The Western Films of Robert Mitchum, a new book by Gene Freese, focuses on the actor’s many roles as ‘Hollywood’s cowboy rebel’ from the 1940s-70s, including his collaboration with Marilyn.
“River of No Return opposite iconic sex symbol Monroe is one of Mitchum’s most popular and enduring titles, not a classic by any means but an entertaining, entirely pleasant and colourful film to view. It was a 20th Century Fox loan-out, shot in CinemaScope and stereophonic sound in the heart of the Canadian Rockies … Otto Preminger was an odd choice to direct the picture. It was his sole Western.
Regarding his chemistry with Monroe, the film relies on their growing desire for one another as they begin to see the other in a different light. That wasn’t good enough for Fox executive Darryl F. Zanuck, who requested that Preminger add a body massage and an aggressive kissing scene that appears out of character for the extremely laid-back Mitchum … Already out of his element on the film and on to another project, Preminger refused to film the scene. Director Jean Negulesco helmed the footage of physical contact between the two stars in the late fall of 1953 … ‘She actually bit me in our little wrestle scene,’ Mitchum said. ‘I didn’t mind it.’
Monroe was impressed by Mitchum and talked of their passionate embrace in the film’s pressbook: ‘This is a brand new experience for me. I have never had a romantic love scene with a rugged he-man. It’s quite enjoyable’ … Monroe was happy for the opportunity to wear shoes on the film due to Mitchum’s height. She usually had to go barefoot because of being paired with short male co-stars, but Mitchum towered above her throughout. She expounded on Mitchum in the pressbook, revealing, ‘He’s one of the most fascinating men I’ve ever met. He’s a man’s man, the outdoor he-man type, but he possesses a great inner strength … I had always heard he was one of the nicest guys in the business. It was wonderful to discover that the legend was not only true – but an understatement.’
Mitchum had known Marilyn Monroe back when she was a teenager named Norma Jeane Baker and married to his Lockheed pal Jim Dougherty … Fox no doubt wanted to play up the smouldering physical attraction between sex symbols Mitchum and Monroe, but for some of the filming Monroe’s baseball player boyfriend Joe DiMaggio was present. Mitchum maintained that he never found Monroe sexy despite her screen image. To him, she was a sad and confused soul.
If 20th Century-Fox was unable to play up a love affair between the two stars, they could emphasise the dangers of the location … At one point on the river, Monroe’s wading boots filled up with water and Mitchum had to rescue her from drowning, to the delight of the publicists. On another occasion, the stars were on a raft that became lodged on the rapids after a safety cable snapped. Stuntman Norman Bishop had to go out in a lifeboat and rescue the actors … but Monroe wouldn’t get on the boat unless the ill Mitchum did at the same time. Publicists again attributed the rescue to Mitchum. Finally, Monroe slipped on a stone in the riverbank and sprained an ankle. When she was outfitted with a leg cast, Mitchum started calling her Hopalong.
Back in Hollywood, the film’s action was redone in close-up with the principals in a studio water tank … Mitchum played up the CinemaScope danger for the press, saying, ‘… I’ve done things in this picture which would give some stuntmen the shivers. The amazing thing is how Marilyn and Tommy Rettig, who plays my son, have done them … I was so struck with admiration for my two companions. I almost forgot to be frightened for myself …’
Feeling that Monroe had a personality that was too fragile for Hollywood, Mitchum tried to look out for her in other ways. The greatest hurdle for Monroe to overcome on the film was a constant reliance on instruction and positive analysis from acting coach Natasha Lytess … As Preminger and the studio-approved Lytess were at great odds, Mitchum and assistant director Paul Helmick became go-betweens for Monroe and the director … Throughout the extended delays, [Mitchum] tended to drink, even wandering off for a beer with the locals at times …
‘She was very shy, very pleasant, very sweet,’ Mitchum said of Monroe in a 1980s WEDU TV interview. He continued: ‘But she was not too comfortable around people because I suppose her background had not prepared her for sort of easy sociality. She was convinced that she was not terribly pretty or sexy … At that time, I didn’t think she knew too many people who were very friendly to her. Growing up in that atmosphere of agents, directors and journalists, she seemed like a lost child … Her position in this atmosphere was like Alice in Wonderland. The whole thing was through the looking glass and she could not believe that anyone was very serious about her.'”
In our final post ahead of the November 14 event at Julien’s Auctions, A Southern Gentleman’s Collection, we focus on Marilyn’s marriage to Arthur Miller and the last years of her life. (You can read all posts about this sale here.)
“A group of six audio recordings including: 1) a late 1950s-era 3-inch reel tape (Type 151) featuring interviews Monroe conducted with Look magazine and Chicago disc jockey Dave Garroway, housed in its original box with handwritten annotations reading in part ‘May Reis’ [Monroe’s longtime New York-based secretary]; 2) a 33 1/3 RPM record labeled “M. Monroe – Belmont / Side 1 / Side 2[her 1960 interview with Georges Belmont for Marie Claire]; 3) another 33 1/3 RPM record identical to #2 but sides 3-4; 4) another 33 1/2 RPM record identical to #2 but sides 5-6, content unknown on all; 5) a 78 RPM record on the RCA Victor label of the star singing ‘The River of No Return’ and ‘I’m Gonna File My Claim;’ and 6) a 45 RPM record same as the 78; further included with a CD of the reel tape; all originally from the Estate of May Reis. And sold separately, a publicity still from River of No Return, autographed by Marilyn.”
