In late 1958, Arthur Miller wrote ‘My Wife Marilyn’, a personal tribute for Life magazine. Over atBooktrysttoday, a closer look at how the article took shape.
“As in life so in these pictures — she salutes fantasy from the shore of the real until there comes a moment when she carries us, reality and all, into the dream with her, and we are grateful. Her wit here consists of her absolute commitment to two ordinarily irreconcilable opposites — the real feminine and the man’s fantasy of femininity. We know she knows the difference in these pictures, but is refusing to concede that there is any contradiction, and it is serious and funny at the same time.” – Arthur Miller
Native Londoner Brian Seed photographed Marilyn in 1956, in full movie star regalia at a theatre premiere with her new husband, Arthur Miller, on a night off from filming The Prince and the Showgirl in England, reports the Chicago Sun-Times.
These rare pictures – unattributed until now – will be displayed at this year’s Ray Bradbury Dandelion Wine Festival, today at Bowen Park in Waukegan, Illinois, where Brian now lives.
“‘That Marilyn Monroe was a really smart cookie,’ said Seed, a retired freelance photographer for Life magazine.
Sifting through photos he took of the Hollywood icon in October 1956, he says: ‘Look at this picture — she’s looking directly at me, because she knows I’m likely the only photographer in there who’s working for a magazine, and that the photo that would result would not be used in one day’s paper and then gone forever.’
As it turned out, Seed’s photos from that night outside London’s Comedy Theatre would sit unseen for more than a half-century.
Though Seed was pleased with his results, Life editors didn’t use any of the images they commissioned of Monroe. The magazine would eventually release a career’s worth of negatives to Seed in the late 1970s and he filed everything away until recently stumbling across the images.”
Sadie Mintz is the 105 year-old founder of the Hollywood Jewellery Box, and designer of the earrings worn by Marilyn in Some Like it Hot, reports Emily Smithack for the Smithsonian blog.
“On one occasion in the 1950s, I rented several pairs of the same rhinestone earrings. Evidently they were worn by Marilyn Monroe and several other cast members in Some Like It Hot. My husband and I made the earrings. We were supposed to make them with a lot of rhinestones, very noticeable. These earrings were the very same that Marilyn Monroe had on in the famous LIFE magazine photograph of her, which I always kept framed on the wall.
Years later, I sold my inventory back to the studios. I kept some things for the grandkids – I had three granddaughters, and they used to love to come play in the drawers. But I did keep those rhinestone earrings. I tried to have them sold by Christie’s or Butterfield’s – I don’t remember which auction house. They agreed it was the same design, but I had no proof that these were the very same earrings worn by the stars, so they could not ‘authenticate’ them. I wonder what more information they needed since I was already in my mid-nineties and remembered everything! My eldest granddaughter even got me a clip of the video showing the earrings. These were indeed the same earrings. I ended up having them sold at auction by the Screen Actors Guild, which was more lax on the authenticity rules.”
Celebrating its 75th anniversary, Lifehas selected some of its most memorable covers, including this iconic Philippe Halsman cover from 1952:
“April 7, 1952: Marilyn Monroe
LIFE was an early champion of Marilyn Monroe’s, and this photograph by Philippe Halsman graced the first of many cover stories on Monroe for the magazine. Readers, however, were probably paying less attention to Monroe’s mind than to her off-the-shoulders gown, apparently held up by little more than optimism.”
Another Halsman cover shot of Marilyn, from 1959, is also featured:
The photo was taken for Life magazine, as part of an article headlined ‘Eight Girls Try Out Mixed Emotions’. It was published on October 10th, 1949. Dyer mistakenly dates the photo to 1950 and assumes that it was a group portrait for 20th Century-Fox. In fact, Marilyn was not at Fox in 1949 and had only appeared in four movies.
With this minor error taken into account, Dyer’s comments are nonetheless very perceptive on why Marilyn stood out from the crowd from a very early stage in her career.
“In 1950, when Monroe had been signed to a seven-year contract with 20th Century-Fox, she was photographed for the studio with a group of other contract players by Philippe Halsman. It is not only with hindsight, because she is the only one we now recognise, that Monroe stands out. We may ascribe to Halsman the fact that Monroe is placed at the front and in the centre and looks straight to camera (rather than in the various off-screen or self-absorbed directions of the other players) and thus seems to make a direct contact with the viewer’s eyes. We could go on to ascribe the very simple, relaxed pose to Halsman, the tousled, naturally falling, uncoiffed hair to an expert hair stylist, the unfussy blouse to the wardrobe department and so on. But of course we have no way of knowing who made such decisions, Monroe or someone else; the evidence in the biographies suggests that even if others did make the decisions, it was because they had already ascribed naturalness to her in their minds; and, most important, it is unlikely that anyone seeing this photo in 1950 would have sought to identify those responsible for constructing her in an image of naturalness. Indeed, what is striking about the photo is the contrast between the very obviously contrived poses of the other players, though each a very recognisable female stereotype of the period, and the apparently artless look of Monroe that makes the others seem constructed but her seem just natural. Many other Monroe pin-ups from around this time have a similar quality, and the contrast between Monroe and the others in this photo encapsulates the more general contrast that was beginning to be apparent between her pin-ups and the other available cheesecake.”
“Sam Anfang owned Gentree, a men’s clothing store in midtown Manhattan, from 1933 to 1978. He turns 100 years old Dec. 31.
‘Arthur Miller was a customer of mine for his whole life. Then Marilyn Monroe married Arthur Miller and it was a great fuss all over the country. So Life magazine called me up one day and said they would like to have Marilyn Monroe come over to the store to shop there, and they wanted to take pictures. I used to call up to find out what’s doing down at the store, and my partner says to me, ‘The store is closed.’ I said, ‘What do you mean it’s closed?’ He says, ‘Marilyn Monroe is here, they spotted her, they had cops in front of the store and everything.’ I asked, ‘Well, what does she look like?’ He says, ‘Sam, she’s got a dress on with nothing underneath, she’s absolutely fabulous!’
“Empire film magazine crowned Marilyn Monroe the ‘Sexiest Female Movie Star of all Time’, while People magazine voted her the ‘Sexiest Woman of the Century’. But what was beyond the public image and the pretty face? Now the life and thoughts of the troubled screen goddess is coming to Edinburgh in An Actress Prepares, a surprising and revealing adaptation of Marilyn Monroe’s last ever interview, for the first time ever making its appearance on stage.”
On 17th August 1962 LIFE magazine published “Last Talk with a Lonely Girl”. 36 years old, divorced for the third time and now living alone, frustrated by Hollywood and tired of the label ‘sex symbol’, the final years of her life were marked by illness, personal problems, and a reputation for being unreliable and difficult to work with. In An Actress Prepares, Marilyn reflects on her silver screen persona and exaltation to one of the most celebrated idols of her time, while freely admitting to never knowing happiness. Candid and contemplative, and with her untimely death shortly after, this was to become her ultimate interview.”