Richard C. Miller’s photographic archive has been added to Getty Images, including his photos of James Dean on the set of his last film, Giant, and many other Hollywood icons. Marilyn is also featured, from the early modelling days to her roles in Some Like It Hot and Let’s Make Love. Among the selections are some rare outtakes and more familiar shots previously unattributed. (You can read my tribute to Miller here.)
Four years after her first assignment with Miller in 1946, Marilyn worked with him again in 1950, as he followed her to an audition at the Players Ring Theatre in Los Angeles. This shoot remained unpublished for many years.
When they reunited eight years later Marilyn was a superstar, shooting what would become her most popular movie, Some Like It Hot.
And finally, on the set of Let’s Make Love in 1960…
In some ways, Rock Hudson was Marilyn’s male counterpart as a misunderstood sex symbol of 1950s Hollywood. They partied together at the How to Marry a Millionaire premiere in 1953, and in 1962 Rock would present Marilyn with her final award at the Golden Globes. Sadly they never worked together, but Rock was the initial favourite for her leading man in Bus Stop; and in 1958, she was considered for Pillow Talk before deciding to make Some Like It Hot instead. (Doris Day got the part, the beginning of a great comedy partnership with Rock.)
Until now, it has been unclear how well the two stars knew each other (although a recent hack tome made the unlikely claim that Marilyn and Rock were lovers – as we now know, Hudson was gay.) In a critically praised new biography, All That Heaven Allows, author Mark Griffin draws on interviews with Rock’s secretary, Lois Rupert, who claims they often spoke on the phone. Although the frequency of their conversations may be questioned, the obvious affection of their Golden Globes photos combined with this information could suggest that Rock was one of the few Hollywood figures trusted by Marilyn in her final months – and Griffin also reveals that Hudson generously donated his fee for narrating the 1963 documentary, Marilyn, to a cause very close to her heart.
“It was while he was on location for A Gathering Of Eagles that Rock received word that a friend had died. As Lois Rupert recalled, ‘Rock met me at his front door with the news … “Monroe is dead” is all he said.’
Only five months earlier, Rock and Marilyn Monroe had posed for photographers at the annual Golden Globes ceremonies. In images captured of the event, Monroe, who was named World Film Favourite, is beaming as Hudson enfolds her into a protective embrace. With a shared history of abuse and exploitation, it was inevitable that these two should be drawn to each other. Recognising that he posed no sexual threat to her, Monroe had latched on to Hudson and had lobbied for Rock to co-star with her in Let’s Make Love as well as her uncompleted final film, Something’s Got to Give.
Lois Rupert remembered that in the early 1960s, Rock regularly received late-night distress calls from Monroe as well as another troubled superstar. ‘If it wasn’t Marilyn Monroe crying on his shoulder, then it was Judy Garland,’ Rupert recalled. ‘It was almost like they took turns. Marilyn would call one night and Judy the next. He was always very patient, very understanding with both of them, even though he wasn’t getting much sleep. I think he liked playing the big brother who comes to the rescue.’
Within ten months of Monroe’s death, 20th Century-Fox would release a hastily assembled documentary entitled Marilyn. Fox had initially approached Frank Sinatra about narrating, but when the studio wasn’t able to come to terms with the singer Hudson stepped in. Hudson not only provided poignant commentary – both on and off camera – he donated his salary to help establish the Marilyn Monroe Memorial Fund at the Actors Studio.”
“Don’t Bother to Knock offers the 26-year-old Monroe an especially rigorous dramatic workout as an emotionally disturbed young woman whose inner demons come to the fore while she’s babysitting a six-year-old girl in a New York City hotel … Despite her limited acting experience, Monroe tackles the tricky role well, juggling naïveté, passion, rage, and emotional distress with surprising aplomb. She also displays a heartbreaking vulnerability that makes us feel for Nell’s predicament despite her shocking and reprehensible actions. Though still rough around the edges and a bit studied, Marilyn’s work has a disarming authenticity, especially in her emotional scene … Don’t Bother to Knock, which runs a brief 76 minutes, begins sluggishly and the tale isn’t particularly well developed. Still, this throwaway B movie flaunts an impressive pedigree. Director Roy Baker, who would later helm the classic Titanic docudrama A Night to Remember, nicely builds tension, while cinematographer Lucien Ballard (The Wild Bunch) beautifully photographs Marilyn, maximizing the impact of every close-up.