Recordings SOLD for $3,840; photo SOLD for $10,240
“A legal-sized financial document from Woodbury Savings Bank in Connecticut, two hole punch marks on left side, dated ‘Sept. 9, 1957,’ filled out in blue fountain pen ink by Arthur Miller, briefly outlining the couple’s finances, noting their annual income as ‘$50,000,’ interestingly, Miller adds that there is a ‘suit pending against M.M. Productions,’ both signed twice on the lower margin, with MM’s reading ‘Marilyn Monroe Miller;’ also included is a related photocopied document from the same bank.” And sold separately, a window card for The Prince and The Showgirl (1957.)
Document SOLD for $4,480; poster SOLD for $384
“Nine original snapshots depicting Marilyn at Ebbets Field in Brooklyn on May 12, 1957 as she makes a guest appearance at a soccer match between the U.S. and Israel. And sold separately, a medical insurance form from Associated Hospital Service of New York, entirely filled out in blue ballpoint ink by Miller when the couple was applying for insurance, noting their address on ‘Tophet Road, Roxbury, Conn.’ and noting Monroe’s health issues as ‘Appendix Removed / 5% (hearing) impairment, Ectopic Pregnancy,’ oddly, Miller checked off ‘no’ under ‘female trouble’ for his wife, signed by Miller on page 3 and further signed by Monroe right below but in different blue ballpoint ink.”
Photos SOLD for $1,024; document SOLD for $3,750
“Miscellaneous paperwork from 1958 including: an invoice from Carl Perutz Photography sent to Marilyn at her NYC address on ’18 June 1958;’ and four receipts from the Yellow Cab Company of Los Angeles ranging in date from July 14 to July 16, 1958, showing that MM was at the Hotel Bel Air, Saks Fifth Avenue, and a mysterious address at 8719 Bonner Drive; though her name does not appear anywhere on the receipts, they come from the same files as the Perutz invoice.”
SOLD for $512
“Telegram dated October 28, 1958, sent to Jack Lemmon by the producer of Some Like It Hot, reading in part ‘By reason of the illness of Marilyn Monroe, please be advised / that we hereby exercise the right to suspension…;’ and sold separately, a standard check from the ‘Marilyn Monroe Productions, Inc.’ account … matted under a 1970s-era re-issue soundtrack album from Some Like It Hot.”
Telegram SOLD for $768; check + album SOLD for $2,560
“A standard address book with navy blue leather covers and A to Z tabs, kept by May Reis [Monroe’s longtime New York secretary] on the star’s behalf for a number of years, inside pages contain Reis’ handwritten entries in pencil or various colors of ballpoint ink for Monroe’s personal and business contacts including (in alphabetical order): Rupert Allan, Elizabeth Arden, Richard Avedon, Kenneth Battale, Saul Bellow, Chateau Marmont, Michael Chekhov, Jack Cole, George Cukor, Lilly Daché, Agnes Flanagan, Bob Fosse, Ben Gazzara, Lotte Goslar, Sydney Guilaroff, Lillian Hellman, Hedda Hopper, Hotel Bel Air, John Huston, William Inge, Jax, Anne Karger, Marianne Kris, Leon Krohn, Ann Landers, Erno Laszlo, Jean Louis, Carson McCullers, Inez Melson, Isidore Miller, Berniece Miracle, Monroe Six, Eunice Murray, Jean Negulesco, Norman Norell, Clifford Odets, Louella Parsons, Lena Pepitone, The Plaza Hotel, Henry Rosenfeld, Hedda and Norman Rosten, Eva Marie Saint, Norma Shearer, Frank Sinatra, Sidney Skolsky, Allan Snyder, John Steinbeck, Paula Strasberg, Western Costume Co., Billy Wilder, and Shelley Winters, among a few others; also included are a few notes relating to the stars personal identification numbers as well as bank accounts; Reis’ ownership signature is penned on the second page next to a date of ‘1958;’ Monroe penciled in a note on the last page reading ‘Roxbury Conn. / Tophet Rd.'”
UNSOLD – reserve not met
“A single page of personalized stationery, dated ‘April 15, 1960,’ to ‘Mr. Ehrlich,’ reading in part ‘Will you please convey my sincere appreciation to the public and critics of Chile for awarding the Laurel de Oro as Best Actress of 1959,’ signed in black fountain pen ink in the lower right corner ‘Marilyn Monroe;’ with its original transmittal envelope. And sold separately, a contact sheet showing Marilyn in a scene from Some Like It Hot (1959.)”
Letter SOLD for $3,750; contact sheet SOLD for $768
“A small receipt from Gray Reid’s in Reno, Nevada noting a date of ’16 Aug 60′ and that ‘$6.07’ was spent, verso has a blue ballpoint ink handwritten annotation (not in MM’s hand) reading ‘Black / Umbrella’ — probably the umbrella that Marilyn bought for her acting coach, Paula Strasberg, during shooting of The Misfits.”
