Although The Misfits gave us one of Marilyn’s finest performances, it’s hard not to recall it without sadness. This is even more true for fans of Clark Gable, who died on November 16, 1960 (58 years ago this week), having suffered a heart attack two days after filming wrapped.
Gable had been Marilyn’s childhood idol (and an imaginary stand-in for her absent father.) He was probably her favourite leading man, and although her delays on the set often frustrated him, he remained a supportive friend to her throughout.
She was heartbroken by his death, and while some journalists blamed her for it, his widow would invite her to the christening of their only son in April 1961. Here’s a review from fansite Dear Mr. Gable, who are marking the King of Hollywood’s anniversary with Misfits-related posts on their Facebook page.
“The Misfits is an apt title for this film, not only fitting for its group of wandering cowboys and recent divorcee, but for the cast portraying them: The King of Hollywood, Clark Gable, who at age 59 was in no shape to be playing a 40-something-year-old cowboy in the hot Nevada desert. In fact, he failed his first physical for production insurance. After giving up alcohol temporarily and crash dieting to lose 35 lbs, he passed. And celebrated with whiskey and a steak.
Clark is paired as the unlikely romantic interest for the 34 year old Marilyn Monroe. Marilyn was in a dark place at the time … This film to me is just sad. I wonder if I would feel the same way if it wasn’t Clark’s swan song and if he didn’t look so terrible in it. I’m not sure though; it’s just a bleak film. The screenplay is very poetic, full of perfectly executed prose that at times seems overdone … It’s unfortunate for us all that we never got to see Marilyn attempt to play such a dramatic role again.
His wife Kay recalled: ‘Most of The Misfits was shot on a blistering hot dry lake bed 50 miles from Reno. The thermometer generally registered 135 degrees by mid-afternoon. Many members of the cast and crew became ill. But Clark outrode and outwalked men half his age.He did take after strenuous take roping a wild stallion singlehanded … Clark explained they had filmed a scene in which he was dragged on a rope behind a truck going 30 miles an hour. I was appalled. “Why are you doing those scenes?” I asked. “You’ve got a stunt man who’s supposed to do them.” Clark confessed that he’d found the waiting so demoralizing he’d volunteered to do the scenes just to keep occupied.’
On November 4, 1960, production wrapped on the film as the final scene was shot: Clark and Marilyn, alone in the car, surrounded by darkness.
‘How do you find your way back in the dark?’ she asks.
‘Just head for that big star straight on. The highway’s under it, it’ll take us right home,’ he says.
Those were the final words either of them would utter onscreen. There were no end credits, no ‘The End’ on the screen; it just faded to black. You can’t get more poetic than that.”
A retrospective for ‘Merilin Monro’ is currently ongoing at the Budo Tomovic Centre in the city of Podgorica, Montenegro, with free screenings of Bus Stop and The Misfits tonight and tomorrow in the DODEST Hall from 8 pm.
The town of Dayton, Nevada is rightly proud of its connections to Marilyn and The Misfits, as Carson Now reports. On Wednesday, November 14, Laura Tennant of the Historical Society of Dayton Valley will give a presentation on the movie which was partly filmed on the streets of Dayton and the Stagecoach Flats in the summer of 1960. There will also be a photo display. This free event is at the Dayton Valley Community Center at 170 Pike Street, Old Town Dayton, beginning at 7 p.m. with refreshments. and the presentation starts at 7:30 p.m.
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.
Reviews are in for Annie Ryan’s recent production of The Misfits at the Dublin Theatre Festival. It’s unclear as yet whether a full run will follow, so watch this space!
“Roslyn (Aobhínn McGinnity), first played by Monroe, is stronger, more worldly, and more sardonic than the original, and, crucially, she is a brunette, instantly drawing a distinction with Monroe … The play suffers from the same problems Miller’s original novella and screenplay did; it is an awkward narrative that constantly changes tone, and is eventually unclear in what it wanted to say. This production, though, one of the most anticipated of the Dublin Theatre Festival, does not disappoint.” – Ciarán Leinster, Reviews Hub
“If there appears to be a lack of nuance in the characters, it’s one that has been forced on them by their circumstances. It’s a strength of Miller’s writing that he is still able to reveal a humanity in the characters … Aoibhinn McGinnity’s Roslyn and Úna Kavanagh’s Isabelle hold the keys, even if in the latter case it’s just the key to the bar, both just as much misfits to the power dynamic of a very male-centred world.” -Noel Megahey, The Digital Fix
“Stage-plays migrate into movies frequently, often with great success; the traffic is lighter in the other direction. Some of the technical challenges are here very well met by movement director Justine Cooper; the lassoing of the mustang is effective, complete with the character of Isabelle embodying the struggling horse.
