The cover art for country singer Cliff Westfall’s latest album, Baby You Win, evokes Marilyn’s sultry look in River of No Return, and reflects his own retro sound.
Thanks to A Passion For Marilyn
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.’
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.
Marilyn’s hand-written poem inspired by Brooklyn Bridge is also on sale.
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.’
Paula Strasberg’s annotated scripts for Bus Stop, Some Like It Hot, Let’s Make Love, and her production notes for The Misfits are available; and a book, Great Stars of the American Stage, inscribed “For Marilyn/With my love and admiration/ Paula S/ May 29-1956” (the same day that Marilyn finished work on Bus Stop. )
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.)
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.
UPDATE: See results here
Martin Turnbull is the author of the ‘Garden of Allah’ series of novels set during Hollywood’s golden age. Previous books have covered the making of such classic films as Gone With the Wind and Citizen Kane; historic events from World War II to the Red Scare; and threats to the movie capital from television and gossip rags. Now Marilyn’s conflict with Fox studio head Darryl F. Zanuck is featured in the just-published eighth instalment, City of Myths. Although his books are fictional, Turnbull has an encylopedic knowledge of Old Hollywood, and City of Myths begins, Marilyn is re-shooting scenes for River of No Return with Jean Negulesco (seen in the above photo), after clashing with director Otto Preminger. City of Myths is available in paperback or via Kindle – and it’s also on offer as part of an Amazon ebook bundle with Turnbull’s other novels.
“When you live in a city built on shifting sands of myth, it can be hard to know which way is up. Kathryn Massey spends her days spreading rumors and keeping secrets. Losing herself one headline at a time has left Kathryn’s personal identity scattered—and dumps her at the narrow end of the bargaining table with the man she trusts the least. Gwendolyn Brick has simpler aspirations. As a costume designer, her sights are set on glamour, not heights of fame. But her friendship with Marilyn Monroe puts her directly into the crosshairs of studio head, Darryl Zanuck—and he’s someone you don’t say no to. Marcus Adler is stuck in a much more precarious situation. Exiled in Rome but under the spell of an unexpected romance, he’ll have to learn to say goodbye to everything he’s accomplished in order to give love a chance. In City of Myths the road through Hollywood bears sharply to the right as those who dare to play its game can easily become lost in its intoxicating glow.”
“Designer Tommy Hilfiger has a slew of celebrity fans and frequently references pop culture in his designs, so it shouldn’t surprise you to find out that he’s got an enormous collection of memorabilia worn by some of the most iconic celebrities of all time … A pair of Foremost JCP Co. blue jeans worn by Monroe in the 1954 film River of No Return are available and can be yours if you’ve got a ton of disposable income just lying around (they’re estimated to sell up to $40,000). Hilfiger previously owned two other pairs of the jeans worn by Monroe, but gifted them to Britney Spears and Naomi Campbell (#nobigdeal).”
UPDATE: Surprisingly, Marilyn’s jeans went unsold.
Robert Mitchum was born 100 years ago, on August 6, 1917. During the early 1940s he worked at the Lockheed munitions plant with Jim Dougherty, and claimed to have met Dougherty’s pretty young wife, Norma Jeane, remembering her as ‘shy and sweet.’ (Dougherty has denied this early encounter between the two future stars occurred.)
One of Hollywood’s most celebrated tough guys, Bob starred with Marilyn in River of No Return (1954.) He and Marilyn remained friendly and worked well together, although neither got along with director Otto Preminger. Bob recalled that she didn’t take her ‘sex goddess’ image seriously, playing it as a kind of burlesque. He was later offered another chance to be her leading man in The Misfits, but was unimpressed by the script and the role went to Clark Gable instead.
This exuberant press shot of Marilyn arriving in Vancouver in July 1953 (en route to film scenes for River of No Return – more info here) features in a new display at the remodelled Global Services reception area for United Airlines’ elite customers at Los Angeles International Airport (L.A.X.), as Lewis Lazare reports for Chicago Business Insider. (She also flew from New York to Chicago with United Airlines when she visited Bement, Illinois to honour Abraham Lincoln in 1955.)