SOLD for $256
“A black silk and ostrich feather wrap with two black velvet arm straps, label reads ‘Made to Order / Rex / Inc. / Beverly Hills / California;’ displayed in a shadow box with a black and white image of the star wearing it during a 1960 photo shoot with Eve Arnold. Interestingly, this piece may have been used as a prop in MM’s last and unfinished 1962 film, Something’s Got To Give as a similar wrap can be seen in her tote bag in the sequence where she watches her children in the swimming pool.”
SOLD for $10,240
“A deep brownish-black mink fur stole, rectangular shaped with slightly flared ends, lined in a black and gold brocade textured raw silk, no labels present.” [Worn by Marilyn to the premiere of The Misfits in 1961.]
SOLD for $5,760
“A group of seven accessories including: 1) a pair of cat eye sunglasses with rhinestone detailing; 2) their case made of beige vinyl and brown plastic, stamped ‘Cosmetan / Sun Glasses;’ 3) a cordovan alligator eyeglass case stamped in part ‘Schilling;’ 4) a red cotton eyeglass case with a label reading in part ‘Devonaire of California;’ 5) a sterling silver shoe horn, stamped ‘Sterling’ on both sides; and 6-7) a pair of orange plastic shoe trees.”
SOLD for $7,500
“A two page hand-written note on light blue pieces of notepaper from the Los Angeles Institute for Psychoanalysis, penciled by the star in full “‘CR 12151 Western Union / Dear Marlon / I need your / opinion about a / plan for getting / Lee out here on more / than a temporary / basis please / phone me as soon / as possible / Time / is of the essence / Marilyn;’ evidently written for a telegram that she was sending to Brando about Actors’ Studio head Lee Strasberg. And sold separately, a telegram from Brando dated ‘1962 Jan 13,’ sent to Marilyn at her ‘882 North Doheny Apt 3’ address, reading in full ‘Tried to reach you by fone must leave city this weekend / sorry / Marlon,’ with a number of stamps and other handwritten delivery annotations evident; seeming to be Brando’s response to Monroe’s note.”
Marilyn’s note SOLD for $6,400; Marlon’s telegram SOLD for $2,560
“A standard postcard from the Fontainebleu Hotel in Miami, signed in blue ballpoint ink on the verso ‘To Gisele / Thank you / so much! / Marilyn Monroe.'” [Marilyn stayed overnight at the Fontainebleu in 1962 with her former father-in-law, Isidore Miller.]
SOLD for $2,500
“A large collection of approximately 130 loose-leaf ‘colored’ script change pages given to the star throughout the production of Something’s Got to Give, as the script was being revised on a regular basis, noting numerous and various dates in April and May of 1962, many pages are paper-clipped or stapled together by their revision date, a number of them have the star’s name penned in the upper right hand corner (though not in her hand) or small notes addressed to her, Monroe’s own handwritten annotations appear on a few pages, mainly as directions to herself such as ‘drop voice – / lean against post’ or additional dialogue she added such as ‘if you’d take it out’ and the like, she also circled her character’s name [“Ellen”] on many pages; two pink pages are torn with one having Monroe’s penciled annotation reading ‘No good one.’ And sold separately, an oversize colour photo taken during Marilyn’s 1962 session with Bert Stern for Vogue magazine, entitled ‘I Beg Of You‘.”
Script pages SOLD for $12,800; photo SOLD for $5,120
Sold separately, these contact sheets are among several lots featuring photos by Bert Stern.
Contact sheets SOLD for $1,152 and $896, respectively
“A telegram dated ‘1962 Jun 1 AM 9 55,’ sent to Marilyn at her Fifth Helena Drive address in Brentwood, CA, reading in full ‘Happy Birthday Hope Today And Future Years Bring You / Sunny Skies And All Your Heart Desires As Ever / Joe’ — most likely DiMaggio as it was sent from ‘Madrid Via RCA.'”
SOLD for $6,250
“A ticket reading in part ‘May 19, 1962 / Madison Square Garden / Gala All Star Show’ — the now-historic event celebrating President John F. Kennedy‘s 45th birthday, plus a photo of Marilyn during her performance of ‘Happy Birthday, Mr President’. And sold separately, a group of four telephone bills, sent to “M. Monroe” from General Telephone Company, ranging in date from April 30 to July 30, 1962, listing all the long distance calls she made to cities noted on the bills as ‘NYC, Bkln, Queen, Wbury, Engla, Telav’ and, most interestingly, to ‘Wash’ a number of times in July — so maybe she was calling the Kennedys?”
