150 photos of Marilyn taken by George Barris in the weeks before she died are the centrepiece of a dedicated auction at Paddle8 in New York, reports Vanity Fair.
“The auction, called Platinum Blonde: Collectible Marilyn, takes place in New York from August 2 to 11, also includes memorabilia—including Monroe’s eighth-grade class photo from Ralph Waldo Emerson Middle School and movie posters from classics like Some Like It Hot and The Seven Year Itch—from the late star, who would have turned 91 this year.
Barris, who originally met with Monroe to do a Cosmopolitan story from the set of Something’s Got To Give, instead became a confidant of sorts in the final weeks of her life. The two began working on a book about Monroe’s life; Barris interviewed her extensively and began to photograph her as well.
In the 1980s, private collector acquired the images from Barris, who died late in 2016. In this auction, these three lots are presented in the original photoboxes from Barris, ranging from 43 to 63 images in each, with estimates from $8000-24,000. The Paddle8 auction, to [Dean] Harmeyer’s knowledge, features the biggest collection of Barris’s work to ever go on sale.”
Three years after their encounter on the set of We Were Strangers (see here), Marilyn and John Garfield were early contenders for the lead roles in On the Waterfront, according to Marilyn’s photographer friend, Sam Shaw, who was then developing it as a screenplay. (Director Elia Kazan denied all of this, but Al Ryelander, then a press agent for Columbia Studios, insisted the story was accurate.)
By 1952, Marilyn’s star was rising – but Garfield’s career was destroyed, after he refused to ‘name names’ to the House Un-American Activities Committee, and became the most famous victim of the ‘red-baiting’ era. He died of a heart attack months later, aged 37. Author Robert Knott retold the story, which also touches on Marilyn’s relationships with Kazan and future husband Arthur Miller, in He Ran All the Way: The Life of John Garfield (2003.)
On the Waterfront was released to acclaim in 1954, starring Marlon Brando and Eva Marie Saint. Ironically, the film can be seen as director Elia Kazan’s self-justification for his own decision to name names. One can only imagine how different Marilyn’s subsequent career might have been had she played the role of demure Edie Doyle…
“Shaw gave Monroe the script while she was in New York to take in the Broadway production of Gentlemen Prefer Blondes. Monroe read the script and passed it on to her lover, Elia Kazan. Shaw, who called himself a ‘half-assed observer at the Actors Studio,’ had met Kazan on the set of the 1950 film Panic in the Streets. ‘Kazan had heard about my script (before Monroe gave it to him) and wanted to see it,’ Shaw said. ‘I wouldn’t give it to him, because he was involved with Arthur Miller on a similar project, The Hook.’ But after Monroe gave Kazan the script, the director called Shaw. ‘You’ve got an interesting script, but it needs a lot of work,’ he told Shaw. ‘Let Budd Schulberg work on it.’ Shaw, seeing the merit in Kazan’s suggestion, raised $40,000 to pay Schulberg to work on the script. According to Shaw, at this point Jack Cohn turned the script over to Sam Spiegel … Within a year Kazan, Spiegel and Schulberg were preparing the film for Columbia Pictures with Marlon Brando … By that point, neither Shaw nor Garfield were involved in any way.”
The house at 122 East Ridge Road, Waccabuc (in upstate New York), where Marilyn married Arthur Miller 61 years ago this week, is now on sale for $1.675 million (£1.29m) reports the Telegraph. It was then the home of Arthur’s literary agent, Kay Brown – she was not, as the article claims, Marilyn’s manager. You can view the listing here.
Cecil Beaton’s ethereal 1956 portrait of Marilyn – which she kept framed in her New York apartment, on top of her famous piano – was one of many iconic images projected onto the Empire State Building this week, marking the 150th anniversary of Harper’s Bazaar magazine. Among her contemporaries, Elizabeth Taylor and Audrey Hepburn were also featured.
Patricia Bosworth has written acclaimed biographies of Montgomery Clift, Marlon Brando and Jane Fonda. A lifelong member of the Actors Studio, she also wrote ‘The Mentor and the Movie Star‘, a 2003 article about Marilyn and the Strasbergs for Vanity Fair, and appeared in the 2006 PBS documentary, Marilyn Monroe: Still Life.
“I slid into the backseat, where I found Marilyn Monroe huddled in a corner dreamily puffing on a cigarette. Her bleached blond hair was tousled; she seemed to be wearing no makeup. I noticed there was dirt under her fingernails, but I couldn’t stop looking at her. We were about to pull away from the curb when a voice cried out, ‘Hey Lee, goin’ my way?’ and Harry Belafonte hopped in beside me. We drove uptown in silence.
