Artist Lucille Clerc‘s gorgeous rendering of Marilyn – inspired by Milton Greene’s ballerina sitting – adorns posters for this year’s Champs Elysees Film Festival, celebrating independent French and American cinema. (And while you’re in Paris, don’t forget to see Bert Stern’s photos of Marilyn at DS World.)
Bert Stern’s ‘avant garde’ 1962 photo shoot with Marilyn is featured in a new exhibition at the DS World car showroom in Paris. (The photo above shows Marilyn’s scar after gallbladder surgery.)
“DS World Paris is hosting the ‘Marilyn, The Last Sitting’ exhibition from 8 June 2017 to 6 January 2018.
The session took place in Hotel Bel Air in Los Angeles in 1962 over two days and one night, consisting of three long photo shoots by Bert Stern for Vogue magazine. The photographer took a total 2,571 pictures; the 59 most emblematic are on show at DS World Paris.
For Julien Faux, Director of DS World Paris, the exhibition is ‘a way of keeping alive the legend of this extraordinary woman, who was ahead of her time. It is also a perfect opportunity for drawing parallels between the timelessness of this artist, who has since become an icon, with the spirit of avant-garde of the current models in the DS collection, descended directly from the DS, another icon of the 20th century.’
The exhibition is showing at DS World Paris at 33 rue François 1 in Paris. Free admission.”
All About Eve and Some Like It Hot are among the 53 films selected for this month’s ‘Glamour’ season at the Forum Des Images in Paris. (Although the striking poster art features Marilyn in Gentlemen Prefer Blondes, the 1953 musical comedy is not included – which is a pity, as it is partly set in a Hollywoodised version of Paris.)
Diamond manufacturer Cartier has made an enchanting Christmas commercial, featuring a cover version of ‘Diamonds Are a Girl Best Friend’, performed by supermodel Karen Elson, from an arrangement by Jarvis Cocker. Of course, Cartier was referenced in Marilyn’s signature song from Gentlemen Prefer Blondes, and Elson is shown being carried aloft by tuxedoed suitors, in a nod to Jack Cole’s original choreography. It was filmed in Paris, where Blondes is partially set. The neckline of her red dress is similar to Marilyn’s in Niagara, and the scene where her flared skirt billows over a subway grate recalls The Seven Year Itch. You can watch the clip here.
“All in all this retrospective showcases some 300 exclusive images and original documents (contact sheets and prints, preliminary proofs, original photo-montages and mock-ups) that shed a unique new light on the work and approach of an exceptional and atypical photographer.”
As with other famous tragedies, many people remember where they were when Marilyn died. This excerpt from John Wilcock: The New York Years (an ongoing comic book biography of underground publisher John Wilcock, by Ethan Persoff and Scott Marshall), recreates the moment Wilcock heard the news in a Paris bookstore. You can read the extract in full at Boing Boing.net.
A new exhibition, ‘Roy Schatt – Icons’, featuring his iconic photos of stars like Marilyn, James Dean and Steve McQueen, is on display at La Galerie de l’Instant in Paris until January 12th, 2014. (Thanks to Eric Patry for the heads-up!)
“But the most moving portraits, it seems to me, are those of Marilyn Monroe, in 1955. She attended as a student in the public meetings of the Strasberg Theatre School … It distinguishes among students in dark suits … all have their faces turned to the professor, and among these shadows can be seen as a star … a light touch, this famous light that emanated from her, she is, attentive, concentrated and especially natural, simple … one of the best periods of his life. This natural, this purity, this kindness that emanates from these photographs, I think is a very modern for its time, making these images not only beautiful and moving, but also timeless.”
Artist Philippe Pareno‘s 2012 video installation,, set in Marilyn’s Waldorf Astoria Hotel suite is now on display as part of an exhibition, ‘Anywhere, Anywhere Out of the World’, at the Palais de Tokyo in Paris, reports The Guardian‘s Adrian Searle:
“Why the tears? My own moment came when watching Parreno’s 2012 film Marilyn. Monroe’s voice, recreated by computer, takes us on a tour of the hotel suite where she lived in the late 1950s. What Marilyn sees, the camera sees. We watch through her eyes. Sunlight falls into the room. Rain beats at the window. Sometimes the camera swerves along with Marilyn’s frantic glances, her growing sense of hysteria and entrapment. Her eyes snag on the corners of things, the light glancing cruelly on polished surfaces. The studied normality of the room becomes a prison. The cushions, too perfectly arranged at either end of a sofa, look like a dumb rebuke. Her solitude seems terrible. The telephone rings but goes unanswered.
Towards the end, the camera retreats from the window, gliding between the occasional tables, the slipper chairs, the lilies in the vase. The camera’s tracks appear, then some bulky electronic equipment, as we back off, revealing the room as a movie set with no one in it. As the film ends, lights go up on the other side of the screen where the film has been projected, to reveal a huge snowdrift beyond. The temperature plummets. The sound of the rain we heard in the film is unabated.
This moment is somehow intensely moving. We are in a set too, just as Marilyn was. What is this subterranean drift of real snow in the Palais de Tokyo’s basement? Ice in the soul? Death? Are we in Marilyn’s mind or is she in ours? I begin to notice other piles of snow around the auditorium, like the shovelled-up slush you see on winter New York sidewalks.
When you buy a ticket for the show you get given a DVD of Marilyn. It can only be played once, because the dvd erases itself as you watch it, leaving you with a memory of something seen that can’t be recaptured. The DVD is called Precognition.”
The Tagliatella Galerie, Paris, is currently a hosting an exhibition featuring Lawrence Schiller’s photos of Marilyn on the set of Something’s Got to Give, and depictions of the star in Pop Art, running through to June 30.