This original photo of Marilyn facing the paparazzi with Milton Greene at Madison Square Garden in March 1955 (on the night she rode a pink elephant for charity at the Ringling Brothers circus) is going up for sale on November 3rd, as part of Heritage Auctions‘ Entertainment & Music Memorabilia Signatures event. The verso is marked ‘MM-56’, and dated September ’55; stamped twice, with the magazine title TV and Movie Screen, and a credit for the Neal Peters Collection, plus a caption: ‘Love ‘n’ Desire?’
Also on offer is a set of documents related to Some Like It Hot, including legal permission for real machine guns to be used in the movie; and the December 2005 issue of Playboy, featuring Marilyn on the cover, and signed by founder Hugh Hefner.
Marilyn and Vincent Van Gogh are referenced together in ‘Bye Bye Caroline‘, the new single by Swiss heavy rockers Gotthard (and featuring Status Quo’s Francis Rossi), as Polly Glass reports for Louder Sound.
“We can’t decide if ‘It ain’t nothing like Van Gogh/Or even Marilyn Monroe’ is one of the best or worst lyrics we’ve heard all year (actually it probably is one of the worst, but we say that with love…), but either way we can’t help tapping our toes along to this Quo-tastic new song from ‘the most successful band from Switzerland’. Lyrically inspired by Rossi’s 1973 Caroline, it’s a bouncy romp of piano, guitars, harmonicas and unpretentious fun. Check out more on upcoming compilation Defrosted 2.”
In 1962, Marilyn was set to become the first American actress to appear nude in a mainstream movie since Pre-Code days – but following her untimely death, that honour went to another blonde star, Jayne Mansfield, in a film released just a year later, produced independently with Tommy Noonan (who had played Marilyn’s love interest a decade earlier in Gentlemen Prefer Blondes.) And as with Marilyn’s shelved nude scene, Jayne’s big moment would make the cover of Playboy.
Although Jayne would reveal more than Marilyn did, both scenes showed the stars bathing (Marilyn in a pool, Jayne in a tub), and discovered by a shy, bespectacled man (Phil Silvers and Noonan respectively.) Kristin Hunt reports on the story behind aHollywood watershed for Vulture – and if you’d like to learn more about Jayne, read Puffblicity, an illustrated biography by April VeVea, author of MM: A Day in the Life.
“Monroe filmed two nude scenes — one for 1961’s The Misfits and one for 1962’s Something’s Got to Give — but neither made it into theaters in one piece. The first scene was cut and the second was a mere fragment of an unfinished movie … The Something’s Got to Give scene was a little more intentional. Monroe’s character Ellen is supposed to swim nude, as a means to entice her estranged husband Nick from his hotel room. The footage of Monroe skinny-dipping in a pool is now available in multiple YouTube clips, but the movie never screened for era audiences, since Monroe was fired and then died before filming wrapped.
Either scene would’ve made Monroe the first American star to go nude in a Hollywood movie in decades. But in Monroe’s absence, it was Jayne Mansfield who shattered the long-standing tradition. Like Monroe, Mansfield was a buxom blonde with a complicated reputation — but unlike Monroe, she craved the industry’s constant spotlight, and frequently used her body to get it.
While onscreen nudity certainly existed before 1962, it had been outlawed in the U.S. for decades under the Production Code … It was against that backdrop that Mansfield made her topless debut in the 1963 swingers cruise-ship comedy Promises! Promises! The actress was in a bit of a career slump at the time … Mansfield had always been famous for her crass publicity stunts, which often involved her ‘accidentally’ losing her clothing … Those blatant headline grabs had launched Mansfield’s career, landing her a star-making role in the 1956 comedy The Girl Can’t Help It, and they also made her distinct from her blonde-bombshell rival Monroe, who generated tabloid fodder without really trying.
Shortly after Monroe’s 1962 death, The New York Timesran an article explaining why each ‘successor’ to Monroe was an inadequate replacement: Ava Gardner was too reclusive, Kim Novak too serious, Natalie Wood too slight. But the newspaper reserved some of its meanest comments for Mansfield. ‘Jayne Mansfield, whom 20th Century Fox was building as a Love Goddess nominee, suffers from too much publicity and too few roles,’ The New York Times wrote. ‘She has become rather a caricature — like Mae West — and alienates the segment which takes sex seriously.’
