In some ways, Rock Hudson was Marilyn’s male counterpart as a misunderstood sex symbol of 1950s Hollywood. They partied together at the How to Marry a Millionaire premiere in 1953, and in 1962 Rock would present Marilyn with her final award at the Golden Globes. Sadly they never worked together, but Rock was the initial favourite for her leading man in Bus Stop; and in 1958, she was considered for Pillow Talk before deciding to make Some Like It Hot instead. (Doris Day got the part, the beginning of a great comedy partnership with Rock.)
Until now, it has been unclear how well the two stars knew each other (although a recent hack tome made the unlikely claim that Marilyn and Rock were lovers – as we now know, Hudson was gay.) In a critically praised new biography, All That Heaven Allows, author Mark Griffin draws on interviews with Rock’s secretary, Lois Rupert, who claims they often spoke on the phone. Although the frequency of their conversations may be questioned, the obvious affection of their Golden Globes photos combined with this information could suggest that Rock was one of the few Hollywood figures trusted by Marilyn in her final months – and Griffin also reveals that Hudson generously donated his fee for narrating the 1963 documentary, Marilyn, to a cause very close to her heart.
“It was while he was on location for A Gathering Of Eagles that Rock received word that a friend had died. As Lois Rupert recalled, ‘Rock met me at his front door with the news … “Monroe is dead” is all he said.’
Only five months earlier, Rock and Marilyn Monroe had posed for photographers at the annual Golden Globes ceremonies. In images captured of the event, Monroe, who was named World Film Favourite, is beaming as Hudson enfolds her into a protective embrace. With a shared history of abuse and exploitation, it was inevitable that these two should be drawn to each other. Recognising that he posed no sexual threat to her, Monroe had latched on to Hudson and had lobbied for Rock to co-star with her in Let’s Make Love as well as her uncompleted final film, Something’s Got to Give.
Lois Rupert remembered that in the early 1960s, Rock regularly received late-night distress calls from Monroe as well as another troubled superstar. ‘If it wasn’t Marilyn Monroe crying on his shoulder, then it was Judy Garland,’ Rupert recalled. ‘It was almost like they took turns. Marilyn would call one night and Judy the next. He was always very patient, very understanding with both of them, even though he wasn’t getting much sleep. I think he liked playing the big brother who comes to the rescue.’
Within ten months of Monroe’s death, 20th Century-Fox would release a hastily assembled documentary entitled Marilyn. Fox had initially approached Frank Sinatra about narrating, but when the studio wasn’t able to come to terms with the singer Hudson stepped in. Hudson not only provided poignant commentary – both on and off camera – he donated his salary to help establish the Marilyn Monroe Memorial Fund at the Actors Studio.”
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.”
In Charles Casillo’s new biography, Marilyn Monroe: The Private Life of a Public Icon – due out this month – he claims that Marilyn’s alleged rivalry with Elizabeth Taylor was a myth, as Closer reports. His source isn’t named here but hopefully the book will tell us more, as it’s a nice story. (And you can read my tribute to Marilyn and Elizabeth here.)
“They were two of the biggest female sex symbols of the 50s and early 60s, but Marilyn Monroe and Elizabeth Taylor didn’t consider each other competitors. ‘In many ways [they] were pitted against each other by the press,’ Charles Casillo writes. ‘In reality, they barely knew each other, and the two had no animosity toward each other.’
Quite the opposite! Casillo writes of an incident in 1962, when 20th Century Fox was bleeding money on Liz’s over-budgeted extravaganza Cleopatra. The studio simultaneously fired Marilyn for alleged absences from the set of her never-completed final film, the aptly titled Something’s Got to Give.
Marilyn felt she was being sacrificed so Fox could save on her salary and spend it on finishing the bloated Egyptian epic. Two decades later, Liz revealed to a friend that she had reached out to Marilyn to offer her support during this difficult period.
‘Liz told Marilyn she was willing to publicly demonstrate her solidarity,’ Casillo says, offering to quit Cleopatra unless Marilyn was rehired. ‘Marilyn was very moved by Liz’s kindness toward her, but she didn’t want to make matters worse for either of them,’ so she declined the generous offer.
Instead, Liz gave Marilyn an invaluable piece of advice. ‘No matter what they write about me, Marilyn, I never deny it,’ Casillo quotes Liz as saying. ‘I never confirm it. I just keep smiling and walking forward. You do the same.’ Tragically, Marilyn didn’t live long enough to put those words into action.”
