June 1st, 2020 marks what would be Marilyn Monroe’s 94th birthday. On a personal note, it has also been ten years since I started this blog.
Artists Pegasus and Alejandro Mogollo both paid tribute, while superfan Megan Monroes has written a well-researched blog post listing 94 facts about MM, and a special edition of e-zine Crazy for You features a pictorial from Marilyn’s 34th birthday party on the Let’s Make Love set, 60 years ago.
Flowers were left at Marilyn’s graveside in Westwood Memorial Park by Scott Fortner (owner of the MM Collection) and the Los Angeles-based fan club, Marilyn Remembered.
Marilyn’s affair with her Let’s Make Love co-star Yves Montand (captured here by photographer John Bryson) makes the cover of a Paris Match special issue about celebrity romances – you can order it here.
And by the way, Fraser Penney has shared this very similar cover from another Paris Match special, released in 1990. Although Marilyn’s dalliance with Yves came at a low point in her life, he remains an iconic figure in France. Incidentally, he also had a less-publicised affair with another married star, Shirley MacLaine, on the set of My Geisha (1962.)
Crazy For You is a free online fanzine in French, devoted to eye-catching pictorials of Marilyn (and Madonna, who inspired its name.) The latest issue covers Marilyn’s appearance at the Golden Globes in 1960, where she won the Best Actress in a Comedy or Musical award for Some Like It Hot. Previous issues have covered the press party for Let’s Make Love; Marilyn’s notorious red dress by Oleg Cassini; and a glamorous shoot with John Florea. For updates, subscribe to the Paradise Hunter blog or follow on Instagram.
Gene Kelly – the legendary dancer, choreographer and actor/director – will be honoured with a statue in London’s Leicester Square. Patricia Ward Kelly, who became his third wife in 1990 until his death six years later, has shared some of Kelly’s memories with Metro.
Kelly was a friend of Marilyn from her early years in Hollywood. His first wife Betsy Blair recalled seeing Marilyn with director Nick Ray during a 1951 party in their home, and Marilyn would meet Milton Greene for the first time in the same house, two years later. Kelly also had a cameo role in Marilyn’s penultimate movie, Let’s Make Love, and was considering a role in her upcoming film project, What a Way to Go!, when Marilyn passed away. (He took the part, and Shirley MacLaine replaced Marilyn.)
Ironically, Patricia’s story of Marilyn making hot dogs for Gene Kelly recalls a scene in The Seven Year Itch (1955), when Sonny Tufts asks Tom Ewell who the blonde in the kitchen might be, and Ewell retorts, ‘Maybe it’s Marilyn Monroe!’
“These were in the years before I met him, but his house, the front door was never locked and people would just come in at any hour of the day or night. There was one experience where the writer James Agee, and a famous director came in with a young woman in the middle of the night. Gene realised the men had quite a bit to drink, so he thought that he should rustle up some food for them. He went into the kitchen with this young woman to see what was in the fridge and found some hot dogs. He had her boiling hot dogs – which coincidentally was the first meal I had with him. He turned to this young woman and said, ‘What’s your name?’ She said, ‘Marilyn’. And it was Marilyn Monroe.”
As expected, Marilyn’s ‘Heat Wave’ costume from There’s No Business Like Show Business was the biggest seller at Julien’s Auctions yesterday, fetching $280,000 (over three times the maximum estimate) in the Property From the Life and Career of Marilyn Monroe sale – and Travilla’s ‘Heat Wave’ design sketch sold for $11,520. Marilyn’s ‘Little Rock’ costume from Gentlemen Prefer Blondes was close behind at $250,000 (while Jane Russell’s matching gown fetched $43,750.) Her River of No Return costume fetched $175,000, and the black cocktail dress she wore to the Some Like It Hot press conference reached $100,000.
Other big sellers included the chair from Marilyn’s Brentwood home, at $81,250; her green Pucci ensemble, at $46,875; the bathing suit from Let’s Make It Legal, at $37, 500; the pink Ferragamo shoes worn by Marilyn in the ‘Incurably Romantic’ number from Let’s Make Love, at $25,000; the white parasol from her 1949 photo-shoot with Andre de Dienes, and her necklace from the 1953 Cinerama party, at $21,875 each; and finally, her custom-made MGM bathing suit, and Dr Ralph Greenson’s couch at $11,250 each.