Let’s Make Love is a pleasant, innocuous diversion, but it lacks the effervescence of more spirited romantic comedies. Though peppered by a few pointed barbs, Norman Krasna’s script meanders along, and the direction by the esteemed George Cukor is anemic at best …The only reason Monroe consented to do this inferior film was because she was desperate to fulfill her contractual obligations to Fox, which never really respected her talent and often saddled her with vapid, ornamental roles designed to exploit her sexuality. Yet despite looking a tad zaftig and occasionally glazed here, Marilyn does her best to rise to the occasion. She handles her free-spirited part like a pro, exuding marvelous warmth, sensitivity, and some welcome spunk. She’s at her best in a couple of lively musical numbers, the finest of which is her dynamite opening salvo, a coyly sexy, tongue-in-cheek take on Cole Porter’s ‘My Heart Belongs to Daddy’ that stands as one of Marilyn’s finest screen moments.”
A wide range of Marilyn-related items, including her 1956 Thunderbird, will be up for grabs at Julien’s Icons & Idols auction on November 17. Another high-profile item is the white beaded Travilla gown worn by Marilyn when she sang ‘After You Get What You Want, You Don’t Want It’ in There’s No Business Like Show Business, purchased at Christie’s in 1995; as yet it’s unclear whether this is the same dress listed at Julien’s in 2016.
Marilyn owned several pairs of checked trousers, wearing them repeatedly throughout her career. This pair, seen in one of her earliest modelling shoots, was purchased from Sak’s Fifth Avenue.
A number of photos owned by Marilyn herself are also on offer, including this picture with US troops, taken on the set of Gentlemen Prefer Blondes; a set of publicity photos for Love Nest; a photo of Joe DiMaggio in his New York Yankees uniform; and Roy Schatt‘s 1955 photo of Marilyn and Susan Strasberg at the Actors Studio.
A postcard from the Table Rock House in Niagara Falls was signed by Marilyn and her Niagara co-stars, Jean Peters and Casey Adams, in 1952.
This publicity shot from River of No Return is inscribed, ‘To Alan, alas Alfred! It’s a pleasure to work with you – love & kisses Marilyn Monroe.’
A set of bloomers worn by Marilyn in River of No Return (as seen in this rare transparency) is going up for bids.
Among the mementoes from Marilyn’s 1954 trip to Japan and Korea are two fans and an army sewing kit.
Also among Marilyn’s personal property is this ad for There’s No Business Like Show Business, torn from the December 24, 1954 issue of Variety.
Among Marilyn’s assorted correspondence is a latter dated August 22, 1954, from childhood acquaintance Ruth Edens:
“I have long intended to write you this letter because I have particularly wanted to say that when you used to visit me at my Balboa Island cottage, you were a shy and charming child whose appeal, it seems to me, must have reached the hearts of many people. I could never seem to get you to say much to me, but I loved having you come in and I missed your doing so after you’d gone away. I wondered about you many times and was delighted when I discovered you in the films. I hope the stories in the magazines which say you felt yourself unloved throughout your childhood, are merely press-agentry. In any case, I want you to know that I, for one, was truly fond of you and I’m proud of you for having developed enough grit to struggle through to success … I hope you are getting much happiness out of life, little Marian [sic]. I saw so much that was ethereal in you when you were a little girl that I fell sure you are not blind to life’s spiritual side. May all that is good and best come your way!”
