This is one of three articles about Marilyn, printed in the Los Angeles Mirror, fifty years ago today. The other two clippings were extracts from Maurice Zolotow‘s just-published Marilyn Monroe, the first full-scale biography of the star and still considered a definitive source on her life and career.
Rare photographs of Marilyn Monroe in a 1948 stage show, Strictly For Kicks, will be sold in a Bonham’s and Butterfield auction of entertainment memorabilia, to be held in Los Angeles next month.
This colour photo from the previous year shows Marilyn in the same floral bikini and platform sandals – she wore them in her first movie, Scudda Hoo! Scudda Hay! (1947)
In 1948, Marilyn signed a 6-month contract with Columbia. However, she had previously worked at Twentieth Century Fox, and in March she appeared in a studio talent showcase at the Fox Studio Club Little Theater. An outside arena was built instead of using the stage on the lot, as studio boss Darryl F. Zanuck would be attending.
Marilyn appeared in two brief scenes, and the script included directions such as ‘Miss Monroe butts onto the stage…’
Marilyn appears to be wearing a costume from Ladies of the Chorus, which she filmed at Columbia in April.
In these pictures Marilyn wears a light-coloured dress, which could be the dress which she would wear in Love Happy (1949.)
Other items on offer at Bonhams’ include contractual papers for Bus Stop; a signed photo; personally-owned scripts for Let’s Make Love and Something’s Got to Give; a handwritten note by Marilyn, reminding herself to call poet Carl Sandburg; a mortgage agreement signed by Monroe and third husband Arthur Miller; a receipt for a gas payment, dated to Marilyn’s last birthday; and some airline tickets.
Thanks to Megan at Everlasting Star
Read my tribute to Richard C. Miller, one of Marilyn’s first photographers, here
“I churned out after work last night. Marilyn’s image used to be stressful and overwhelming to work with. Finally, working with her image has become a soothing practice…now that it’s been a few years, and I’ve read more books than I can count on the dame.”
After a 1960 photo by John Bryson, taken on the set of Let’s Make Love
‘You fellows are always talking about sweater girls. I don’t know what the fuss is about. Take away their sweaters and what have they got?’ – Marilyn Monroe, 1952
French designer Gerard Darel, who acquired Marilyn’s famous cable-knit sweater in the Christies’ auction of 1999, has used it as the inspiration for his autumn collection – though as you can probably tell, his model isn’t blessed with Marilyn’s sumptuous curves.
Marilyn finally whipped off her sweater to reveal a sheer black leotard, after singing ‘My Heart Belongs to Daddy’ in the 1960 musical, Let’s Make Love, co-starring the French-Italian singer and actor, Yves Montand.
“The Jazz/Musical Theatre Dance Program of the School at Jacob’s Pillow (Becket, MA) is presenting works that Chet Walker has created in the Jack Cole tradition in two final performances: a free presentation on the Inside/Out Stage on Saturday, Aug. 21, at 6:15 and a sold-out benefit concert in the Ted Shawn Theatre on Sunday, Aug. 22, at 8pm.”
Jack Cole was Marilyn’s choreographer and trusted friend, working with her on Gentlemen Prefer Blondes (1953) and throughout her dazzling career.
Debra Levine profiles Cole in today’s Huffington Post
Read her Los Angeles Times article from 2009, examining Cole’s fruitful partnership with Marilyn.
“Bungalow 9, the Beverly Hills Hotel…the pink stucco bungalow stands between No. 10 – where Marilyn Monroe had a torrid affair in 1960 with her ‘Let’s Make Love’ co-star Yves Montand – and No. 8, home at one time to Elizabeth Taylor and Richard Burton.”
During the interview, Gaga referenced MM while discussing her controversial ‘Paparazzi’ video of 2009.
“And while my fascination with celebrity has almost left the building, I had this incredible fascination with how people love watching celebrities fall apart, or when celebrities die; I wanted to know, what did they look like when they died? Marilyn Monroe, Princess Diana, JonBenet Ramsey…I think about all those dead girls, all those dead blonde icons. What did they look like when they died? So then I thought, well maybe if I show what I look like when I die, people won’t wonder. Maybe that’s what I want people to think I’ll look like when I die.”