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.'”
“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.”
The upcoming Julien’s Auctions sale includes many items related to the making of Marilyn’s movies. An annotated script for Gentlemen Prefer Blondes reveals that Marilyn worked hard on her comedic performance. “Sense the feeling with the body,” she wrote next to one line.
Darryl F. Zanuck may have blamed Marilyn for delays in the River of No Return shoot, but co-star Robert Mitchum did not, writing on this letter, “Dig!!! Marilyn – my girl is your girl, and my girl is you. Ever – Bob.”
After a bitter legal battle with Twentieth Century Fox, Marilyn returned triumphantly to Hollywood in 1956, armed with a list of approved directors.
“This is the first film Monroe made after beginning to study at the Actors Studio in New York City with Lee Strasberg, and the notations in these script sides demonstrate her method. Some of the notes are sense memories, like the following notation written after the line ‘I can’t look’: ‘Effective memory (use Lester – hurt on lawn),’ most likely referencing Monroe’s childhood playmate Lester Bolender, who was in the same foster home with Monroe. Another note adds ‘(almost to myself)’ before a line to inform her delivery or ‘Scarfe [sic] around my arms) Embarrassed.'”
Arthur O’Connell, who played Virgil in the movie, sent Marilyn his best wishes after she was hospitalised with pneumonia.
“A collection of Marilyn Monroe envelopes, messages and notes, including a florist’s enclosure card with envelope addressed to Monroe and a message that reads ‘To make up for the ones you didn’t recall receiving at the hospital. Please stay well so we won’t go through this again’, signed by ‘Arthur O’Connell – Virgil Blessing.’ Also included are five handwritten notes in an unknown hand that reference Clifton Webb, Lew Wasserman and Paula Strasberg.”
“The letter is dated simply June 9, and it accompanied the latest version of the script for The Prince and the Showgirl. Olivier discusses Monroe’s dialogue and that he has ‘written some extra dialogue and a direction or two.’ He reports on where they are in the script writing process and that they have cut the script down from ‘well over 3 hours’ to 2 1/2, to 2 hours 10 minutes. He continues about the scenes that were and were not cut, including ‘The Duke of Strelitz is, I think essential, as otherwise they will be saying what’s the matter with them – why the heck can’t they get married, particularly in view of Grace Kelly and all that, and our only answer to that question must be Yes but look at the poor Windsors do you see?’
On an amusing note, Olivier mentions, ‘By the way Lady Maidenhead has degenerated to Lady Swingdale because I am assured the Hayes Office will not believe there is also a place in England of that name.’ He closes ‘I just called up Vivien at the theatre … and she said to be sure to give you her love. So here it is and mine too. Longing to welcome you here. Ever, Larry.'”
Marilyn had many advisors on this film, including husband Arthur Miller who made suggestions to improve the script.
“Some of your dialogue is stiff. Also some expressions are too British. If you want me to, I can go through the script and make the changes – – in New York. I think the part – on one reading, is really the Best one … especially with you playing it. You are the one who makes everything change, you are the driving force … The basic problem is to define for yourself the degree of the girl’s naivete. (It could become too cute, or simply too designing.) It seems to me, at least, that they have not balanced things in Olivier’s favor. … It ought to be fun to do after Bus Stop. From your – (and my) – viewpoint, it will help in a small but important way to establish your ability to play characters of intelligence and cultivation. … Your loving Papa – (who has to rush now to make the plane – see you soon! – free!) – Art.”
Marilyn had strong opinions about the casting of Some Like It Hot. In the minutes from a business meeting at her New York apartment, it is noted that “MCA on the Coast has told [Billy] Wilder that there are ‘legal technicalities holding up her decision’ so as not to offend Wilder. Actually, she is waiting for [Frank] Sinatra to enter the picture. She still doesn’t like [Tony] Curtis but [Lew] Wasserman doesn’t know anybody else.”
This short note penned by Marilyn is thought to be a response to Tony Curtis’ notorious remark that kissing her was “like kissing Hitler.”
Although she never won an Oscar, Marilyn joined the Academy of Motion Picture Arts and Sciences in 1959.