Marilyn’s loyalty to the troops who helped to make her a star is attested in this undated letter from Mrs. Josephine Holmes, which came with a sticker marked ‘American Gold Star Mothers, Inc.‘
“My dear Miss Monroe, I was so happy to hear from Mr. Fisher about your visit to the Veterans Hospital. When I spoke to Mr. Alex David Recreation he said the veterans would be thrilled, probably the best present and tonic for them this holiday and gift giving season. I am sure it will be a wonderful memory for you, knowing you have brought happiness to so many boys, many have no one to visit with them. Thank you, and may God bless you and Mr. Miller for your kindness.”
Marilyn wore this hand-tailored black satin blouse for a 1956 press conference at Los Angeles Airport, as she returned to her hometown after a year’s absence to film Bus Stop. When a female reporter asked, ‘You’re wearing a high-neck dress. … Is this a new Marilyn? A new style?’ she replied sweetly, ‘No, I’m the same person, but it’s a different suit.’
Letters from Marilyn’s poet friend, Norman Rosten, are also included (among them a letter warmly praising her work in Some Like It Hot, and a postcard jokingly signed off as T.S. Eliot.)
Among Marilyn’s correspondence with fellow celebrities was a Christmas card from Liberace, and a telephone message left by erstwhile rival, Zsa Zsa Gabor.
File under ‘What Might Have Been’ – two letters from Norman Granz at Verve Records, dated 1957:
“In the September 5, 1957, letter, Granz writes, ‘I’ve been thinking about our album project and I should like to do the kind of tunes that would lend themselves to an album called MARILYN SINGS LOVE SONGS or some such title.’ In the December 30, 1957, letter, he writes, ‘… I wonder too if you are ready to do any recording. I shall be in New York January 20th for about a week and the Oscar Peterson Trio is off at that time, so if you felt up to it perhaps we could do some sides with the Trio during that period.'”
Also in 1957, Marilyn received this charming card from the Monroe Six, a group of dedicated New York teenage fans, mentioning her latest role in The Prince and The Showgirl and husband Arthur Miller’s legal worries:
“Marilyn, We finally got to see ‘Prince and the Showgirl’ and every one of us was so very pleased. We are all popping our shirt and blouse buttons. Now we will be on pins and needles ‘til it is released to the general public. You seemed so relaxed and a tease thru the whole picture and your close ups, well they were the most flawless ever. You should be real pleased with yourself. No need to tell you what we want for you to know now is that we hope everything comes out all right for Mr. Miller and real soon too. Guess what we are working on now. We are trying to scrape up enough money for the necessary amount due on 6 tickets to the premiere and the dinner dance afterwards. Well again we must say how happy we are about T.P.+T.S. and we wanted you to know it. Our best to you.”
Among the lots is assorted correspondence from Xenia Chekhov, widow of Marilyn’s acting teacher, Michael Chekhov, dated 1958. In that year, Marilyn sent Xenia a check which she used to replace her wallpaper. She regretted being unable to visit Marilyn on the set of Some Like It Hot, but would write to Arthur Miller on November 22, “I wanted to tell you how much your visit meant to me and how glad I was to see you and my beloved Marilyn being so happy together.”
In April 1959, Marilyn received a letter from attorney John F. Wharton, advising her of several foundations providing assistance to children in need of psychiatric care, including the Anna Freud Foundation, which Marilyn would remember in her will.
This telegram was sent by Marilyn’s father-in-law, Isidore Miller, on her birthday – most likely in 1960, as she was living at the Beverly Hills Hotel during filming of Let’s Make Love. She was still a keen reader at the time, as this receipt for a 3-volume Life and Works of Sigmund Freud from Martindale’s bookstore shows.
After Let’s Make Love wrapped, Marilyn sent a telegram to director George Cukor:
“Dear George, I would have called but I didn’t know how to explain to you how I blame myself but never you. If there is [undecipherable due to being crossed out] out of my mind. Please understand. My love to Sash. My next weekend off I will do any painting cleaning brushing you need around the house. I can also dust. Also I am sending you something but it’s late in leaving. I beg you to understand. Dear Evelyn sends her best. We’re both city types. Love, Amanda Marilyn.”
