You can read my tribute to Doris Day, who died yesterday aged 97, over here.
As entertainment writer for the Daily Mirror, Donald Zec was the British equivalent of US columnists Sidney Skolsky and Earl Wilson, and he is seen here sharing a joke with Marilyn at Parkside House in Egham, Surrey after she flew into London on July 13, 1956 to begin filming The Prince and the Showgirl. They had met a few months before, on a flight to Phoenix, Arizona where Marilyn would film the rodeo scene in Bus Stop. (You can read about their airborne chat here.)
By the time Marilyn came to England, Marilyn had married Arthur Miller and with an independent production deal for The Prince and the Showgirl, she was about to lock horns with her esteemed director and co-star, Sir Laurence Olivier. Finding her standoffish, the British press soon took his side and she would doubtless have been glad to see a friendly face.
After recently attending Donald Zec’s 100th birthday party, author Howard Jacobson has paid tribute in an essay for the Jewish magazine, Tablet – recounting his boyhood idol’s show-business exploits, including the story behind his photo opportunity with Marilyn.
“For a while I had a page from the Daily Mirror pinned above my bed. It showed Donald Zec and Marilyn Monroe standing so close they could have been secretly holding hands. She was throwing her head back in appreciation of something he’d told her. A Jewish joke was my guess. Rabbi walks into a bar. But nothing suggestive. Jews didn’t do suggestive. Not English Jews, anyway. And Marilyn’s mirth had a clear innocence about it. As did my passion for Donald Zec. But it alarmed my father. Why him? ‘He knows how to make Marilyn Monroe laugh,’ I explained. ‘Joe DiMaggio made her go hot all over; Arthur Miller made her read the Oxford English Dictionary from cover to cover; only Donald Zec makes her laugh.’
I have said that he had just become a widower when we met. Dancing cheek to cheek with Hollywood beauties notwithstanding, his marriage had been by all accounts spectacularly successful. So he was suffering the cruel heartbreak that a happy marriage has in store for us. I never heard a man speak more reverently of his wife. And yet he could make sublime comedy out of his grief. This was the opposite of disrespect. He knew that if you are to bring the whole range of your emotions to remembering and describing love, then laughter is as important as sorrow.
‘So anyway, Marilyn …’ I said to him once. He shook his head. Nothing doing. ‘It touches me to think you remained such a good Jewish boy all those years,’ I said. This time he put a hand on mine. ‘Let’s not make a nebbish of me altogether,’ he said. Make what you will of that. Every heart, as D.H. Lawrence wrote, has its secrets.
He did not intend to give speeches at his 100th birthday, then ended up giving three. He has the fluency a man a quarter of his age would kill for. His comic timing is still perfect. But there is a weight in his words that wasn’t there in 1955. The weight of grief; of experience touched by love. If you didn’t know how he’d earned his living you’d guess teaching philosophy at Oxford, not making Marilyn laugh in Beverly Hills.
To Marilyn, the last word. Never really grasping that London and Hollywood were in different time zones, she would ring up at some crazy hour. Donald told me of his phone going off in his London apartment in the middle of the night. His wife would take the phone and in the sweetest tone of understanding pass the receiver over to Donald. ‘It’s Marilyn for you,’ she’d say.
I hear that and all my old envious idolatry returns. I can’t decide which I covet most, the age he has reached while still accumulating accomplishments, or the fact that Marilyn Monroe rang him in his bed.”
Fleet Street photographer Horace Ward, who captured Marilyn and many other celebrities on film, has died. Ward photographed Marilyn at London Airport on November 20, 1956, during a final press conference before she and husband Arthur Miller departed for New York. Sir Laurence Olivier and his wife, Vivien Leigh, were also present. The atmosphere was far more muted that day than when Marilyn had arrived to film The Prince and the Showgirl four months previously, perhaps because of her fractured relationship with the British press (not to mention Olivier.) “What I do remember vividly, the coldness that night standing on the tarmac,” he wrote later. “I was frozen to the ground – just glad the flashbulbs went off.”
Horace was interviewed by author Michelle Morgan for the 2012 edition of her definitive biography, Marilyn Monroe: Private and Undisclosed. He recalled: “I remember a crowded press conference in the old tin-hut terminal with dreadful drab green curtains they had up as a backcloth, which everyone moaned about. There were hardly any fans about; it was mostly airport staff and a few police.”
In his bio for EPhotoZine, Horace noted that he began taking photographs in 1949. Self-taught, his first newspaper picture was published that year. After serving in the army, he worked in the photographic department of a national airline. By the early 1960s, he had moved to Fleet Street, with up to five pictures published each day. As well as Marilyn, he captured other blonde bombshells including singer Kathy Kirby, plus actresses Brigitte Bardot, Jayne Mansfield and Vera Day (who had earlier dyed her hair red to play Marilyn’s friend Betty in The Prince and the Showgirl.)
