and notably take as their subject the assassinations of John F. Kennedy and Robert Kennedy, the female body, and human relationships, often touched by violence and betrayal. A large number of pastel studies for these works and independent sketches have also been discovered, many of which explore intimacy, sexuality and the role of women in changing eras.
These works are often populated by numerous faces and figures, sometimes difficult to discern and placed in uneasy dialogue with one another. Dunkley herself often appears in the works, looking on or departing, merging the political and personal in both intimate and yet culturally significant works of art. These early works employ the bold and graphic language of Pop Art, referencing familiar media imagery and fashion photography. Recognisable images such as Ethel Kennedy’s screaming face and outstretched hand following Robert Kennedy’s assassination alongside images of Marylin Monroe recur, as if ghosts on the edge of these significant events and moments in history. Dunkley returned to Monroe often, fascinated by her seemingly irreconcilable sexuality and vulnerability, the impossible expectations placed on her to be both child and sex symbol.”
Today, items from Marilyn’s wardrobe sell for thousands – millions, even. But as Hap Roberts – nephew of Marilyn’s masseur and close friend, Ralph – tells the Salisbury Post‘s Mark Wineka, the Burberry trench-coat which she gave him is now lost.
It’s not clear exactly which coat this was – but Marilyn wore a trench-coat during her time in England, while filming The Prince and the Showgirl – and again for a scene in Let’s Make Love(1960.)
In one interview, Ralph claimed that Marilyn picked it up from Arthur Miller’s home in Roxbury, Connecticut after their divorce, but she decided to give it to Ralph when she found it smelled of another woman’s perfume. (This is odd, because in her own account of the same visit, Marilyn’s half-sister Bernice Baker Miracle said it was a fur coat, and that MM gave it to her dog, Maf, to sleep on.)
“Roberts became Monroe’s official masseur in 1959, and for the last three-plus years of her life, during her various romantic entanglements, Ralph would give her massages daily, becoming a close confidante and friend to Monroe.
Together, they ran errands, ate meals, attended parties and took plane trips across the country between New York and California.
Toward the end of his life, Ralph Roberts returned to Salisbury and lived in a little house off Parkview Circle, not far from Hap’s offices with Statewide Title. They would meet every afternoon around 4 p.m. to talk, and every Sunday at 5 p.m. Ralph would show up at Hap and his wife Annette’s house for martinis.
Ralph Roberts always brought his Sunday New York Times with him and would leave the newspaper with the couple so they could read it later. Once, Roberts carried with him an art deco martini set Monroe had given him.
Roberts also possessed a box of chandelier crystals Monroe had collected. The actress thought the crystals carried healing properties, and in the years after her death, Ralph sometimes would hand them out as gifts to friends.
Ralph Roberts died April 30, 1999, at age 82. About a month later, Hap and his cousin Claudette began the somber task of cleaning up and going through their uncle’s house. They noticed a woman’s Burberry trench coat in the closet and figured it was a friend’s coat, left at Ralph’s house in the past.
They placed it in the things going to Goodwill.
About a month later, Hap found a list of Marilyn Monroe items Ralph had inventoried. On the list was ‘Burberry trench coat.’
Hap could only ease the heartache of having given away the coat by thinking to himself that ‘at least it’s keeping somebody dry and warm and Ralph would like that.'”
Magnum alumni Bruce Davidson, who photographed Marilyn behind the scenes during filming of Let’s Make Love and The Misfits in 1960, is the subject of a new book by Vicki Goldberg in the Magnum Legacy series, reports CNN. (It follows the first Magnum Legacy book about Eve Arnold, another photographer of Marilyn’s, which was published last year.)
“What makes Davidson’s photographs so compelling is that they stem from patience and an ability to empathize with his subjects.
‘I stay a long time,’ he said. ‘My eyes open to their lives. In my silence, they feel secure. My philosophy is to stay until it becomes a subject. I am an outsider on the inside.'”
Veteran Hollywood publicist Dick Guttman has been interviewed by Susan King for her excellent Classic Hollywood column in the Los Angeles Times.
“Guttman fell into the career by accident when he began an office boy at age 19 at Rogers & Cowan while attending UCLA. The budding journalist had worked at the Los Angeles Herald-Examiner as a teenager in a program in which students would write the high school sports page on Saturdays.
But he didn’t have a clue what Rogers & Cowan did or even what publicity was, then ‘one day I made a delivery and Kirk Douglas answered the door. So I started reading the memos I was delivering.’