Actress Riley Keough makes a splash in the trailer for upcoming movie, Under the Silver Lake, a comic thriller set in Los Angeles and directed by David Robert Mitchell (It Follows), as Alex McLevy reports for AV Club. The clip appears to be an homage to Marilyn’s famous ‘pool scene’ in her unfinished last film, Something’s Got to Give – even her breathless invitation, ‘Come on in!’, is repeated. Miss Keough is, incidentally, the granddaughter of Elvis Presley, and Under the Silver Lake will be released in the US in June.
Surgical scars can be seen on Marilyn’s tummy in two of her final photo shoots, with George Barris (left) and Bert Stern (right), and in her ‘nude’ swim scene for the unfinished Something’s Got to Give, as Mehera Bonner reports for Marie-Claire. Marilyn underwent an appendectomy in 1952, and had her gallbladder removed in 1961, a year before she died. She also underwent several operations to alleviate her endometriosis and help her to have children, sadly without success. While surgical procedures are considerably more sophisticated today, our expectations have also increased. While there’s something rather liberating about these gorgeous, unaltered shots, it’s also important to remember that Marilyn – who exerted rigid control over her photo shoots, if not her movies – may herself have wanted to airbrush these photos had she lived long enough to fully review them. In fact, she vetoed many of Stern’s images, marking the rejects with an orange ‘X’; but after her death, he published the session in its entirety.
“Though she was famous for her perceived ‘perfection’ and ‘flawlessness’ (all the eye-rolls at the inherent sexism that goes into these terms), Marilyn Monroe had a pretty big scar across her stomach—which appears in both the Last Sitting and in Something’s Got to Give.
The scar itself is the result of gallbladder surgery that occurred before Stern’s famous images were taken. He says Marilyn was self-conscious about it, and called upon her hairdresser George [Masters] for reassurance before shooting. When Stern noticed the scar, he reportedly remembered Diana Vreeland saying to him, ‘I think there’s nothing duller than a smooth, perfect-skinned woman. A woman is beautiful by her scars.’
Diana Vreeland is right: women *are* beautiful with scars. But she’s also incorrect about women without them being dull. Either way, the sometimes-removal of Marilyn’s scar offers a fascinating insight into beauty standards in Old Hollywood—did she ever truly have agency as to how her body was portrayed?
Ironically, Something’s Got to Give was the first time Monroe was ‘allowed’ to expose her belly button on film—as most of her previous swimwear moments were high-waisted. Before her death, she’s said to have quipped ‘I guess the censors are willing to recognize that everybody has a navel.’
Olivier Rajchman’s Hollywood Ne Repond Plus (Hollywood Unresponsive) is a new book in French exploring the crisis at Twentieth Century Fox in 1962, focusing on three films made that year: the scandalous Cleopatra, starring Elizabeth Taylor and helmed by Joe Mankiewicz; Darryl F. Zanuck’s magnum opus, The Longest Day; and Marilyn’s last movie, the ill-fated Something’s Got to Give. It is available now in paperback and via Kindle.
Marilyn’s annotated script for her final, incomplete movie, Something’s Got to Give, has been sold at the Nate D. Sanders Hollywood Memorabilia auction for $25,000. While reporters have poked fun at her minor spelling errors – such as ‘leeding him on’ – her comments are often perceptive. ‘Needs more jokes’, she remarked – an opinion shared by others during this troubled production.
If this script looks familiar, that’s because it sold at Julien’s only a month ago for $10,240. Other items from the event have also been spotted on auction sites like EBay, confirming that Marilyn’s personal property is becoming a magnet for investors. A disused grave marker from her crypt, also sold in November, attracted no bids this time around.