Ticket + photo SOLD for $896; telephone bills SOLD for $4,375
“A 1960s-era Steno spiral-bound notebook filled with about 45 pages of notes and reminiscences penned in blue ballpoint ink that George Barris wrote down while he was working with the star in the summer of 1962; appearing to be taken verbatim from conversations the two had, the subjects mentioned are quite varied and range from Monroe’s favorite films to her health to people on her mind at that particular time such as President Kennedy, Arthur Miller, Joe DiMaggio, Cyd Charisse, Marlon Brando, Paula Strasberg, and Greta Garbo; other topics include living in California, nude scenes in films, her termination from her last film, sex, on being a sex symbol, marriage, children, and life philosophy in general; some of the notes appear to have been jotted down later or even after the star’s death but in any case, it’s a fascinating look into the star’s psyche as recounted by someone who closely worked with her at the very end of her life. And sold separately, a signed photo by Barris.
As expected, Marilyn’s ‘Heat Wave’ costume from There’s No Business Like Show Business was the biggest seller at Julien’s Auctions yesterday, fetching $280,000 (over three times the maximum estimate) in the Property From the Life and Career of Marilyn Monroe sale – and Travilla’s ‘Heat Wave’ design sketch sold for $11,520. Marilyn’s ‘Little Rock’ costume from Gentlemen Prefer Blondes was close behind at $250,000 (while Jane Russell’s matching gown fetched $43,750.) Her River of No Return costume fetched $175,000, and the black cocktail dress she wore to the Some Like It Hot press conference reached $100,000.
Other big sellers included the chair from Marilyn’s Brentwood home, at $81,250; her green Pucci ensemble, at $46,875; the bathing suit from Let’s Make It Legal, at $37, 500; the pink Ferragamo shoes worn by Marilyn in the ‘Incurably Romantic’ number from Let’s Make Love, at $25,000; the white parasol from her 1949 photo-shoot with Andre de Dienes, and her necklace from the 1953 Cinerama party, at $21,875 each; and finally, her custom-made MGM bathing suit, and Dr Ralph Greenson’s couch at $11,250 each.
I have now updated all my posts on this sale with final bids – see here.
“A single page removed from a trade publication such as Variety or The Hollywood Reporter with text reading in part ‘Thank you / Marilyn Monroe’ — an ad the star placed in the publication to thank the Hollywood Foreign Press Association for her 1962 Golden Globe win for ‘World Favorite Actress,’ mounted to cardboard; found in Monroe’s own files. ”
SOLD for $512
A framed still photo showing Marilyn with co-stars June Haver, William Lundigan and Jack Paar in Love Nest (1951); and a costume test shot for Don’t Bother to Knock (1952.)
Photo sets SOLD for $640 and $896, respectively
Marilyn and Jane Russell performing ‘Two Little Girls From Little Rock’ in Gentlemen Prefer Blondes, as seen on the cover of LIFE magazine in 1953. Marilyn’s costume is expected to fetch a maximum $80,000 – see here.)
Magazine SOLD for $896; costume SOLD for $250,000
A still photo of Marilyn during filming of River of No Return in 1953. The gown she wore while performing the theme song is expected to fetch a maximum $80,000 – see here.
Photo set SOLD for $1,152; costume SOLD for $175,000
Travilla’s costume sketch for the ‘Heat Wave’ number in There’s No Business Like Show Business (1954), and a colour transparency of Marilyn in costume for a wardrobe test shot. (The costume itself is estimated to fetch up to $80,000 – see here.)
Sketch SOLD for $11,520; photo SOLD for $750; costume SOLD for $280,000
A framed still photo of Marilyn performing ‘Heat Wave‘, and a custom-made, one-of-a-kind poster made for the Century Theatre in the Hamilton, Ontario area to advertise a raffle to win tickets to see There’s No Show Business Like Show Business.
Photo SOLD for $750; poster SOLD for $1,280
“A group of three, all original prints with a glossy finish, depicting the star behind-the-scenes on the set of her 1956 20th Century Fox film, Bus Stop; all have typed text on the bottom margin noting to credit Al Brack who was a ‘Sun Valley, Idaho photographer.'”
SOLD for $576
A pair of memos regarding Milton Greene’s photos from the set of The Prince and the Showgirl; and, sold separately, a contact sheet. The second memo reads in part, ‘Dear Mike, The print you sent me, that Marilyn Monroe said she had killed, is incorrectly numbered. Marilyn is right – she did kill it.’ Both memos are dated April 11, 1957, and are addressed to ‘Meyer Hunter.’ Lois Weber, one of Monroe’s publicists at the time, authored both memos.”
Memos SOLD for $312.50; contact sheet SOLD for $500
Still photo of Marilyn with co-stars Tony Curtis and Jack Lemmon in a scene from Some Like It Hot (1959.)
Photo set SOLD for $576
“A pair of colour slides of Marilyn Monroe in a scene from How To Marry a Millionaire (1953), and during a press conference for Let’s Make Love with co-star Frankie Vaughan on January 16, 1960.”
Still photos taken by Lawrence Schiller during filming of the ‘pool scene’ in Something’s Got to Give.