I have now updated all my posts on this sale with final bids – see here.
Robert Evans, who has died aged 89, is best-known as the producer who saved Paramount Studios from ruin in the 1960s and ’70s with a string of hits, including The Odd Couple, Rosemary’s Baby, True Grit, Love Story, The Godfather, The Great Gatsby, and Chinatown. His fortunes changed for the worse in 1980 when he was convicted of drug trafficking, and the spiralling budget of The Cotton Club (1983) accelerated the downturn in his career, although he continued producing films sporadically for another twenty years.
Born Robert J. Shapera in 1930, Robert grew up on New York’s Upper West Side and began his career promoting his brother’s fashion company, Evan-Picone, and doing voice work on radio. In 1956, actress Norma Shearer spotted Bob by the pool at the Beverly Hills Hotel, and suggested him for the role of her deceased husband, legendary Hollywood producer Irving Thalberg, in Man Of a Thousand Faces, a Lon Chaney biopic starring James Cagney.
It was not his first movie role – he had already played a minor part in Jean Negulesco’s Lydia Bailey (1952), and an uncredited bit part in The Egyptian (1954), both at Twentieth Century Fox. (The studio’s top female star, Marilyn Monroe, had been tipped for the role of Nefer in this expensive biblical epic, until head of production Darryl F. Zanuck cast his girlfriend Bella Darvi instead.)
After shooting Man Of A Thousand Faces at Universal, Evans returned to Fox at Zanuck’s behest, to play bullfighter Pedro Romero in a star-studded adaptation of Ernest Hemingway’s novel, The Sun Also Rises. He was second-billed in The Fiend Who Walked the West (1958), and worked again with director Negulesco on what would be Evans’ final acting role for many years, as Dexter Key in The Best of Everything (1959), starring Hope Lange and Joan Crawford.
In his best-selling 1994 memoir, The Kid Stays in the Picture, Evans described how missing out on the chance to co-star with Marilyn in Let’s Make Love (1960) put paid to his hopes of stardom, and ultimately changed the course of his life. (He was first suggested for the role of Tony Danton by producer Jerry Wald, before losing out to the British singer Frankie Vaughan.)
“From the moment we met, Jerry Wald and I became fast friends. Jerry was by far the most entrepreneurial producer in Hollywood. No one had a greater flair with both industry and press. Best of all, he even respected me as an actor and wasn’t shy in telling anyone. From the Saturday Evening Post to Photoplay, to television, radio and print, the industry was well aware that I was Jerry Wald’s pick as ‘the romantic rage’ of the sixties.
It didn’t happen. As a bullfighter, the head of a studio, or a crazy killer, at the very least, I was believable. Playing myself, I was a dud. Why? I was a better imitator than actor.
Jerry Wald felt different. Maybe because he had already gone out on a limb announcing me for the second male lead in The Billionaire, opposite Marilyn Monroe and Yves Montand. Who was I to argue?
The title is not the only thing that got changed. Now called Let’s Make Love, principal photography kept getting pushed back and back. Monroe was being her usual indecisive self. Meanwhile, Jerry Wald offered me a co-starring part in Return to Peyton Place. What could be worse than being in a sequel to a piece of shit? Playing the same part I had just finished, that’s what. Only this time it was ‘Dexter Key Goes to New England.’
‘No thanks,’ I said.
‘Fine,’ said Lou Schreiber, who ran business affairs at Twentieth. ‘You’re on suspension.’
Dumb move, Evans. Being on suspension, Twentieth cast someone else in the Monroe film.”
“A single page removed from a trade publication such as Variety or The Hollywood Reporter with text reading in part ‘Thank you / Marilyn Monroe’ — an ad the star placed in the publication to thank the Hollywood Foreign Press Association for her 1962 Golden Globe win for ‘World Favorite Actress,’ mounted to cardboard; found in Monroe’s own files. ”
SOLD for $512
A framed still photo showing Marilyn with co-stars June Haver, William Lundigan and Jack Paar in Love Nest (1951); and a costume test shot for Don’t Bother to Knock (1952.)
Photo sets SOLD for $640 and $896, respectively
Marilyn and Jane Russell performing ‘Two Little Girls From Little Rock’ in Gentlemen Prefer Blondes, as seen on the cover of LIFE magazine in 1953. Marilyn’s costume is expected to fetch a maximum $80,000 – see here.)