“Monroe’s handwritten pencil notes begin with her character’s (Ellen Wagstaff Arden) introduction in the script on page 12 and carry through to the end on page 149, even including notes on the verso of the last page and back cover, such as a note reading, ‘Joke writers Mel Brooks / Herb Gardner / Need spice / raisins / Need some funny lines.’ There are notes in Monroe’s hand on approximately 42 pages in the script, ranging from simple dialogue corrections and changes to in-depth sense memory notes when doing a scene that required a deeper emotional connection and understanding. Regarding her character’s introduction, as she interacts with naval personnel who saved her after being marooned on an island for five years, Monroe writes, ‘1 – Gayity [sic] 2 – Excitement 3 – Then Dazed.’ In one scene, Monroe references Arthur Miller’s children to better help her relate to her character’s children, ‘Bobby M. / and early Janie / except their [sic] mine.’ Throughout the script, Monroe writes succinct dialogue and character notes: ‘Stunned / Dazed – sky high with adventure’, ‘dead pan/I really don’t know’, ‘anticipating the joys’, ‘Trying to think or remember’, ‘start to wonder what’s from now on’, ‘I don’t know he knows’, ‘easy/very intimate/very real’, ‘[L]et me get into something more comfortable / leading him on -‘. Included is a small card with call times and scenes to be shot, and a small scrap of paper with a note in Monroe’s hand wondering why they are shooting out of sequence, as well as notes about using Miss vs. Mrs.”
This copy of the script is dated March 29, 1962. Another version, including revisions dated April 23 and 27, and with eighteen pages annotated by Marilyn, went unsold, after being purchased at Julien’s last month for $12,800.
“Some of the highlights include notes Monroe made for Scene 168, in which she interacts with her children in the movie, who don’t recognize her as they were too young when she became stranded on an island for five years and presumed dead. These hand-annotated typewritten pages were inserted into the script for this particular scene – one of the few that Monroe completed before her untimely death. Within these pages, Monroe writes a series of notes regarding her preparation: ‘Real thought’, ‘Mental Relaxation’, ‘Look for the light’, ‘Place the pain/feeling where it is not in the brow’, as well as specific sense memories to help find the emotional truth with her character’s feelings toward her on-screen children, ‘Substitute children – B & J if necessary’, perhaps referring to Arthur Miller’s children Bobby and Jane. There are also some notes from Monroe regarding her work with a Swedish dialect coach. Peppered throughout the script are further dialogue notes, changes and line strikes. Interestingly, the script also includes notes in an unknown hand giving blunt, critical assessments and insights of the script’s scene descriptions, direction and dialogue. These notes start on the script’s first page, ‘Note for Marilyn/He has to woo her not the way it is / new blue pages’ and continue in blue pen, ‘Dull’, ‘Naggy, ‘Make it funny!’ and ‘Smugly’. Interestingly, Monroe reacts to some of these notes, either changing dialogue and scene direction or, in some cases, striking the note itself if she doesn’t agree with it.”
And in other news, a Frank Powolny portrait of Marilyn – signed by the lady herself to ‘Jimmie’ – was sold at R.R. Auctions for $24,959 this week, as part of the Tom Gregory Collection.
“Marilyn Monroe famously sang ‘Diamonds are a Girl’s Best Friend,’” Sheila Gibson Stoodley writes for Robb Report, “but collectors of her memorabilia disagree. Seven of the 10 most-expensive Marilyn Monroe items sold at auction are dresses—mainly costumes that the late star wore in her films. The few that she donned outside of the studio earn their high sums thanks to period photographs that prove Monroe wore them.” And over at his MM Collection Blog, Scott Fortner – who helped to catalogue this week’s auction at Julien’s – takes a closer look at the ‘I’m Through With Love‘ dress from Some Like It Hot, and the ‘After You Get What You Want‘ dress from There’s No Business Like Show Business. Both costumes are from the David Gainsborough Roberts collection, and will go under the hammer tomorrow.
Several other items which contributed to Marilyn’s glamorous look are also among the lots. From her modelling days onward, Marilyn often wore her own clothing in photo shoots. These brown leather sandals date back to a 1950 session with photographer Earl Leaf, shot at the Hollywood home of her agent, Johnny Hyde.
Unlike her cinematic alter-ego Lorelei Lee, Marilyn wasn’t really a material girl. These earrings, worn to the premiere of The Seven Year Itch, were made from simulated diamonds.
Marilyn’s movie costumes were made in duplicates, with her name next to the Fox logo on a sewn-in label. This green lace bodice from Bus Stop was won in a contest by a lucky reader of the British fan magazine, Picture Show.
These red satin platform shoes – designed by Annello & Davide – were born by Marilyn to the London premiere of Arthur Miller’s controversial play, A View From the Bridge.
John Moore’s pencil sketches for the form-fitting mermaid gown worn by Marilyn to the premiere of The Prince and the Showgirl are also on offer.