Guttman soon discovered he had found his calling. ‘I was a journalist,’ he said. ‘And I knew a lot about motion pictures. They were my two passions.’
When he began at the company — Henry Rogers was [Warren] Cowan’s partner in the firm — Rogers and Cowan had ‘more stars than MGM, who had more stars than there are in the heavens,’ recalled Guttman. ‘This was 1954-55, and it was just when the contract system was ending. Everybody was celebrating this — their new freedom and they were going to make their own films. Little did they know it was the end of the golden age.'”
In his 2015 memoir, Starflacker: Inside the Golden Age of Hollywood, Guttman recalled meeting Marilyn during filming of Let’s Make Love, while he was representing her co-star, Yves Montand, whose actress wife, Simone Signoret, won an Oscar that year (for Room at the Top.)
“Simone had become a special friend of mine during the Room at the Top campaign. She and Yves, royalty in Europe as actors, as intellects and as bold political activists, arrived in Hollywood as the most doted-upon European artist couple since Olivier and Leigh. They generated constant media attention. So I was obliged to spend a large amount of time at the Montands’ second storey bungalow apartment above the gardens of the Beverly Hills Hotel. When media was in attendance, the door across the landing at the top of the stairs was always closed. But if I was there only to go over photos or to have a discussion, no media, that door would open and Marilyn Monroe would wander in, usually in a thick black bathrobe, beautiful in the absolute absence of make-up and with the soft confusion of unbrushed hair. Apparently, she never had in her and Arthur Miller’s refrigerator whatever she could count on being in Simone and Yves’. As she ate from a bowl of cereal or a small carton of yoghurt, she would wander into their conversation or look at the photos and make pretty good choices. Miller would come in sometimes in slacks and sweater, and they seemed an informal melding of close friends. This is before Simone had to go back to Paris for work there and before Yves and Marilyn would start their work together on their ultimately unsuccessful musical comedy, Let’s Make Love.”
Marilyn’s choreographer and friend, Jack Cole, is the subject of a new retrospective at New York’s Museum of Modern Art (MoMA), ArtForum reports. Opening tomorrow (January 20), ‘All That Jack (Cole)‘ is a two-week tribute, and will include screenings of Gentlemen Prefer Blondes, There’s No Business Like Show Business and Let’s Make Love.
‘Archetype of the American Hero’, Alistair Cooke’s tribute to Gary Cooper, was published in The Guardian after Cooper’s death in May 1961. In this extract from Alistair Cooke at the Movies, Cooke considers how movie stars were then so often dismissed as mere ‘personalities’, and rarely credited with much talent or intelligence.
“It is easy to forget now, as always with artists who have matured a recognisable style, that for at least the first dozen years of his film career Gary Cooper was the lowbrow’s comfort and the highbrow’s butt. However, he lasted long enough, as all great talents do, to weather the four stages of the highbrow treatment: first, he was derided, then ignored, then accepted, then discovered. We had seen this happen many times before; and looking back, one is always shocked to recognise the people it has happened to. Today the intellectual would deny, for example, that Katharine Hepburn was ever anything but a lovely if haggard exotic, with a personal style that might enchant some people and grate on others, but would insist she was at all times what we call a serious talent. This opinion was in fact a highly sophisticated second thought, one which took about a decade to ripen and squelch the memory of Dorothy Parker’s little tribute to Miss Hepburn’s first starring performance on Broadway: ‘Miss Hepburn ran the gamut of human emotions from A to B.’
Marilyn Monroe is a grosser example still. Universally accepted as a candy bar or cream puff, she presented a galling challenge to the intelligentsia when she married Arthur Miller, a very sombre playwright and indubitably un homme serieux. The question arose whether there had been serious miscalculation about a girly calendar that could marry a man who defied the House Un-American Activities Committee. The doubt was decided in Miss Monroe’s favour when she delivered pointed ripostes to dumb questions at a London press conference.”
Gary Cooper was one of many stars who attended a party in Marilyn’s honour at Romanoff’s restaurant in Hollywood, to celebrate her filming The Seven Year Itch in November 1954. He also attended the 1959 Fox luncheon for Soviet premier Nikita Krushchev, where he was seated at Marilyn’s table.
At the auction of Dame Joan Collins’ personal property at Julien’s earlier this month, a June 1960 letter from Cooper to Marilyn was sold for $1,280. Cooper was then in hospital, and thanked Marilyn for sending him roses, expressing his regret at being unable to attend a recent party (possibly her 34th birthday celebrations, on the set of Let’s Make Love.) Click on the picture below to read his letter in full.