Novelist Truman Capote wanted Marilyn to star as Holly Golightly in Breakfast at Tiffany’s. However, her own advisors deemed George Axelrod’s watered-down adaptation unworthy of her talents. The film was a huge hit for Audrey Hepburn, but Capote hated it.
“A clean copy of the screenplay for Breakfast at Tiffany’s written by George Axelrod and dated July 9, 1959. Monroe was considering the part, and she sought the opinions of her professional team including the Strasbergs, her husband, and management team. The script is accompanied by a single-page, typed ‘report’ dated September 23, 1959, which also has the name ‘Parone’ typed to the left of the date. Literary luminary Edward Parone was at the time running Monroe’s production company and most likely is the one who wrote this single-page, scathing review of the script, leading with the simple sentence, ‘I think not.’ It goes on to criticize the screenplay, determining, ‘I can see Marilyn playing a part like Holly and even giving this present one all the elan it badly needs, but I don’t feel she should play it: it lacks insight and warmth and reality and importance.’ It has been long reported that Monroe declined the part upon the advice of Lee Strasberg, but this document provides further evidence that other people in her inner circle advised her not to take the role. Together with a four-page shooting schedule for November 4, 1960, for the film.”
Marilyn was generous to her co-stars in Let’s Make Love, giving a framed cartoon to Wilfrid Hyde-White on his birthday, and an engraved silver cigarette box to Frankie Vaughan. She also asked her friend, New York Times editor Lester Markel, to write a profile of her leading man, Yves Montand. “He’s not only a fine actor, a wonderful singer and dancer with charm,” she wrote, “but next to you one of the most attractive men.”
A handwritten note by Paula Strasberg reveals how she and Marilyn worked together on her role in The Misfits. “searching and yearning/ standing alone/ mood – I’m free – but freedom leaves emptiness./ Rosylin [sic] – flower opens bees buzz around/ R is quiet – the others buzz around.”
In 1962, Marilyn began work on what would be her final (and incomplete) movie, Something’s Got to Give. This telegram from screenwriter Nunnally Johnson, who was later replaced, hints at the trouble that lay ahead.
“The telegram from Johnson reads ‘In Revised script you are child of nature so you can misbehave as much as you please love – Nunnally.’ Monroe has quickly written a note in pencil for reply reading ‘Where is that script – is the child of nature due on the set – Hurry Love & Kisses M.M.’ ‘Love and Kisses’ is repeated, and additional illegible notations have been crossed out.”
“Raw footage of Monroe performing with the children in Something’s Got to Give exists, and Monroe’s notations are evident in the footage. The top of the page reads ‘Real Thought/ Mental Relaxation/ substitute children – B & J if necessary/ feeling – place the pain where it is not in the brow.’ B & J likely refers to Arthur Miller’s children Bobby and Jane. Another notation next to one of Monroe’s lines of dialogue reads simply ‘Mona Lisa’, which does in fact mirror the expression she uses when delivering this line. Even the exaggerated ‘Ahhhhh—‘ that Monroe does at the beginning of each take in the raw footage is written on the page in her hand, reading in full, ‘Ahhh–Look for the light.'”
Marilyn’s RCA Victor award for ‘I’m Gonna File My Claim‘ after it was released as a single to promote River of No Return and sold 50,000 copies in 1954, as well as promotional materials, are among the items in the upcoming Julien’s sale.
An unedited, 30-minute audio recording of Marilyn performing multiple takes of ‘Runnin’ Wild’ and ‘I Wanna Be Loved By You’ (from Some Like It Hot) on a reel of acetate tape, from the estate of Studio 7612 owner Myron Blackler, is also on offer.
Marilyn’s personal songbook – containing more than 369 indexed pages of song standards, such as Cole Porter’s ‘You Do Something To Me’ – is up for bids. Receipts show that in February 1960, Marilyn purchased three albums by Frank Sinatra; and in April 1962, she bought a live double-album by Judy Garland.
Finally, a set of vinyl compilations featuring Marilyn herself are on sale, as collected by Monroe Sixer Frieda Hull.