I knew Marilyn was aware I was looking at her. She was used to being looked at, and she wasn’t self-conscious. She had a mysterious indefinable quality that made her a star and separated her from everyone else. At the moment she appeared to be floating in another world as she puffed delicately on her cigarette and blew the smoke softly out of her mouth. The newspapers were full of stories about her—how she’d left Hollywood and come to New York to be a ‘serious actress,’ how Lee was coaching her at his apartment and letting her observe sessions at the Studio.”
Elsewhere, Bosworth confirms that Tennessee Williams had wanted Marilyn to star in Baby Doll (but Gore Vidal thought she was too old.) Bosworth knew many key figures in Marilyn’s life, including Elia Kazan, Lee and Susan Strasberg – who found her father’s ‘obsession’ with Marilyn disturbing.
As Bosworth admits, Marilyn was part of Lee’s inner circle from which she felt excluded. She was also intimidated by Marilyn’s fame, which nonetheless kept the Actors Studio in the headlines. Lee Strasberg often seemed cold and domineering, but Bosworth considered him ‘a great teacher.’
Bosworth, unlike Marilyn, was born into a life of privilege, and forged a stage career as well as starring alongside Audrey Hepburn in The Nun’s Story. However, her impeccable connections couldn’t save her from family tragedy (her brother and father both committed suicide), and an abusive marriage.
The 1950s, as Bosworth observes, was a staid, even repressive decade – but the creativity and rebellion of the 60s was already fermenting. She talks about the impact of the anti-communist witch-hunts, both on the artistic community and her own family, and the rampant sexism she constantly endured.
Elizabeth Winder will focus on Marilyn’s New York period directly in her forthcoming book, Marilyn in Manhattan: Her Year of Joy, but Patricia Bosworth’s account comes from her own experience. For anyone interested in learning more about the bohemian world that women like Bosworth – and Marilyn – helped to define, The Men In My Life is essential reading.
Miguel Ferrer, the accomplished character actor whose many screen credits include Robocop and Twin Peaks, died last week aged 61, The Guardian reports.
He was born on February 7, 1955 to singer Rosemary Clooney and her husband, actor Jose Ferrer. Among his impeccable Hollywood connections (his cousin is George Clooney), Miguel enjoyed an early encounter with Marilyn Monroe which reveals a great deal about her love of children.
In her 1999 autobiography, Girl Singer, Rosemary recalled throwing a party at her New York home in the winter of 1955, shortly after Miguel was born. Film director John Huston came with Marilyn, who had recently moved to the city. Rosemary had only met her once before, but Marilyn immediately asked if she could see the baby. Without even brushing the snow off her fur coat, Marilyn headed upstairs to the nursery. About an hour later, Huston asked Rosemary, ‘What the hell’s she doing up there?’ She replied that Marilyn was ‘playing with the baby.’
Before his death, Miguel reprised his role as the gruff FBI forensic pathologist, Albert Rosenfeld, in the forthcoming new series of Twin Peaks. He is not the only cast member with a connection to Marilyn, as her Bus Stop co-star Don Murray will also be making a cameo appearance.
A print of Andy Warhol’s Marilyn, believed to be worth $7,000, was stolen on New Year’s Day from the open garage of a residential home on Staten Island, New York, reports SILive.com. (This follows a global trend of Marilyn-related art thefts, the most recent example being a statue in New Zealand last October.)
Amateur footage from the set of The Seven Year Itch has resurfaced, as Helene Stapinski reports for the New York Times. Shot by Jules Schulback, a furrier and home movie enthusiast, in September 1954, the missing reel – in pristine condition, and lasting for three minutes and seventeen seconds in total – was found by his granddaughter Bonnie Siegler and her husband Jeff Scher almost sixty years later.
“The film starts with a spliced-in intertitle that reads ‘World Premiere,’ Mr. Schulback’s little inside joke.
And then there is Marilyn Monroe, in a white terry robe, coming down the stoop of a white-shuttered building at 164 East 61st Street, between Lexington and Third Avenues. It was the earlier scene — before the subway grate footage — that Mr. Schulback had shot. Cameramen and press photographers are gathered outside as the actress smiles and waves.
Cut to Ms. Monroe in a second-floor window wearing a slip and blow-drying her hair. Mr. Ewell walks down the street and into the building. The film cuts inexplicably to 30 seconds of what must be a Shriners parade in Manhattan, then jumps to another intertitle, which reads ‘Our Baby.’
And suddenly, there is Ms. Monroe again, this time on the subway grate in that famously fluttering white dress, holding a matching white clutch in her right hand and a red-and-white-striped scarf in her left.