All five performances are first-rate, each actor taking plenty of risks. This is a thoroughly enjoyable dramatic probe into what’s biting the American male; it ends on a profound and optimistic note.” – Irish Independent
“While Roslyn stirs their passions, she is not the flaky sex object that a visibly unhappy Marilyn Monroe played in her final movie. She instead becomes the means of exposing the men’s rootlessness, insecurity and uncertain sense of self. Miller may have seen himself as a misfit in the sense of being a political malcontent, but Ryan’s version reminds us that at the heart of the story is a wider crisis in masculinity.” – Michael Billington, The Guardian
A stage adaptation of The Misfits is set to open at the Dublin Theatre Festival on September 27. Ahead of the premiere, Donald Clarke surveys the production for the Irish Times. As the photos indicate, the cast and crew are not going to replicate the 1961 movie (Aoibhinn McGinnity, who will play Roslyn Tabor, hasn’t seen it.) This is probably a wise decision as the original is so iconic – however, director Annie Ryan has much to say about it, and Marilyn’s performance.
“The picture has an awkward position in film history. It is remembered for a famously disordered production … Most poignantly, the last scene in The Misfits, showing Monroe and Gable sharing the front seat of a truck, stands as a farewell to both those imperishable stars.
Elements of the picture deserve celebration … Monroe really does make something of a dramatic role. Working with Paula Strasberg, one of the era’s great acting coaches, she managed to excise almost all traces of the breathy comic persona that helped her to superstardom.
‘The work in it,’ Ryan sighs. ‘You can really feel Paula Strasberg right behind the camera. She is going for a moment-to-moment method acting truth, but what I see there is the effort in every scene. I watch it thinking: that poor woman. From an acting perspective, it is absolute torture.’
The Misfits is something different. Even before we sit down, Ryan, her Chicagoan accent still largely intact, is giving out about the way Thelma Ritter is underused and about how uncomfortable she is with Miller’s attempts to ‘save’ Marilyn through art.
‘This isn’t a great film. It’s a really flawed film,’ she says. ‘I came upon it because it’s in his collected plays. My impulse came before the 2016 election. There isn’t a strong narrative, but there could be something to it. And it only has five people. I can’t afford a bigger cast than that unless I partner with a bigger company. Part of my thinking was: Can this work?’
She mentions the 2016 US presidential election. Obviously, all American art is now about Donald Trump. You can’t get away from him. The Misfits finds Monroe’s Roslyn, in Reno for a divorce, meeting three very different, but equally damaged, hunks of cowboy masculinity and then following them as they hunt mustangs in the nearby desert. Over 50 years ago, these characters were already complaining that the world had passed them by.
‘I suspect 60 or 70 per cent of those going in won’t have seen the film,’ Ryan says. ‘But they’ll know the iconography. They’ll have seen the photographs. Everyone knows about The Misfits even if they haven’t seen it. The image of the expanse. The image of Marilyn in the hat and the shirt. They are famous images. You have to accept they are in the room.’
It helps that Ryan is not working from the original script. Her production of The Misfits is officially an adaptation of a novella that Miller published to tie in with the release of the film.
‘That’s what I have the rights to cut,’ she says. ‘It’s very hard to get the rights to a film because the film company owns the rights.’
‘I think Miller did [Marilyn] a disservice by writing a version of herself,’ Ryan says. ‘He did this as a gift. But there’s no mask. She has an innocence. She has a compassion for all living things, which comes from Marilyn. She has an incredibly dysfunctional family background, which comes from Marilyn. Men are falling over each other to be next to her. There is a lot of language in the text about “the golden girl” arriving. No actor can play themselves. Most actors can’t face speaking in public, They just can’t bear it.’