“A two-page, typed plan titled ‘Calorie Restricted Diet/ 1000 Calories/ 100 Grams Protein’ prepared for Monroe by Dr. Leon Krohn. The pages are undated, but some of the approved foods and meal plans are in line with the notations found in Monroe’s hand in the back of one of her notebooks from 1958. The diet put forth presents sound health advice even by today’s standards, recommending the restriction of sugar, fats and carbohydrates to whole wheat and ‘one small white potato boiled baked or riced’ as a substitution for one slice of bread.
Five sets of instructions, eight pages, from the Erno Laszlo Institute written out for Marilyn Monroe Miller, dated June 5, 6, 11, and 12, 1958, and July 3, 1958, outlining her constantly changing skincare regime in great detail. The instructions not only divide skincare into ‘Morning,’ ‘Evening if dressing,’ and ‘Evening before retiring,’ but also there are instructions on what not to eat: ‘Not one piece of any kind of nuts, olives, chocolate, clams and oysters.’ There are also separate instructions for California and ‘Instructions for Makeup While Making Films.'”
These white leather shoes by Salvatore Ferragamo are just one of several pairs that she owned. (The spiked heels were 3 inches high, and the size was 7.5B.)
In the spring of 1958, Marilyn made plans to appear at the Cannes Film Festival. Simone Noir sent her an invitation to visit Christian Dior in Paris. Unfortunately, the trip was cancelled, but a separate invoice shows that Marilyn bought a dress and coat by Dior from a Park Avenue boutique.
That Christmas, Marilyn’s longtime hairdresser, Agnes Flanagan, gave her a bottle of her favourite perfume, Chanel No. 5, purchased from I. Magnin in Beverly Hills.
Finally, a costume sketch by Bob Mackie for Something’s Got to Give. Based on a Jean Louis design, the red skirt suit with a swing jacket trimmed in leopard print, and matching hat, was intended as an ‘Outfit Worn on Day Off/Also in Courtroom Sequence.’ However, the ensemble was not worn by Marilyn during wardrobe tests, or any surviving footage from the ill-fated movie.
Darryl F. Zanuck may have blamed Marilyn for delays in the River of No Returnshoot, 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.
Her first project under the new, improved contract was Bus Stop. Several lots of annotated script sides are up for bids this week.
“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 BusStop. 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.”
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.'”
In January, Marilyn was named as the ‘new face’ of Max Factor cosmetics. Also this month, Joe Franklin (Marilyn’s first biographer) and Anita Ekberg, a fellow blonde bombshell of the fifties, both passed away.
In February, New York Fashion Week included a Fall 2015 collection from Max Mara, inspired by Marilyn’s 1960s style. A hologram of multiple Marilyns appeared in the Oscars opening ceremony. Also this month, Richard Meryman – the last person to interview Marilyn – passed away.
In March, Marilyn was featured in a vintage-inspired ad campaign for Coca Cola. In book news, the long-awaited first volume of Holding A Good Thought For Marilyn, a two-part biography by Stacy Eubank, was published.
On June 1 – Marilyn’s 89th birthday – the British Film Institute launched a month-long retrospective of Marilyn’s movies, and a nationwide reissue of The Misfits. Menswear designer Dries Van Noten used iconic images of Marilyn in his Spring 2016 collection. A benefit performance of Bombshell (the Marilyn-inspired musical subject of TV’s Smash) spurred plans for a full Broadway run. And Marilyn Monroe: Missing Moments, a summer-long exhibit, opened at the Hollywood Museum.
On June 29, Julien’s Auctions held a Hollywood Legends sale dedicated to Marilyn, and her floral dress from Something’s Got to Givesold for over $300,000. Sadly, it was also reported that the ‘Dougherty House’ in North Hollywood, where Marilyn lived from 1944-45, has been demolished – despite protests from local residents. And George Winslow, the former child actor who appeared in Gentlemen Prefer Blondes, passed away.
In August, the Marilyn Remembered fan club’s annual memorial service was held at Westwood Memorial Park, marking the 53rd anniversary of Marilyn’s death. It was reported that hip hop producer Timbaland would sample ‘Down Boy’, a ‘lost’ song recorded by Marilyn for Gentlemen Prefer Blondes. And the Daily Express published rare photos of a young Marilyn in Salinas.