Mr. Schulback was incredibly close, filming right behind Mr. Wilder’s shoulder, stopping to wind his hand-held camera every 25 seconds. Now and then, a silhouette of the director’s arm intrudes into Mr. Schulback’s crystal-clear shot. At one point Mr. Wilder, in a fedora, passes across the frame. Ms. Monroe gets into position and yawns, while the cinematographer sets up the camera. Through a gap in the film crew, Mr. Schulback captures just her face, looking off to the left, serious and unsmiling.
Then Mr. Ewell is there, chatting with Ms. Monroe, who pushes him into position. The dress flutters again, Ms. Monroe holds it down, bending slightly, smiling and talking to Mr. Ewell, but it flutters up some more and she laughs, her head thrown back. It blows up again, but she doesn’t push it down this time, and it flies up over her head, clearly revealing two pairs of underwear that, because of the bright lights, do not protect Ms. Monroe’s modesty quite as much as she might have liked.
Then, as suddenly as she appeared, Marilyn is gone, and the film reverts to home-movie mode: Edith Schulback walking on the grass at a family outing in the country. It’s like being shaken from some crazy dream, back to reality.”
Elsewhere in the Times, Alexandra S. Levine retraced Marilyn’s steps in today’s New York.
“We started outside 164 East 61st Street, the townhouse shown in the film.
The house is still standing, and this week, it appeared to be the only one on the block still adorned with Christmas decorations.
(It’s also now directly across from Trump Plaza, which was certainly not part of the movie’s quaint side-street landscape.)
We then walked to Lexington to visit Gino, a restaurant where Ms. Monroe would often eat with her second husband, Joe DiMaggio, and later with her third, Arthur Miller.
We regret to inform you that the eatery is long gone. It’s now Sprinkles, a cupcake shop, and the outside of the building has an A.T.M. that dispenses cupcakes. (How far we’ve come in 63 years!)
We headed south, to 52nd Street, the site of the celebrated subway grate.
There was no Marilyn Monroe plaque or street sign to be seen; the block is designated Lew Rudin Way. And the Trans-Lux Theater, which stood behind Ms. Monroe as she filmed the scene, is no longer there.
So we stopped above what we imagined was the same grate, now in front of the bistro Le Relais de Venise l’Entrecôte, to see if it might elicit an out-of-body experience.
The long, narrow subway grate was sandwiched on one end by a garbage can, and on the other by a large, thirsty-looking potted plant.
When we stood over the grate, we didn’t feel the swoosh of the subway swiftly blowing at our heels. When we looked down, all we could see was our own reflection in some murky water. And we certainly didn’t look like we were having an exceptional hair day.
What we’d suggest, to better recreate that unforgettable New York (but made in Hollywood) moment, is to ask a friend to come along with a giant fan and an iPhone. Ask that kind soul to turn on the fan, encourage passers-by to cheer your name, and let the photo shoot begin.”
In January, exhibitions featuring Milton Greene and Douglas Kirkland’s photographs of Marilyn opened in London and Amsterdam. In New York, the Museum of Modern Art paid tribute to Marilyn’s choreographer, Jack Cole. Also this month, James Turiello’s book, Marilyn: The Quest for an Oscar, was published. And Edward Parone, assistant producer of The Misfits, died.
In April, a special edition of Vanity Fair magazine – dedicated to MM – was published. A campaign to save Rockhaven, the former women’s sanitarium where Marilyn’s mother Gladys once lived – was launched. And actress Anne Jackson – wife of Eli Wallach, and friend to Marilyn – passed away.
In May, Marilyn graced the cover of a Life magazine special about ‘hidden Hollywood’, and Sebastien Cauchon’s novel, Marilyn 1962, was published in France. Cabaret singer Marissa Mulder’s one-woman show, Marilyn in Fragments, opened in New York, while Chinese artist Chen Ke unveiled Dream-Dew, a series of paintings inspired by Marilyn’s life story. The remarkable collection of David Gainsborough Roberts was displayed in London. Finally, Alan Young – the comedian and Mister Ed star, who befriended a young Marilyn – died.
In July, the birthday celebrations continued in Marilyn’s Los Angeles hometown with tributes from painter David Bromley, and another Greene exhibition. A new musical, Marilyn!, opened in Glendale. Rapper Frank Ocean appeared alongside a Monroe impersonator in a Calvin Klein commercial. And Marni Nixon, the Hollywood soprano who sang the opening bars of ‘Diamonds Are a Girl’s Best Friend’, passed away.