If she was already a caricature, it made sense for Mansfield to seek out the absurdity of a sexploitation film. Promises! Promises! was a translation of Edna Sheklow’s 1960 play The Plant, about two couples on a cruise ship who swap partners in a drunken haze, and then have to figure out who fathered which pregnancy. Actor Tommy Noonan purchased the film rights after nearly starring in the stage show, planning to write, direct, produce, and act in the movie.
Noonan would’ve known as well as anyone the risks of including a nude scene, even within the context of this racy plot … But a code violation didn’t carry the weight it once did, because by 1963, the entire system of censorship was running on life support … Mansfield’s nude scene arrives fairly early into Promises! Promises!, soon after the couples have settled into their cabins. Her screen husband Jeff (Noonan) has just been to see the ship’s medic about his sperm. When he returns — in high spirits, after receiving a placebo from the doctor — he finds Sandy (Mansfield) stepping out of a bath, where she was just cooing the song I’m in Love under a blanket of bubbles. She appears in the doorway, patting down her torso with a towel that does nothing to obscure her chest. The shot lingers for a few seconds before she closes the bathroom door to dress.
As the crew filmed, a photographer for Playboy took extra shots to run in the magazine, pocketing them for the eventual publicity campaign. Despite Mansfield’s name, Promises! Promises! was a B-film to its core, shepherded by an actor-turned-auteur who was not quite a household name and who harbored no artistic pretensions. The movie entered markets without MPAA approval or studio backing, which meant it had to rely solely on advertising. You can guess what the publicity team focused on.
Playboy published its behind-the-scenes images in the June 1963 issue, promising ‘The Nudest Jayne Mansfield’ on the cover. Enterprising movie exhibitors were only too happy to join in the ogling … But in many cities, the exploitative advertising and lack of MPAA approval were a liability, with censorship boards in Maryland, Cleveland, Pittsburgh, and other markets attempting to keep the film out. When the Playboy issues hit newsstands, Hugh Hefner was arrested and hauled into Chicago court for ‘publishing and distributing an obscene magazine.’ The city based its complaint on two ‘particularly obscene’ images showing Mansfield lying naked on a bed with a fully clothed man. The case ended in a mistrial, letting Hefner off the hook.
Though Promises! Promises! made money, it was too crass and too indie to recoup Mansfield’s struggling stardom — and her career never bounced back to its 1950s heights. Critics savaged the film, with Variety calling it unsuitable for ‘anyone whose mentality surpasses that of a 5-year-old.’ But the topless scene did indicate where films were heading in respect to the policy against nudity. The following year in 1964, The Pawnbroker challenged the Production Code with a much more artistic — and much more upsetting — use of nudity through a Holocaust flashback sequence. The film had a celebrated director in Sidney Lumet and a serious method star in Rod Steiger, and due to this pedigree, it had more of a lasting impact than Promises! Promises! could, setting a precedent that would make it easier for movies to include nude scenes.”
Art Paul, who designed the first Playboy cover as well as the iconic bunny logo, has died aged 93, the Washington Postreports. The cover featured a photo of Marilyn at the 1952 Miss America pageant in Atlantic City, with her famous nude calendar pose making the centrefold.
“[Hugh] Hefner was developing his idea for a new men’s magazine in 1953 when he approached Mr. Paul, then working as a freelance illustrator and designer in Chicago. Hefner sought a clean, modern design for the magazine that he wanted to call Stag Party.
When another men’s publication, Stag, sent a cease-and-desist letter, Hefner was forced to come up with another name, and Playboy was born. Mr. Paul designed the first cover, a photograph of Marilyn Monroe taken during a parade as she waved to the crowd.
‘Art Paul managed to create a striking black-and-white cover design with a red logo,’ Hefner wrote in Playboy in 1994. ‘This was just the first example of how Art took ordinary pictures and, through inventive design and the addition of illustrative details, made the magazine and its covers innovative and interesting.'”
The late Hugh Hefner may have dubbed Pamela Anderson ‘this generation’s Marilyn Monroe’, but in a new interview with King Kong magazine, the former Playboy model turned actress and campaigner politely demurs: ‘Well, that’s an incredible compliment to me. Not sure about my generation.’
Hugh Hefner, founder of Playboy magazine, has died aged 91.
In 1953, he acquired Tom Kelley’s nude calendar shot of Marilyn for the magazine’s first issue, also putting her on the cover. (You can read the full story here.) ‘She was actually in my brother’s acting class in New York,’ he told CNN. ‘But the reality is that I never met her. I talked to her once on the phone, but I never met her. She was gone, sadly, before I came out here.’