Here she is referencing her stand-in, Evelyn Moriarty, and Amanda Dell, the character she played. “Dearest Marilyn, I have been trying to get you on the telephone so I could tell you how touched I was by your wire and how grateful I am,” Cukor replied. “Am leaving for Europe next Monday but come forrest [sic] fires come anything, I will get you on the telephone.”
There’s also a June 30, 1960 letter from Congressman James Roosevelt (son of FDR), asking Marilyn to appear on a television show about the Eleanor Roosevelt Institute for Cancer Research, to be aired in October. Unfortunately, Marilyn was already committed to filming The Misfits, and dealing with the collapse of her marriage to Arthur Miller.
In 1961, movie producer Frank McCarthy praised Marilyn’s performance in The Misfits:
Rather touchingly, Marilyn owned this recording of ‘Some Day My Prince Will Come,’ sung by Adriana Caselotti. The record copyright is from 1961, but Disney’s Snow White and the Seven Dwarfs was originally released in December 1937, when Marilyn was just eleven years old.
This pen portrait was sketched by George Masters, who became Marilyn’s regular hairdresser in the final years of her life.
On July 5, 1962, Hattie Stephenson – Marilyn’s New York housekeeper – wrote to her in Los Angeles:
“My Dear Miss Monroe: How are you! Trusting these few lines will find you enjoying your new home. Hoping you have heard from Mr. and Mrs. Fields by now. Found them to be very nice and the childrens [sic] are beautiful. Got along very well with there [sic] language. How is Maff and Mrs. Murray? Miss Monroe, Mrs. Fields left this stole here for you and have been thinking if you would like to have it out there I would mail it to you. Miss Monroe Dear, I asked Mrs. Rosten to speak with you concerning my vacation. I am planning on the last week of July to the 6th of August. I am going to Florida on a meeting tour. Trusting everything will be alright with you. Please keep sweet and keep smiling. You must win. Sincerely, Hattie.”
Hattie is referring to Marilyn’s Mexico friend, Fred Vanderbilt Field, who stayed with his family in Marilyn’s New York apartment that summer. She also alludes to Marilyn’s ongoing battle with her Hollywood studio. Sadly, Hattie never saw Marilyn again, as she died exactly a month later. Interestingly, the final check from Marilyn’s personal checkbook was made out to Hattie on August 3rd.
After Marilyn died, her estate was in litigation for several years. Her mother, Gladys, was a long-term resident of Rockhaven Sanitarium, which had agreed to waive her fees until her trust was reopened. In 1965, Gladys would receive hate mail from a certain Mrs. Ruth Tager of the Bronx, criticising her as a ‘hindrance’ due to her unpaid bills. This unwarranted attack on a sick, elderly woman reminds one why Marilyn was so hesitant to talk about her mother in public.
“Let’s Make Love is simply a harmless, silly comedy. Marilyn Monroe does what she does best, singing and dancing in some very provocative outfits. Her role in the film is the usual sweet and soft spoken type … the musical numbers are entertaining, well-staged, and a pleasure to watch … It has been stated elsewhere that Lets Make Love isn’t Marilyn Monroe’s best film. Whether that is true or not is up for grabs, but it’s a catchy film that’s worth a look on a lazy weekend afternoon. Besides, how can one not enjoy the gorgeous presence of Marilyn Monroe?”
“A pop culture curiosity for sure, Love is worth seeing but not for the usual reasons … there’s a melancholy pall over the entire outing that’s hard to shake when you’re watching it. Thus, it’s at least somewhat memorable as a kind of prelude goodbye to the kind of screen outing that had made [MM] a star … Her garb is, shall we say, a lot more revealing than anything Greer Garson wore the same year playing Eleanor Roosevelt in Sunrise at Campobello, and the Jack Cole choreography further pegs this as a Fox production through and through.