Photo sets sold for $1,280 each
“A collection of approximately 65 pieces comprising only photocopied scripts and documents, all related to Marilyn Monroe’s films. Some film titles have more than one copy of the script, and some feature the working title and not the final one. All are bound into 20th Century Fox covers of various colors and appear to be the studio’s ‘loan out’ or ‘library’ copies. Pieces include (in alphabetical order): All About Eve (a treatment only), As Young As You Feel (2 scripts ), Bus Stop (3 scripts), Dangerous Years (1 script), Don’t Bother to Knock (2 scripts), The Full House (1 script), Gentlemen Prefer Blondes (2 scripts plus 4 related documents), How to Marry a Millionaire (3 scripts plus 1 related document), Let’s Make Love (2 scripts), Love Nest (2 scripts), Monkey Business (2 scripts plus 2 related documents), Move Over, Darling (1 script), Niagara (2 scripts plus 4 related documents), O. Henry’s Full House (2 scripts plus 1 related document), River of No Return (1 script plus 5 related documents), The Seven Year Itch (3 scripts), Something’s Got to Give (1 script), There’s No Business Like Show Business (3 scripts plus 7 related documents), Ticket to Tomahawk (2 related documents), and We’re Not Married (1 script plus 1 related document). Also included are a few miscellaneous pieces related to Monroe. “
Among the many luminaries featured in James Bawden and Ron Miller’s book, Conversations WithClassic Film Stars, are Joseph Cotten, who played Marilyn’s murderous spouse in Niagara;and Rory Calhoun, her roguish husband in River Of No Return; and Cary Grant, the unwitting object of her desire in Monkey Business.
Thanks to Gia at Immortal Marilyn
“I never met a girl as introverted as Marilyn. The whole fame explosion had just set in and whenever we filmed on location at Niagara Falls, great crowds gathered to see her. She couldn’t cope, retreated into her shell.
Director Henry Hathaway was a tough taskmaster at the best of times. He got so exasperated with Marilyn and her Russian acting coach [Natasha Lytess], he finally banned the woman from the set. I tried to keep her distracted. At night there’d always a party in my hotel suite, but she’d look in, say hi, and then go off with her instructress. We’d wait hours for her to show up. Hathaway started shooting rehearsals as backup and found she was less mannered there and actually used some of the footage.
I asked her about the nude photograph and she said, dead serious, ‘But I had the radio on.’ I’m glad I knew her before the troubles enveloped and destroyed her. I want to remember that superb girlish laughter when I told her an off-colour joke. One day Hathaway shouts at her and she yelled back, ‘After paying for my own wardrobe, my coach, my assistant, and God knows who else I barely have enough left over to pay my shrink!’ And the crowd watching applauded her!”
“She was a phenomenon that I doubt like hell this town will see the likes of ever again. There have been a lot of people trying to copy her one way or another – and to me, they’re third-stringers.”
“Howard Hawks says it’s wonderful we knew and worked with Marilyn before she got difficult. Because she was so winning and adorable in Monkey Business. When I drink that youth serum and am acting like a teenager, Marilyn really got into it. I’m diving off the high board and she’s giggling and waving me on. Years later she asked me to co-star in something called The Billionaire. It was a comedy and she said her husband Arthur Miller was reworking it. Arthur Miller a comedy writer? I ran away and so did Greg Peck, and the completed film, Let’s Make Love, showed she’d become all blurry and distant. It was sad.”
As reported here recently, three of Marilyn’s movie costumes (including this Travilla gown she wore to sing ‘River of No Return’). plus her black cocktail dress worn at a 1958 press conference to announce filming of Some Like It Hot, will be on display at London’s May Fair Hotel from September 24 – October 21, before going under the hammer at Julien’s on November 1. More details on the exhibit (including a series of film screenings) have now been revealed by Forbes. (You can read all my posts on the sale here.)
“The four movies these outfits feature in are also to be screened at the hotel’s own cinema, May Fair Theatre. See a screening of Gentlemen Prefer Blondes on the evening of September 27th; catch There’s No Business Like Show Business on October 11th; book a ticket for River of No Return on October 15th; and finally, take a seat for Some Like It Hot on October 18th.
Tickets to these screenings are available as a part of dinner and drinks packages, following the movie with limited-edition cocktails in May Fair Bar and perhaps including dinner at the hotel’s Mediterranean restaurant May Fair Kitchen before you find your way to the theatre.”
Julien’s Auctions are holding a one-day sale featuring 115 Marilyn-related lots (including several movie costumes) on November 1st, as part of their Legendary Women of Hollywood event. These items will be also be showcased in the lobby of London’s May Fair Hotel from September 24 until October 21. A catalogue for this auction, Property From the Life and Career of Marilyn Monroe, is now available to order here, for $75 plus shipping. (You can read all my posts on the sale here.)
In my latest post for the Julien’s Legends auction, coming up on June 13-14, I’m taking a look at the fan mail, plus letters and greeting cards from friends and family, received (and kept) by Marilyn over the years. (You can read my previous posts, on the How to Marry a Millionaire bathrobe and the photos of Manfred Kreiner, here.)
UPDATE: I have now added the total bids to each item.