Magazine SOLD for $896; costume SOLD for $250,000
A still photo of Marilyn during filming of River of No Return in 1953. The gown she wore while performing the theme song is expected to fetch a maximum $80,000 – see here.
Photo set SOLD for $1,152; costume SOLD for $175,000
Travilla’s costume sketch for the ‘Heat Wave’ number in There’s No Business Like Show Business (1954), and a colour transparency of Marilyn in costume for a wardrobe test shot. (The costume itself is estimated to fetch up to $80,000 – see here.)
Sketch SOLD for $11,520; photo SOLD for $750; costume SOLD for $280,000
A framed still photo of Marilyn performing ‘Heat Wave‘, and a custom-made, one-of-a-kind poster made for the Century Theatre in the Hamilton, Ontario area to advertise a raffle to win tickets to see There’s No Show Business Like Show Business.
Photo SOLD for $750; poster SOLD for $1,280
“A group of three, all original prints with a glossy finish, depicting the star behind-the-scenes on the set of her 1956 20th Century Fox film, Bus Stop; all have typed text on the bottom margin noting to credit Al Brack who was a ‘Sun Valley, Idaho photographer.'”
SOLD for $576
A pair of memos regarding Milton Greene’s photos from the set of The Prince and the Showgirl; and, sold separately, a contact sheet. The second memo reads in part, ‘Dear Mike, The print you sent me, that Marilyn Monroe said she had killed, is incorrectly numbered. Marilyn is right – she did kill it.’ Both memos are dated April 11, 1957, and are addressed to ‘Meyer Hunter.’ Lois Weber, one of Monroe’s publicists at the time, authored both memos.”
Memos SOLD for $312.50; contact sheet SOLD for $500
Still photo of Marilyn with co-stars Tony Curtis and Jack Lemmon in a scene from Some Like It Hot (1959.)
Photo set SOLD for $576
“A pair of colour slides of Marilyn Monroe in a scene from How To Marry a Millionaire (1953), and during a press conference for Let’s Make Love with co-star Frankie Vaughan on January 16, 1960.”
Still photos taken by Lawrence Schiller during filming of the ‘pool scene’ in Something’s Got to Give.
Photo sets sold for $1,280 each
“A collection of approximately 65 pieces comprising only photocopied scripts and documents, all related to Marilyn Monroe’s films. Some film titles have more than one copy of the script, and some feature the working title and not the final one. All are bound into 20th Century Fox covers of various colors and appear to be the studio’s ‘loan out’ or ‘library’ copies. Pieces include (in alphabetical order): All About Eve (a treatment only), As Young As You Feel (2 scripts ), Bus Stop (3 scripts), Dangerous Years (1 script), Don’t Bother to Knock (2 scripts), The Full House (1 script), Gentlemen Prefer Blondes (2 scripts plus 4 related documents), How to Marry a Millionaire (3 scripts plus 1 related document), Let’s Make Love (2 scripts), Love Nest (2 scripts), Monkey Business (2 scripts plus 2 related documents), Move Over, Darling (1 script), Niagara (2 scripts plus 4 related documents), O. Henry’s Full House (2 scripts plus 1 related document), River of No Return (1 script plus 5 related documents), The Seven Year Itch (3 scripts), Something’s Got to Give (1 script), There’s No Business Like Show Business (3 scripts plus 7 related documents), Ticket to Tomahawk (2 related documents), and We’re Not Married (1 script plus 1 related document). Also included are a few miscellaneous pieces related to Monroe. “
In the first of several posts about Property From the Life and Career of Marilyn Monroe (coming to Julien’s Auctions on November 1), I’m looking at the lots relating to Marilyn’s personal style. The three movie costumes and the black cocktail dress shown above have been widely publicised, so here’s the best of the rest. (You can read all my posts on the sale here.)
“Marilyn Monroe’s bathing suit from Let’s Make It Legal(20th Century Fox, 1951), worn by the star as ‘Joyce Mannering’ in the scene where she utters the funny line of ‘Who wouldn’t want to meet a man who has millions who isn’t even bald?’
A black silk jersey fabric with a gold and black ‘lace’ print, center is gathered with a wider band of gold down the front, back zip-up closure, interior with attached strapless under-wire brassiere, label reads ’20th Century Fox,’ further handwritten annotation reads ‘M. Monroe’ though that appears to have been added later.