In 1960, Playboy published another laudatory feature headlined ‘The Magnificent Marilyn.’ If Marilyn sometimes resented others profiteering from her nude calendar – for which she had earned a flat $50 back in 1949 – by 1962 she was considering posing for Playboy‘s Christmas issue (although some sources indicate she changed her mind.)
Lawrence Schiller’s poolside nudes, taken during filming of the unfinished Something’s Got to Give, were published by Playboy in 1964, two years after Marilyn’s death.
The women’s rights campaigner Gloria Steinem, who would later write a biography of Marilyn, went ‘undercover’ as a Bunny Girl in a Playboy club for a magazine assignment durging the 1960s, and found the experience degrading – an opinion echoed by feminists today, as the BBC reports. Cultural historian Camille Paglia takes a different view, citing Hefner as ‘one of the principal architects of the social revolution.’
Marilyn has made many posthumous appearances on Playboy covers through the years. The magazine has also revealed rare and unseen images, such as Jon Whitcomb’s 1958 painting of Marilyn (based on a photo by Carl Perutz), and illustrator Earl Moran’s photos of a young Marilyn.
Many distinguished authors have written about Marilyn for Playboy, including John Updike, Roger Ebert, and Joyce Carol Oates. More dubiously, the magazine also published detective John Miner’s contested transcripts of tapes allegedly made by Marilyn for her psychiatrist, Dr Ralph Greenson.
Since his death was announced earlier today, Twitter users and even some news websites have mistakenly posted a photo of Marilyn with Sir Laurence Olivier, confusing him with Hefner, as Mashable reports (a final absurdity that all three would probably have found hilarious.)
In 1992, Hefner reportedly purchased the crypt next to Marilyn’s in Westwood Memorial Park for $75,000. If he is buried there, it will either pave the way for extra security measures, or make Marilyn’s final resting place even more of a spectacle.
Alice Denham, who died last year aged 89, was armed with a master’s degree in literature when she came to New York in 1953, hoping to be a writer and supporting herself by nude modelling. Within three years, she was a Playboy centrefold – the magazine also published her short story, ‘The Deal’, in the same issue. Like other independent women of her era, however, Alice’s promising career stalled while her male peers triumphed.
Forty years later she published a sensational memoir, Sleeping With Bad Boys: A Juicy Tell-All of Literary New York. In it, she wrote of her encounters with James Dean, Marlon Brando, Sam Spiegel, Norman Mailer and Hugh Hefner, among others. She also spoke admiringly of Marilyn, and described a brief sighting of her at the El Morocco nightclub in Manhattan.
“We table-hopped and Harry introduced me to Cary Grant and Esther Williams, Jack Benny, and both Gabors. Out on the floor again, I danced past Marilyn Monroe in a plain black short gown with spaghetti straps. Marilyn looked incredibly beautiful and bored, as she danced with a fat short producer, then returned to her table where there were three other short fat producers in tux. Marilyn was far more gorgeous than her photos.”
In an article for the Women Who Write About Comics website, Ginnis Tonik asks, ‘What is Playboy Without Naked Women? Or, What is Sex Positivity for Men?’ Responding to the recent announcement that the iconic magazine will no longer publish nudes, Tonik considers how Marilyn’s name (and body) helped to build the Playboy brand.
“Sex sells is the old adage, but in particular for Playboy, a particular kind of sex sells, the kind of sex that has distinguished the magazine from its competition. Hefner banked his idea of the gentleman and the gentleman’s idealized woman on the archetype of the girl next door, but with a twist. Playboy‘s girl next door’s sexuality is playful, Lolita-esque, malleable. She’s as American as apple pie, and who was more emblematic of this notion of sexuality than the woman that made Hefner a millionaire? Marilyn Monroe.
The photos that launched the inaugural issue of Playboy into the American cultural stratosphere in 1953 featured formerly unpublished nude photos of Marilyn Monroe. Taken in 1949 when Monroe needed some cash, she was paid $50 for the images that were for a calendar company. In 1950, Hefner bought the negatives for $500, then went on to publish them in his the inaugural issue. As scholar and Monroe biographer, Sarah Churchwell, puts it:
Monroe handled this scandal by refusing to be ashamed, which in retrospect, is a very sex-positive move during a time when this sort of scandal could have ended an emerging starlet’s career. With her blonde curls and coy demeanor, Monroe epitomized the Playboy gentleman’s ideal—a playful sex kitten, young and carefree, and not particularly deep. And, despite Monroe’s attempts to distance herself from this image, America’s Sweetheart via the Playboy brand haunted the rest of her short life.”