“An invoice from Southdown Kennel in Roxbury, Connecticut, for boarding and food for Hugo, the lovable basset hound owned by Marilyn and then husband Arthur Miller. The invoice is dated from November of 1958, and is addressed to Mrs. Arthur Miller. Dates specified for boarding of Hugo are July 4-10, July 28-August 5, August 22-24, and August 27-October 30. Also listed is ‘1 case beef’ at a cost of $11.50.” (SOLD for $512)
“A handwritten letter from a young child, undated, reading, ‘Dear Marilyn, How are you? Daddy and mommy saw you. I wish I could of. I am writing you to see if you rember (sic) me. First you saw me playing on the grass at Chaire’s house and then at Patty’s. I went to East Hampton and I got a new bike. It is beautiful.’ The letter is signed Emily Hedda Liss. The letterhead reads ‘Mrs. Joseph Liss, 445 East 68th Street, New York, New York,’ indicating Emily is likely the young daughter of television writer and editor Joseph Liss.” (UNSOLD)
“Two greeting cards sent to Marilyn from fans with get well wishes. One card’s handwritten inscription reads, ‘To a wonderful actress. My best wishes to you. Palma Urso, 1958.’ The other is simply signed, ‘Judy Bawber.’ (UNSOLD)
“A two-page handwritten letter from a fan by the name of Pete Monti, dated June 1, 1959, in which Monti expresses his love and admiration for Marilyn. Passages from the letter read, ‘…every year I send you a gift with my address on the present for you to answer, and tell me if you liked it, but you never answered it. I think the reason for that was because you never received the gifts,’ ‘…I have been a fan of yours since 1950, I even have every book that ever came out with your picture in it,’ ‘there is only one thing I would like you to do for me…is to win the Academy Award for best actress of the year, to show them in Hollywood that your (sic) a real good actress. Everybody tries to imitate you, but they can’t…there is only one Marilyn Monroe, and that’s you.’ The letter is signed, ‘Yours Truly, Pete Monti.’ A photo of Monti in formal attire, together with a female companion, is stapled to the letter. Included also is a typed response to this letter, dated June 19, 1959, reading, ‘Miss Monroe has asked me to thank you most kindly for your birthday remembrance and good wishes. She appreciates your thoughtfulness very much.’ The letter is signed ‘Yours sincerely, Secretary to Marilyn Monroe.’ The letter was likely prepared by May Reis, Monroe’s secretary for several years.” (UNSOLD)
“An undated birthday card to Marilyn from Evelyn Moriarty. Moriarty was Monroe’s stand-in on three films: Let’s Make Love, The Misfits, and Something’s Got To Give.” (SOLD for $750)
“An undated birthday card to Marilyn from Allan ‘Whitey’ Snyder. Snyder was Monroe’s makeup artist from her very first screen-test in 1946 and also for most of her films and public appearances, and even photo shoots.” (SOLD for 5,760)
“An undated birthday card to Marilyn from Augusta and Isidore Miller, the parents of Marilyn’s third husband Arthur Miller. The handwritten message from the Millers reads, ‘And Lots of Mazel + Brucha, Love Mom + Dad.’ In Yiddish this phrase means ‘happiness and blessing.'” (SOLD for $640)
“An undated birthday card to Marilyn from ‘Grace + Daddy,’ the latter being Ervin ‘Doc’ Goddard. Grace’s handwritten note in the card reads, ‘We couldn’t love you more if you were our real daughter.'” (SOLD for $768)
“A handwritten letter to Marilyn and then husband Arthur Miller from Marilyn’s half-sister Berniece Miracle, postmarked April 28, 1960. The letter reads in part, ‘My! How I would love to hear from you and all about what you are doing. I see where Arthur has written a movie, The Misfits. When will the filming start? Hope it’s a big success.'” (SOLD for $1,875)
“A grouping of correspondence to Marilyn from Anne Karger, including three telegrams wishing Marilyn a happy birthday. One telegram is dated June 2, 1957. Interestingly, the other two telegrams are both from 1961, one is dated May 31, and the other is dated June 1. Also included is an undated holiday card with greetings for Christmas and the new year. Anne was the mother of Fred Karger, whom Marilyn fell deeply in love with near the start of her film career. It is widely reported that she had wanted to marry Karger. While the relationship ultimately didn’t last, Marilyn remained very close with his mother. Anne was one of a very few guests from Marilyn’s inner circle who was invited to her funeral.” (SOLD for $1,152)
“A grouping of correspondence to Marilyn from John Moore, including a Western Union telegram dated May 31, 1961, which reads, ‘Wish you were here to celebrate it. Love you.’ This message is likely in reference to Marilyn’s birthday, which was on June 1, the day after the telegram is dated. Also included, an undated, hand-signed Christmas card, and a note that likely accompanied a bouquet of flowers with a message that reads, ‘Will you be my Valentine? John Moore.’ Moore was a fashion designer, interior decorator and close friend of Marilyn’s. He worked for Talmack, and designed many of Marilyn’s clothes; including the gown she wore during the private wedding ceremony in which she married Arthur Miller. He also assisted Marilyn in redecorating the apartment she and Miller shared on East 57th Street in New York City.” (SOLD for $384)
“A one-page handwritten letter to Marilyn from poet and friend Norman Rosten, apparently while he was vacationing in the Arctic Circle. The letter reads in part, ‘This bar of chocolate and paperclip were both bought in this Eskimo village north of the Arctic Circle! Who says the world isn’t round? It’s too round!’ The actual chocolate bar wrapper is affixed to the letter using the aforementioned paperclip. Also included is the original envelope, postmarked January 27, 1959, addressed to Mr. and Mrs. Arthur Miller at 444 East 57th Street, New York, NY.” (SOLD for $640)
“An undated, handwritten note from Joseph M. Schenck to Marilyn, reading simply, ‘Dear Marilyn, I am with you. I know you are right. Joe Schenck.’ Schenck was co-founder of 20th Century Pictures in 1933. When his studio merged with Fox Film Corporation in 1935, Schenck was named chairman. He was an important figure in Marilyn’s early career.” (SOLD for $625)
A wide range of Marilyn-related items, including her 1956 Thunderbird, will be up for grabs at Julien’s Icons & Idols auction on November 17. Another high-profile item is the white beaded Travilla gown worn by Marilyn when she sang ‘After You Get What You Want, You Don’t Want It’ in There’s No Business Like Show Business, purchased at Christie’s in 1995; as yet it’s unclear whether this is the same dress listed at Julien’s in 2016.
