In an article for Film School Rejects, Angela Morrison asks why Marilyn’s acting achievements are still so often overlooked, and examines how her career was impacted by typecasting.
“What frequently happens when actors play the same types of characters over and over again is that audiences assume that the actor is their character in real life … many people believe Marilyn Monroe was genuinely being herself onscreen. This is inaccurate and does not give her very much credit for the hard work that went into her performances.
She essentially played the same character in all of her comedies, but brought a unique spin to each story … Flashes of her dramatic talents are visible in some of her early roles, such as her emotionally damaged babysitter in Don’t Bother to Knock (1952), and and her femme fatale in 1953’s Niagara (one of my personal favorites of her performances).
Her final performance as Roslyn in John Huston’s The Misfits (1961) is just as powerful as Bus Stop, although perhaps more depressing … she was no longer playing young and naive ‘starlets’, but was instead portraying complex women. It takes talent to play both comedy and drama; however, dramas such as The Misfits require a different kind of depth than comedies such as Some Like It Hot (1959).”
A series of gorgeous colour photos taken by Monroe Sixer Frieda Hull, whose incredible archive of candid snapshots were auctioned at Julien’s in November 2016, were published in yesterday’s Daily Mail. The images show Marilyn arriving for test shots for The Misfits in New York in July 1960.
Unfortunately – and all too predictably – the pictures are accompanied by a salacious and frankly unbelievable story. Marilyn’s belly is rather prominent in the photos, and Tony Michaels – a Las Vegas casino croupier who befriended the late Frieda Hull, and purchased the images at auction – claims that Marilyn was secretly pregnant at the time, by her Let’s Make Love co-star Yves Montand.
That Marilyn and Yves had an affair is not in doubt, and of course they were both married to other people. However, a pregnancy at this time has never been mentioned, and Marilyn’s daily routine is extremely well-documented. To casual observers her protruding tummy may look like a baby bump, but seasoned fans have noticed many similar images of her over the years.
Furthermore, Marilyn was a very private person and it would be out of character for her to have confided in a teenage fan. Frieda Hull never sought publicity and it seems all too convenient that such a story would emerge only after her death. It has also been debunked by Scott Fortner, who helped to catalogue the recent Julien’s sale in which these photos were featured, on his MM Collection blog; and by Immortal Marilyn.
Could this be an early frontrunner for the most ridiculous Marilyn headline of 2017? It is interesting to note that the Daily Mail was recently blacklisted by Wikipedia for ‘poor fact checking, sensationalism and flat-out fabrication.’
In January, exhibitions featuring Milton Greene and Douglas Kirkland’s photographs of Marilyn opened in London and Amsterdam. In New York, the Museum of Modern Art paid tribute to Marilyn’s choreographer, Jack Cole. Also this month, James Turiello’s book, Marilyn: The Quest for an Oscar, was published. And Edward Parone, assistant producer of The Misfits, died.
In April, a special edition of Vanity Fair magazine – dedicated to MM – was published. A campaign to save Rockhaven, the former women’s sanitarium where Marilyn’s mother Gladys once lived – was launched. And actress Anne Jackson – wife of Eli Wallach, and friend to Marilyn – passed away.
In May, Marilyn graced the cover of a Life magazine special about ‘hidden Hollywood’, and Sebastien Cauchon’s novel, Marilyn 1962, was published in France. Cabaret singer Marissa Mulder’s one-woman show, Marilyn in Fragments, opened in New York, while Chinese artist Chen Ke unveiled Dream-Dew, a series of paintings inspired by Marilyn’s life story. The remarkable collection of David Gainsborough Roberts was displayed in London. Finally, Alan Young – the comedian and Mister Ed star, who befriended a young Marilyn – died.
In July, the birthday celebrations continued in Marilyn’s Los Angeles hometown with tributes from painter David Bromley, and another Greene exhibition. A new musical, Marilyn!, opened in Glendale. Rapper Frank Ocean appeared alongside a Monroe impersonator in a Calvin Klein commercial. And Marni Nixon, the Hollywood soprano who sang the opening bars of ‘Diamonds Are a Girl’s Best Friend’, passed away.
August 5th marked the 54th anniversary of Marilyn’s death. Also this month, it was announced that Seward Johnson’s ‘Forever Marilyn’ sculpture may return permanently to Palm Springs. April VeVea’s Marilyn Monroe: A Day in the Life was published, and Marilyn’s role in Niagara was featured in another Life magazine special, celebrating 75 years of film noir.