Somewhat surprisingly, [MM and Montand] don’t exhibit a whole lot of chemistry on screen, yet their characters are likable enough individually, which is just enough to carry something of a high-profile oddball whose Blu-ray rendering is more successful than not at fighting DeLuxe limitations of the period. (I’ve noticed that the very earliest color Scope movies from Fox — say, ’53 through ’57 — always look better than expected in high-def, but not so much the ones from later in the decade and early in the next).”
“Marilyn Monroe’s penultimate (completed) feature, Let’s Make Love (1960) isn’t as good as it might have been but it’s also better than one might have expected.
Two labor strikes, more work on the script by Hal Kanter, and Monroe’s usual personal issues during shooting notwithstanding, the resultant film came out okay. It has many plusses and a few minuses, and Montand’s performance both helps and hurts the film; Gregory Peck would have been a far better choice.
But the picture deviates a lot from the standard 1950s Monroe vehicle, and the script and George Cukor’s direction give it a subtlety and sophistication unusual for musicals of the period. The recently released-on-Blu-ray Les Girls (1957) strains for something similar but fails badly. Let’s Make Love, by comparison, succeeds almost effortlessly, if in small ways.
Monroe, heavier here than any film before or after, is nevertheless very sexy, and far more natural and less affected than in her earlier Fox films. Apparently she wasn’t all that happy with the script that was finally settled upon, but her performance is sweet and charming, even if after all the fuss Clement is still the main character and dominates the screentime, despite her top billing.
Video & Audio
Twilight Time’s Blu-ray, licensed from Fox, presents the film in its original 2.35:1 CinemaScope aspect ratio, with 5.1 and 2.0 DTS-HD Master Audio mixes approximating the original 4-track magnetic stereo release prints. The image looks pretty good throughout, though some color tweaking seems to have been done, most obvious on the flesh tones of Monroe and others. A limited edition of 3,000 units, this offers optional English subtitles and apparently is region-free.
The limited supplements include a trailer and isolated music track, along with Julie Kirgo’s usual booklet essay.
Memory in Pictures: Cuban Film Institute Posters 1960-2017, a new exhibition at the National Museum of Fine Arts until August 12, includes this poster for a 1970s retrospective of Marilyn’s movies, featuring a still from ‘My Heart Belongs to Daddy’, her big number from Let’s Make Love, the Havana Times reports.
“Sponsored by the Cuban Institute of Cinematographic Art and Industry (ICAIC), visitors will be able to see pieces by designers Nelson Ponce, Giselle Monzon, Michele Miyares Hollands, Raul Valdes, Alejandro Rodriguez Fornes (Alucho), Alberto Nodarse (Tinti), Víctor Junco, Roberto Ramos and Claudio Sotolongo.”
The actress and dancer Mara Lynn, who had a small part in Let’s Make Love, is profiled in today’s Winchester News-Gazette. Born Marilyn Mozier in Chicago in 1927, she is believed to have attended Winchester High School in Indiana. After studying classical dance with George Balanchine, she found fame on Broadway in Inside USA (1948.) This led to more musicals, and a long career as a dance director and performer in Las Vegas. She broke into movies with the camp classic, Prehistoric Women (1950), and appeared on television as a glamorous sidekick to comedians Groucho Marx and Milton Berle.
Let’s Make Love is perhaps her most notable film. The article claims that Mara ‘gave acting lessons to Marilyn Monroe at Marilyn’s New York apartment,’ but this seems highly unlikely. She may have helped Marilyn to limber up for her dance numbers, however.
“Clement [Montand] is used to women who are interested in him for his money and is moved by Amanda’s [MM] noble intention. He claims to sell costume jewellery between acting jobs and offers to sell her the diamond bracelet for five dollars. ‘The box looks like it’s worth more than that!’ she says, agreeing to buy it. Another dancer (Mara Lynn) admires the bracelet as a gift for her sick mother, and Amanda graciously offers it to her. Later, the dancer tells Clement her mother is long deceased. To retrieve the bracelet, he explains that its gems were exposed to radioactive atomic rays to produce their sparkle and will make the skin on her wrist peel. Horrified, the dancer removes the bracelet from her wrist, throws it at Clement, and takes back her money.”