Marilyn owned several pairs of checked trousers, wearing them repeatedly throughout her career. This pair, seen in one of her earliest modelling shoots, was purchased from Sak’s Fifth Avenue.
A number of photos owned by Marilyn herself are also on offer, including this picture with US troops, taken on the set of Gentlemen Prefer Blondes; a set of publicity photos for Love Nest; a photo of Joe DiMaggio in his New York Yankees uniform; and Roy Schatt‘s 1955 photo of Marilyn and Susan Strasberg at the Actors Studio.
A postcard from the Table Rock House in Niagara Falls was signed by Marilyn and her Niagara co-stars, Jean Peters and Casey Adams, in 1952.
This publicity shot from River of No Return is inscribed, ‘To Alan, alas Alfred! It’s a pleasure to work with you – love & kisses Marilyn Monroe.’
A set of bloomers worn by Marilyn in River of No Return (as seen in this rare transparency) is going up for bids.
Among the mementoes from Marilyn’s 1954 trip to Japan and Korea are two fans and an army sewing kit.
Also among Marilyn’s personal property is this ad for There’s No Business Like Show Business, torn from the December 24, 1954 issue of Variety.
Among Marilyn’s assorted correspondence is a latter dated August 22, 1954, from childhood acquaintance Ruth Edens:
“I have long intended to write you this letter because I have particularly wanted to say that when you used to visit me at my Balboa Island cottage, you were a shy and charming child whose appeal, it seems to me, must have reached the hearts of many people. I could never seem to get you to say much to me, but I loved having you come in and I missed your doing so after you’d gone away. I wondered about you many times and was delighted when I discovered you in the films. I hope the stories in the magazines which say you felt yourself unloved throughout your childhood, are merely press-agentry. In any case, I want you to know that I, for one, was truly fond of you and I’m proud of you for having developed enough grit to struggle through to success … I hope you are getting much happiness out of life, little Marian [sic]. I saw so much that was ethereal in you when you were a little girl that I fell sure you are not blind to life’s spiritual side. May all that is good and best come your way!”
Marilyn’s loyalty to the troops who helped to make her a star is attested in this undated letter from Mrs. Josephine Holmes, which came with a sticker marked ‘American Gold Star Mothers, Inc.‘
“My dear Miss Monroe, I was so happy to hear from Mr. Fisher about your visit to the Veterans Hospital. When I spoke to Mr. Alex David Recreation he said the veterans would be thrilled, probably the best present and tonic for them this holiday and gift giving season. I am sure it will be a wonderful memory for you, knowing you have brought happiness to so many boys, many have no one to visit with them. Thank you, and may God bless you and Mr. Miller for your kindness.”
Marilyn wore this hand-tailored black satin blouse for a 1956 press conference at Los Angeles Airport, as she returned to her hometown after a year’s absence to film Bus Stop. When a female reporter asked, ‘You’re wearing a high-neck dress. … Is this a new Marilyn? A new style?’ she replied sweetly, ‘No, I’m the same person, but it’s a different suit.’
Letters from Marilyn’s poet friend, Norman Rosten, are also included (among them a letter warmly praising her work in Some Like It Hot, and a postcard jokingly signed off as T.S. Eliot.)
Among Marilyn’s correspondence with fellow celebrities was a Christmas card from Liberace, and a telephone message left by erstwhile rival, Zsa Zsa Gabor.
File under ‘What Might Have Been’ – two letters from Norman Granz at Verve Records, dated 1957:
“In the September 5, 1957, letter, Granz writes, ‘I’ve been thinking about our album project and I should like to do the kind of tunes that would lend themselves to an album called MARILYN SINGS LOVE SONGS or some such title.’ In the December 30, 1957, letter, he writes, ‘… I wonder too if you are ready to do any recording. I shall be in New York January 20th for about a week and the Oscar Peterson Trio is off at that time, so if you felt up to it perhaps we could do some sides with the Trio during that period.'”