In September, Marilyn: Character Not Image – an exhibition curated by Whoopi Goldberg – opened in New Jersey. Terry Johnson’s fantasy play, Insignificance, was revived in Wales. Two locks of Marilyn’s hair were sold by Julien’s Auctions for $70,000. And author Michelle Morgan published The Marilyn Journal, first in a series of books chronicling the Marilyn Lives Society; and A Girl Called Pearl, a novel for children with a Monroe connection.
If you’re in Amsterdam this Christmas, don’t miss the Happy Birthday Marilyn: 90 Years Ms Monroe exhibit (featuring the Ted Stampfer collection), on display at De Nieuwe Kerk until next February. And from next Thursday (December 22), the city’s EYE Film Institute will be screening seven of Marilyn’s best movies: Niagara, Gentlemen Prefer Blondes, How to Marry a Millionaire, The Seven Year Itch, Bus Stop, Some Like It Hot and The Misfits.
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.'”
Inge Morath: On Style is a new book focusing on the late photographer’s work in fashion and film. Her images of Marilyn on the set of The Misfits are elegant and tender, and the knowledge that Morath would become Arthur Miller’s third wife adds a note of poignancy. Author Justine Picardie writes about Inge’s work with director John Huston, and her later encounter with Arthur which led to a long and happy marriage, in a blog post for the Magnum website.
“This was also the period when Morath first started working with the director John Huston; one of her earliest assignments was to photograph the stills for his film Moulin Rouge in London in 1952, which was to be the start of a lifelong friendship … Huston would later describe Morath as ‘a high priestess of photography,’ a woman with ‘the rare ability to penetrate beyond surfaces and reveal what makes her subject tick.’
Morath’s friendship with Huston was to play an important part in her personal life, as well as her career. In 1959, she travelled to Mexico to photograph the making of his film The Unforgiven … The following year, Morath visited the set of another of Huston’s films, The Misfits, accompanied by her Magnum colleague, Henri Cartier-Bresson.
When Morath was subsequently asked by the New York Times about the experience of photo- graphing Monroe, she described the actress as ‘kind of shimmery. But there was also this sadness underneath. A poetry of unhappiness. That was what was so mesmerizing, the twofold thing you got, the unhappiness always underneath the joy and the glamour…that was the poetry.’ In the same interview, Morath added one more intriguing fragment to the story. ‘I once dreamt we both danced together, Marilyn and I. It was beautiful.'”
‘Love me for my yellow hair alone’, Marilyn once wrote to her friend, Norman Rosten – it was an ironical misquote (perhaps intentionally so) of a line from W.B. Yeats’ poem ‘For Anne Gregory‘, which actually read ‘Love me for myself alone/And not my yellow hair.’
This weekend, two locks of Marilyn’s hair – previously owned by Frieda Hull, a former member of the teenage group known as the Monroe Six, who befriended the star when she moved to New York – were sold by Julien’s Auctions for $70,000, as part of their latest Icons and Idols sale. Other items from the late Ms Hull’s collection, including many rare, candid photos, will be sold by in November’s Marilyn-only auction, also at Julien’s.
In a macabre footnote, the ashes of novelist Truman Capote – another friend of Marilyn’s – were also sold at Julien’s this weekend for $43, 750. And in other hair-related news, a wig worn by Marilyn in The Misfits will be on sale at Heritage Auctions on November 12.
UPDATE: You can now read a CNBC interview with Remi Gangarossa, who placed the winning bid for a lock of Marilyn’s hair, over here.
The Misfits will be shown in widescreen at the Ahrya Fine Arts Theater in Beverly Hills on Sunday, August 14, as part of Laemmle’s Anniversary Classics Western Weekend, critic Kenneth Turan reports for the Los Angeles Times, describing Gable’s swansong (and also Marilyn’s, as it turned out) as ‘arguably the most surprising of the five films … as an elegiac modern Western, it can’t be beaten.’
Magnum alumni Bruce Davidson, who photographed Marilyn behind the scenes during filming of Let’s Make Love and The Misfits in 1960, is the subject of a new book by Vicki Goldberg in the Magnum Legacy series, reports CNN. (It follows the first Magnum Legacy book about Eve Arnold, another photographer of Marilyn’s, which was published last year.)
“What makes Davidson’s photographs so compelling is that they stem from patience and an ability to empathize with his subjects.
‘I stay a long time,’ he said. ‘My eyes open to their lives. In my silence, they feel secure. My philosophy is to stay until it becomes a subject. I am an outsider on the inside.'”
Marilyn never went to Cannes, but as the 2016 film festival gets underway, she’ll be there in spirit, WMagazine reports. Magnum photographer Bruce Davidson’s shot of Marilyn with co-star Clark Gable and director John Huston during filming of The Misfits in 1960 is featured in ‘The Art of Behind the Scenes’, an exhibition of images captured on the sets of movies old and new, on display at the Hotel du Cap in Antibes.