Echoes of the #MeToo movement creep into The Misfits. The production will have much to do with how men interact with (and sometimes ignore) women in social engagements. Marilyn Monroe suffered more from those abuses than most. You see it in her films. You read about it in her life.
‘We see how she has become expert at saying “no” in a really nice way,’ Ryan says of Roslyn. ‘We have all been there to some degree. What would it be like to imagine that character now without sexing her up?’
Some reclaiming and revaluating is in order.
‘I feel that we are doing this for Marilyn’s ghost in some way.'”
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.”
Writing for the Mutual Art website, Jordan Mitchell explores the history of the Magnum Photos agency through ten iconic photographers. Marilyn is mentioned in relation to Eve Arnold (see above), but three more of the other artists also photographed her on the set of The Misfits…
A briefly nude scene from The Misfits – cut by director John Huston – may have survived, according to Charles Casillo, author of the new biography, Marilyn Monroe: The Private Life of a Public Icon.
Still photos attest that Marilyn was indeed semi-nude in the bedroom scene, in which stayed in the movie after being edited. She wanted to keep the footage intact, but Huston dismissed the idea. Marilyn was more attuned to the mood of the times, as minor nudity was already becoming commonplace in films made in Europe.
“Charles Casillo interviewed Curtice Taylor, son of the film’s producer Frank Taylor, and was taken aback to learn that he has kept the footage in a locked cabinet since his father’s death in 1999.
Mr Taylor said: ‘A lot of times, unused takes were destroyed. But Frank Taylor believed that it was so important and so ground-breaking that he saved it.’
The footage, with sound, lasts about 45 seconds. Curtice Taylor, a photographer and teacher, understands why his father was so keen to include it: ‘It’s much more passionate.’
He said: ‘So Gable’s fully clothed. He comes into her bedroom. She’s asleep. He caresses and kisses her neck, turns her face around and gives her a good lip-lock. That exists in the scene in the [final] film – but not to the passionate degree of this one, which is much better. The smile on her face when he’s kissing her shoulder is just sublime.’
After Gable leaves the room, Ms Monroe holds up the sheet to put on her blouse. Mr Taylor believes that she dropped it partly due to her training as a method actress.
He said: ‘Why would a woman sitting up in bed, with nobody in the room, pull the sheet up and then try to put a blouse on at the same time? It makes no sense. So she just drops the sheet. I think it’s one of the reasons she did this. There are quite a few takes of this scene. Whenever she dropped the sheet, which she did a few times, Huston would say “Cut, remember the sheet, Marilyn”.’
Mr Taylor was surprised that the footage is an edited sequence, and wonders whether the censors had insisted on its removal.
He attended the shoot at just 13-years-old, and said he remembers Ms Monroe talking to him and asking him to do ‘little favours’. He said: ‘She’d give me $5 to go get something.'”
The Misfits will have its first ever stage adaptation (as far as I’m aware) at the Dublin Theatre Festival from late September to mid-October, as Jennifer O’Brien reports for The Times. While I don’t think the movie should ever be remade, I’m glad to see Arthur Miller’s creation getting a new lease of life.
The Misfits already has an Irish connection, as prior to filming in 1960, Arthur had visited director John Huston at St. Cleran’s, his estate near Galway, to discuss the project (while Marilyn was filming Let’s Make Love in Hollywood.) No dates have yet been announced, but it will be staged at the Corn Exchange – and I’ll be keeping you posted, so watch this space!
“The production, directed by Annie Ryan, was announced as part of the line-up for the Dublin Theatre Festival … [Aoibhinn] McGinnity, 31, said that while she was looking forward to playing Tabor at the Corn Exchange, she had not watched the film that inspired the play.
‘I hadn’t seen the film, but had met Annie to chat about the concept, and it was like, You know what, maybe don’t watch the film,’ she said. ‘We are not going to play it like Marilyn Monroe; we are going to do our own spin.’
Ryan has promised that her version of The Misfits will offer it ‘the space to come into its fullest expression’. ‘Annie is trying to rewrite it from a different angle and it brings in so many things about feminism and masculinity,’ McGinnity said.”
UPDATE:The Misfits will be staged at Dublin’s Corn Exchange from September 27-October 1. More details here.