Also in 1957, Marilyn received this charming card from the Monroe Six, a group of dedicated New York teenage fans, mentioning her latest role in The Prince and The Showgirl and husband Arthur Miller’s legal worries:
“Marilyn, We finally got to see ‘Prince and the Showgirl’ and every one of us was so very pleased. We are all popping our shirt and blouse buttons. Now we will be on pins and needles ‘til it is released to the general public. You seemed so relaxed and a tease thru the whole picture and your close ups, well they were the most flawless ever. You should be real pleased with yourself. No need to tell you what we want for you to know now is that we hope everything comes out all right for Mr. Miller and real soon too. Guess what we are working on now. We are trying to scrape up enough money for the necessary amount due on 6 tickets to the premiere and the dinner dance afterwards. Well again we must say how happy we are about T.P.+T.S. and we wanted you to know it. Our best to you.”
Among the lots is assorted correspondence from Xenia Chekhov, widow of Marilyn’s acting teacher, Michael Chekhov, dated 1958. In that year, Marilyn sent Xenia a check which she used to replace her wallpaper. She regretted being unable to visit Marilyn on the set of Some Like It Hot, but would write to Arthur Miller on November 22, “I wanted to tell you how much your visit meant to me and how glad I was to see you and my beloved Marilyn being so happy together.”
In April 1959, Marilyn received a letter from attorney John F. Wharton, advising her of several foundations providing assistance to children in need of psychiatric care, including the Anna Freud Foundation, which Marilyn would remember in her will.
This telegram was sent by Marilyn’s father-in-law, Isidore Miller, on her birthday – most likely in 1960, as she was living at the Beverly Hills Hotel during filming of Let’s Make Love. She was still a keen reader at the time, as this receipt for a 3-volume Life and Works of Sigmund Freud from Martindale’s bookstore shows.
After Let’s Make Love wrapped, Marilyn sent a telegram to director George Cukor:
“Dear George, I would have called but I didn’t know how to explain to you how I blame myself but never you. If there is [undecipherable due to being crossed out] out of my mind. Please understand. My love to Sash. My next weekend off I will do any painting cleaning brushing you need around the house. I can also dust. Also I am sending you something but it’s late in leaving. I beg you to understand. Dear Evelyn sends her best. We’re both city types. Love, Amanda Marilyn.”
Here she is referencing her stand-in, Evelyn Moriarty, and Amanda Dell, the character she played. “Dearest Marilyn, I have been trying to get you on the telephone so I could tell you how touched I was by your wire and how grateful I am,” Cukor replied. “Am leaving for Europe next Monday but come forrest [sic] fires come anything, I will get you on the telephone.”
There’s also a June 30, 1960 letter from Congressman James Roosevelt (son of FDR), asking Marilyn to appear on a television show about the Eleanor Roosevelt Institute for Cancer Research, to be aired in October. Unfortunately, Marilyn was already committed to filming The Misfits, and dealing with the collapse of her marriage to Arthur Miller.
In 1961, movie producer Frank McCarthy praised Marilyn’s performance in The Misfits:
Rather touchingly, Marilyn owned this recording of ‘Some Day My Prince Will Come,’ sung by Adriana Caselotti. The record copyright is from 1961, but Disney’s Snow White and the Seven Dwarfs was originally released in December 1937, when Marilyn was just eleven years old.
This pen portrait was sketched by George Masters, who became Marilyn’s regular hairdresser in the final years of her life.
On July 5, 1962, Hattie Stephenson – Marilyn’s New York housekeeper – wrote to her in Los Angeles:
“My Dear Miss Monroe: How are you! Trusting these few lines will find you enjoying your new home. Hoping you have heard from Mr. and Mrs. Fields by now. Found them to be very nice and the childrens [sic] are beautiful. Got along very well with there [sic] language. How is Maff and Mrs. Murray? Miss Monroe, Mrs. Fields left this stole here for you and have been thinking if you would like to have it out there I would mail it to you. Miss Monroe Dear, I asked Mrs. Rosten to speak with you concerning my vacation. I am planning on the last week of July to the 6th of August. I am going to Florida on a meeting tour. Trusting everything will be alright with you. Please keep sweet and keep smiling. You must win. Sincerely, Hattie.”
Hattie is referring to Marilyn’s Mexico friend, Fred Vanderbilt Field, who stayed with his family in Marilyn’s New York apartment that summer. She also alludes to Marilyn’s ongoing battle with her Hollywood studio. Sadly, Hattie never saw Marilyn again, as she died exactly a month later. Interestingly, the final check from Marilyn’s personal checkbook was made out to Hattie on August 3rd.
After Marilyn died, her estate was in litigation for several years. Her mother, Gladys, was a long-term resident of Rockhaven Sanitarium, which had agreed to waive her fees until her trust was reopened. In 1965, Gladys would receive hate mail from a certain Mrs. Ruth Tager of the Bronx, criticising her as a ‘hindrance’ due to her unpaid bills. This unwarranted attack on a sick, elderly woman reminds one why Marilyn was so hesitant to talk about her mother in public.