Included with a March 1952 issue of Pageant Magazine where an image of Marilyn Monroe wearing this bathing suit is on the back cover.
(Please note the top of the bust appears to have been slightly altered for a later use.)”
SOLD for $37,500
“Bubble gum-pink satin high-heeled shoes, inside stamped ‘Creations / Ferragamo’s / Florence / Italy,’ black fountain pen ink handwritten annotations on interior of both note in part ‘7 1/2 AA,’ leather interior and sole, further handwritten annotation in same ink on each sole reads in part ‘M.M. F-13,’ soles additionally stamped ‘Handmade in Italy;’ worn by the star as ‘Amanda Dell’ in the ‘Incurably Romantic’ song and dance number from Let’s Make Love (1960.)”
SOLD for $25,000
“A black stretch rayon fabric bathing-suit, shoulder straps, light blue satin bow on bust with matching pleated detail on either side, back zip-up closure, label reads ‘Metro-Goldwyn-Mayer / M. Monroe.’ [Marilyn made three pictures for MGM in 1950, but never wore this onscreen.]
SOLD for $11,250
“A tan wide-wale corduroy skirt, knee-length, straight, kick pleat in back, side zip-up closure, label reads ‘designed by Jax.'”
SOLD for $3,750
“A mint green jersey silk Pucci ensemble; the top sleeveless, boat neck, elasticized waistband, label reads ‘Emilio Pucci / Florence – Italy / Made in Italy / 100% Pure Silk’ and another one reads ‘Made in Italy Exclusively For / Saks Fifth Avenue;’ together with a matching straight skirt, knee-length, elasticized waistband.”
SOLD for $46,875
“A cabochon black oval necklace in gold-tone casing with gold-tone box link chain worn by Marilyn Monroe to a Cinemascope launch party held at the Cocoanut Grove nightclub in Hollywood, and in a circa 1954 portrait with her drama coach, Natasha Lytess.”
SOLD for $21,875
A small brown box containing false eyelashes by Martha Lorraine for Saks Fifth Avenue; and a small white box with an unopened bottle of Chanel No. 5 inside.
False eyelashes SOLD for $8,960; Chanel No. 5 SOLD for $10,000
Among the many luminaries featured in James Bawden and Ron Miller’s book, Conversations WithClassic Film Stars, are Joseph Cotten, who played Marilyn’s murderous spouse in Niagara;and Rory Calhoun, her roguish husband in River Of No Return; and Cary Grant, the unwitting object of her desire in Monkey Business.
Thanks to Gia at Immortal Marilyn
“I never met a girl as introverted as Marilyn. The whole fame explosion had just set in and whenever we filmed on location at Niagara Falls, great crowds gathered to see her. She couldn’t cope, retreated into her shell.
Director Henry Hathaway was a tough taskmaster at the best of times. He got so exasperated with Marilyn and her Russian acting coach [Natasha Lytess], he finally banned the woman from the set. I tried to keep her distracted. At night there’d always a party in my hotel suite, but she’d look in, say hi, and then go off with her instructress. We’d wait hours for her to show up. Hathaway started shooting rehearsals as backup and found she was less mannered there and actually used some of the footage.
I asked her about the nude photograph and she said, dead serious, ‘But I had the radio on.’ I’m glad I knew her before the troubles enveloped and destroyed her. I want to remember that superb girlish laughter when I told her an off-colour joke. One day Hathaway shouts at her and she yelled back, ‘After paying for my own wardrobe, my coach, my assistant, and God knows who else I barely have enough left over to pay my shrink!’ And the crowd watching applauded her!”
“She was a phenomenon that I doubt like hell this town will see the likes of ever again. There have been a lot of people trying to copy her one way or another – and to me, they’re third-stringers.”
“Howard Hawks says it’s wonderful we knew and worked with Marilyn before she got difficult. Because she was so winning and adorable in Monkey Business. When I drink that youth serum and am acting like a teenager, Marilyn really got into it. I’m diving off the high board and she’s giggling and waving me on. Years later she asked me to co-star in something called The Billionaire. It was a comedy and she said her husband Arthur Miller was reworking it. Arthur Miller a comedy writer? I ran away and so did Greg Peck, and the completed film, Let’s Make Love, showed she’d become all blurry and distant. It was sad.”