He was commissioned to photograph the legendary dance troupe, The Tiller Girls, for London’s Evening Standard in 1960. The British Music Hall Society has featured his photographs of Adam Faith, Alma Cogan, Anthony Newley, Kathy Kirby (a glamorous blonde singer whose looks were compared to Marilyn’s), Charlie Drake, Bernard Bresslaw, and Cliff Richard on their website. He also photographed Vera Day (who played on The Prince and the Showgirl) many visiting entertainers, including Pat Boone and Connie Francis.
Among his most famous subjects were Winston Churchill, Bob Hope, and Marilyn’s Gentlemen Prefer Blondes co-star, Jane Russell. Horace later became chief glamour photographer for a leading magazine. Further examples of his work can be found on the personal website of the Belgian actress Bettine Le Beau, who died in 2015. In later years he preferred to photograph steam trains (his father had worked for the Great Western Railway.)
“Horace was a brilliant photographer and a wonderful friend,” Michelle Morgan wrote today. “I knew Horace for fourteen years and he was always so kind, funny and supportive. I’ll always remember him with great warmth and affection.” You can read her tribute here.
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.
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
An original negative of Marilyn and co-star Dame Sybil Thorndike in a still photo taken by Milton Greene for The Prince and the Showgirl will go under the hammer at London Gallery Auctions in Westlake Village, California this Saturday, September 1. Bids open at $1,800, with an estimate of $10,500-16,500.
UPDATE: Sold for $6,000
A selection of movie posters are on display at London’s BFI IMAX (which also hosts the UK’s biggest cinema screen) until tomorrow as part of an auction hosted by memorabilia seller Prop Store, Emily Petsko reports for Mental Floss. The collection includes a series of posters featuring Marilyn, designed by British illustrator Tom Chantrell, best known for his Star Wars posters (you can see more of his Marilyn artwork here.)
“The most valuable lot is a poster of the 1956 film Bus Stop, which is expected to sell for at least $2600 … Also up for grabs are two posters from the 1957 film The Prince and the Showgirl, in which Monroe starred alongside Laurence Olivier, and an insert poster of the popular 1959 film Some Like It Hot. Another Chantrell poster of the 1976 Monroe biopic Goodbye, Norma Jean is expected to be snatched up for at least $1900.”
UPDATE: The winning bids fell somewhat short of expectations, with the Some Like It Hot poster selling for £750, and two posters for The Prince and the Showgirl reaching £200 and £500. The posters for Bus Stop and Goodbye, Norma Jean went unsold.
Marilyn is listed among ‘6 Extreme Students of Method Acting’ by Blake Hayek in an article for Crixeo, citing her clash with Olivier in The Prince and the Showgirl (though Bus Stop and The Misfits are arguably her most Method-y performances.)
“Many have rightly observed that method acting can tend to become a bit of a boys’ club and a self-validating reaction to the perceived trappings of being a ‘sissy in tights’ thespian. However, one performer certainly resets the balance somewhat. Marilyn Monroe famously played opposite theater heavyweight Laurence Olivier in The Prince and the Showgirl, and the two sparred on set over their respective — and diametrically opposed — acting techniques. A student of Lee Strasberg, Monroe no doubt would have seemed uncouth to the classically trained, old-school Olivier. Later Olivier famously quipped to Dustin Hoffman, who was exhausted after staying up three days to prepare for his role in Marathon Man (1976): ‘Try acting, dear boy. It’s much easier.'”
Anticipating this year’s Oscar ceremony, the current issue of Entertainment Weekly (dated February 23-March 2) features extensive coverage of the Academy Awards’ 90-year history. Of course, Marilyn never won an Oscar, nor was she even nominated. But her role in Some Like It Hot, which won her a Golden Globe, is mentioned in a list of legendary ‘Oscar disses.’
Although Some Like It Hot is her best-known film, Marilyn’s screen time was less than her co-stars. Were it not for her top billing, her performance would arguably be more suited to the Best Supporting Actress category. Marilyn’s bombshell image and flair for comedy both worked against her being taken seriously by the Hollywood establishment. But perhaps the most decisive factor was her rebellion against Twentieth Century Fox.
After winning her contractual battle with the studio, her acclaimed comeback in Bus Stop (1956) was overlooked by the Academy – a snub she never forgot. Her next performance, in The Prince and the Showgirl (1957), won awards in Europe, while her last completed film, The Misfits (1961), was also her most mature dramatic role. But at the time, neither were particularly well-received in the US.
In 1964, columnist Sheilah Graham petitioned unsuccessfully for Marilyn to be given a posthumous Lifetime Achievement Award. However, this is not standard practice within the Academy and thus is highly unlikely to happen now. Nonetheless, Marilyn’s films remain hugely popular and for many, she is the most enduring symbol of movies and glamour – proof, if proof were needed, that you don’t need an Oscar to be a legend.