Marilyn makes the cover of Vanity Fair‘s August issue (French edition only.) If the photo looks familiar, that’s because it was previously used on Vanity Fair‘s US edition, back in October 2008.
And by comparison with Bert Stern’s original photo, you can tell that poor Marilyn has fallen victim to the digital airbrush!
Some fans have suggested that another, more flattering Stern photo could have been used…
The magazine includes an article about Lawrence Schiller’s photos of Marilyn, filming the poolside scene in Something’s Got to Give. As some readers may recall, an extract from Schiller’s book, Marilyn & Me, was published in the US edition of Vanity Fair in June 2012. The French article, however, is written by MM superfan Sebastien Cauchon.
Which begs the question – why wasn’t a Schiller photo used on the cover? Many fans were asking the same question in 2012, when an Andre de Dienes photo was used on the US cover of Vanity Fair, and not Schiller.
The answer, according to Sebastien Cauchon, is that Schiller’s poolside nudes don’t include a full-face, colour shot of Marilyn making eye contact with the camera. Marilyn & Me‘s original cover (later rejected) showed a pensive, full-face shot of MM in a fur hat, on the set of Something’s Got to Give – but not a nude. Presumably Vanity Fair‘s editors felt that a cheerful beach shot from De Dienes – though taken 13 years previously – was more in keeping with the summery, au naturel theme.
And as Sebastien Cauchon explained to members of Immortal Marilyn’s Facebook group this weekend, his article differs from the 2012 extract because its main subject is the proposed Playboy cover shoot Marilyn was considering at the time of her death (though according to Schiller, she was having second thoughts about the project.)
The article includes Hugh Hefner’s letter to Schiller and fellow photographer Bill Woodfield, explaining the concept of the mooted cover – click on the photo below to read in full.
The photo shoot went ahead with model Sheralee Connors taking Marilyn’s place, and was featured in Playboy‘s 1962 Christmas issue.
While Marilyn may have become Playboy‘s first pin-up in 1953, she never actually posed for the legendary men’s magazine – and finding her 1949 nude calendar (for which she was paid just $50) made the fortune of Hugh Hefner (who never met her), as Neil Steinberg explains in an article for the Sacramento Sun-Times.
“Everyone has seen that classic first Playboy centerfold photo of Marilyn Monroe, her creamy perfect flesh set off against red velvet. But who wondered how an unemployed nobody whose major financial backer was his mother, who kicked in $1,000, got the greatest sex goddess and movie star of the late 20th century to grace the cover of his first issue and pose in the buff for his first centerfold ‘Sweetheart of the Month?'(‘Playmate’ wouldn’t come until the second issue).
Short answer: he didn’t. He bumbled into it.
‘How did you manage that piece of good luck?’ a magazine called U.S. Camera asked Hefner, in its April, 1962 issue.
‘At that point the MM calendar was very, very famous, but almost no one had seen it,’ he replied. ‘It had received all kinds of publicity, but it never appeared anywhere.’ He noticed, in a newspaper clipping, that the photos were owned by a calendar company in the Chicago suburbs.
‘So I took a hop out there,’ Hefner said, driving his beat up ’41 Chevy.
The pictures were taken nearly five years earlier, at the request of John Baumgarth, a Chicago calendar maker, shot by Hollywood photographer Tom Kelley. Monroe was an unknown then.
‘When he made the picture it was just another picture of a girl. No one had heard of Marilyn Monroe at that time,’ Hefner said. ‘He paid about $500 for this and a number of similar photographs.’
The calendar company certainly wasn’t planning to use them again.
‘Thus from his point of view, he had gotten back all his initial expense in purchasing the photographs,’ said Hefner. ‘From my point of view, however, for $500 for the Marilyn Monroe and for a year’s contract for $300 for 11 more.’
Hefner had his first year of centerfolds without talking one woman, never mind Marilyn Monroe, out of her clothes.
‘This was our Playmate for the first year–simply straight calendar nudes from the Baumgarth Calendar Company,’ he said.
Playboy wasn’t the first magazine to print nude photographs. But it was first to print nude photographs of a well-known personality, and that made all the difference.
‘It legitimized nudity by embodying it in arguably the most famous woman in America,’ Roger Ebert wrote, celebrating the centerfold. And the results are all around us, to this day.”