August 5th marked the 54th anniversary of Marilyn’s death. Also this month, it was announced that Seward Johnson’s ‘Forever Marilyn’ sculpture may return permanently to Palm Springs. April VeVea’s Marilyn Monroe: A Day in the Life was published, and Marilyn’s role in Niagara was featured in another Life magazine special, celebrating 75 years of film noir.
In September, Marilyn: Character Not Image – an exhibition curated by Whoopi Goldberg – opened in New Jersey. Terry Johnson’s fantasy play, Insignificance, was revived in Wales. Two locks of Marilyn’s hair were sold by Julien’s Auctions for $70,000. And author Michelle Morgan published The Marilyn Journal, first in a series of books chronicling the Marilyn Lives Society; and A Girl Called Pearl, a novel for children with a Monroe connection.
In daily life, Marilyn often went unrecognised. This rare photo shows her wearing a black wig. When travelling ‘incognito‘, she sometimes used false names (including ‘Zelda Zonk’.)
In the summer of 1953, Joe DiMaggio joined Marilyn in Canada, where she was filming River of No Return. She took these snapshots of Joe during his visit. Also pictured is Jean Negulesco, who had directed Marilyn in How to Marry a Millionaire. Although his work on River was uncredited, Negulesco may have helped to smooth the differences between Marilyn and the somewhat tyrannical Otto Preminger.
Shortly before her third marriage to Arthur Miller, Marilyn converted to Judaism. This Jewish prayer book was probably a gift from Rabbi Robert E. Goldburg.
Some photos of Arthur Miller, including one taken with Marilyn in 1959.
Marilyn’s Minolta 16mm camera. This model was introduced in 1957.
These photos are of the farmhouse at Roxbury, Connecticut, bought by the Millers after their marriage. It is incorrectly identified in the Julien’s catalogue as Marilyn’s Los Angeles abode. The Millers’ country home required extensive renovations. After their marriage ended, Marilyn kept their city apartment while Arthur lived at Roxbury until his death in 2005.
Marilyn with her friend, actor Eli Wallach, in 1957. They would later co-star in The Misfits (1961.)
Correspondence with Xenia Chekhov, widow of Marilyn’s acting teacher, Michael Chekhov.
“A single-page typed, unsigned file copy of a letter dated December 19, 1958, to ‘Mrs. Chekhov’ reading ‘My husband and I were so happy with the pictures you sent us of Mr. Chekhov. We will treasure them forever. I am not able to shop for Christmas, as you may already know I have lost the baby, so I would like you to use this check as my Christmas greetings with all my most affectionate good wishes. My husband sends you his warmest regards.’ The letter is accompanied by Xenia Chekhov’s response written on a notecard dated January 10, 1959, reading in part, ‘[Y]our personal sad news affected me very much and I could not find the courage to write you sooner. All my warmest feelings of sympathy go out to you and Mr. Miller.’ This is a deeply personal note with an acknowledgement of a miscarriage in Monroe’s own words.”
“An assortment of receipts from seven different bookstores: including: Doubleday Book Shop, Beekman Place Bookshop, and E. Weyhe Inc., all of New York City, and Wepplo’s Book Store, Lee Freeson, Martindale’s Book Stores and Hunter’s Books, all of Los Angeles. Titles include The Great Gatsby; Van Gogh’s Great Period; I , Rachel; An Encyclopedia of Gardening; Hi – Lo’s – Love Nest; a book listed simply as ‘Yves Montand’, among others. The receipts are dated 1958 and 1960.”
A Royal Quiet de Luxe model typewriter owned by Marilyn.
Various letters from Marilyn to her stepdaughter, Jane Miller.
“A 1957 letter is written to Janie at summer camp and recounts a number of amusing stories about Hugo the Bassett Hound reading in part, ‘He got kicked by that donkey. Remember him? His nose swelled up with a big lump on top and it really wrecked his profile. I put an ice pack on it and it took several days for it to go down but the last time I saw him it was pretty well healed. Bernice is taking care of him and the house while I am at the hospital.We are going home tomorrow and then I will write you by hand. Listen, I had better stop now because I want to get off a note to Bobby today. Don’t worry about me in the hospital. I am feeling much better now and I have the funniest Scotch nurse.’ (Marilyn had recently been taken to hospital after suffering an ectopic pregnancy.)
The 1958 letter is typed on the back of a piece of stationery from the Hotel Bel-Air and is addressed, ‘Dear Janie-bean.’ The letter, written as Marilyn prepared for Some Like It Hot, reads in part, ‘Thanks for helping me into my white skirt. I almost didn’t make it -but now that I’m busier I’ll start losing weight – you know where. Along with ukulele lessons I have to take I’m learning three songs from the 1920 period. … I don’t know how my costumes in the picture will be yet. I’ll let you know.'”
Three colour slides from the estate of Frieda Hull, showing the Millers leaving New York for Los Angeles in November 1959. Marilyn’s parakeet, Butch, travelled with them. He was a noisy passenger, constantly squawking, “I’m Marilyn’s bird!”
An electroplate ice bucket, made in England, and a receipt for 12 splits of Piper Heidsieck champagne, delivered to the Millers’ bungalow at the Beverly Hills Hotel during filming of Let’s Make Love in December 1959.
Address books from 1955 and 1962. The first includes a handwritten ‘to-do list’, with entries such as “as often as possible to observe Strassberg’s [sic.] other private classes”; “never miss my actors studio sessions”; “must make strong effort to work on current problems and phobias that out of my past has arisen.”
Perhaps the biggest surprise in the Julien’s sale is that Marilyn was planning to buy a home in New York, even commissioning a series of architectural drawings for a property on East 61st Street in November 1961. In addition to her rented Manhattan apartment, she bought a small bungalow in Los Angeles in 1962, but clearly hadn’t given up her dream of a permanent East Coast base.
“An original letter from John E. Holland of the Charles F. Noyes Real Estate Company dated October 18, 1961, addressed to Miss Marilyn Monroe, 444 East 57th Street, New York, “Attention: Miss Marjorie Stengel” (Monroe’s secretary). The letter reads in part, ‘L]ast summer Mr. Ballard of our office, and I showed you the house at the corner of 57th Street and Sutton Place and Mr. Arthur Krim’s house on Riverview Terrace. I spoke to Miss Stengel yesterday and told her of a house which we have just gotten listed for sale at 241 East 61st Street. She asked me to send you the particulars on this house as she thought you might be interested in it. I am enclosing our setup. … The garden duplex apartment is now occupied by the owner and would be available to a purchaser for occupancy. You may possibly have been in this apartment as Miss Kim Novak … just moved out in September. Before that it was occupied by Prince Aly Khan.’
An original letter from John E. Holland of the Charles F. Noyes Real Estate Company dated November 15, 1961, addressed to Miss Marjorie Stengel, stating, ‘I am enclosing herewith Photostats which I had made of the drawings adding a stairway which would include all or half of the third floor with the duplex garden apartments. These sketches may be somewhat confusing, but I could easily explain them if you would like to have me do so,’ together with six Photostat copies of original architectural drawings for the redesign of an apartment located at 241 East 61st Street in New York. The drawings go into great detail as to the redesign of the apartment, with space for an art studio and specific notes stating, ‘This could be another bedroom or boudoir, or health studio with massage table, chaise lounge, private living room…or…with numerous closets.'”
This grey pony handbag may have been bought by Marilyn during her February 1962 trip to Mexico. She was also a keen gardener, and a Horticulture magazine subscriber.
“An extraordinary, blue cloth over board, ‘project management‘ three-ring binder kept by one of Monroe’s assistants chronicling the purchase and ongoing renovation and decoration of her home located at 12305 Fifth Helena Drive in Brentwood, California. The notebook begins with an information sheet and lot diagram as well as a typed renovation and additions budget for the property totaling $34,877.36 against a purchase price of $57,609.95. The book also contains approximately 28 pages of notes on various renovation projects and to-do lists; a page with notes regarding terracing and planting the hillside; seven drawings of exterior floor plan for possible apartment above the garage for a cook; three renderings of options for a table and another decorative element for the home; and a listing of bills due as of August 16, 1962. The last page of the book lists ‘Moet – Champagne vintage 1952/ et Chandon a Epernay/ Cuvee Dom Perignon – 13.88.’ The book lists dates that furniture is due to be delivered from various suppliers, many after Monroe’s death, as well as dimensions of each room of the home for the purpose of ordering ‘white India’ carpet. It also has estimates to have the pool resurfaced, water heater moved, fountain built, and laundry room and shower expanded for people using the pool as well as notes about decoration of a ‘play room,’ fabrication of a new gate, bars for windows, and shelving to be built, among many other things.
A group of invoices dating to February 28, 1962, from various Mexican boutiques listing the purchase of a great number of pieces of furniture and home furnishings, purchased in Mexico for Monroe’s Fifth Helena Drive residence. Together with a two-page typed signed letter dated July 26, 1962, signed ‘Mura’, giving a full report to Monroe’s secretary Eunice Murray regarding her buying trip in Mexico. The letter demonstrates the fact that Monroe was still quite actively working on her home at the time of her death.”