As usual, there is a vast array of Marilyn-themed calendars on sale for the coming year. Unfortunately, some publishers have succumbed to the lamentable trend for Photoshopped images and unsourced quotes. Here are some of the better items on offer.
This year’s offering from the French company, Hugo Image Calendars – known for their high quality products – includes twenty images in large format.
In association with Twentieth Century-Fox, Brown Trout has produced their third ‘Films of Marilyn‘ calendar this year.
A number of Marilyn-themed diaries have also been released, including Day Dream’s spiral-bound planner – ideal for jotting down future engagements.
For personal diarists, TeNeues remains the best choice. Marilyn graces the cover of next year’s Magneto diary – complementing their annual Glamour calendar. Heiner Meyer’s Marilyn- themed artwork also features inside, as well as portraits of other vintage stars, including Brigitte Bardot and Elizabeth Taylor.
After recent reports that touring exhibition Marilyn: Celebrating an American Icon is heading to Australia in 2016, comes news of a second, original exhibition. Marilyn Monroe, presented in association with Twentieth Century-Fox, will have its world premiere at the Bendigo Art Gallery, Victoria, and includes items from the collection of Scott Fortner, such as the black cocktail dress worn by Marilyn when she accompanied Arthur Miller to an awards ceremony in 1959.
Here’s the blurb:
“Marilyn Monroe remains one of the most celebrated and enigmatic film stars in history, she transformed herself from ordinary girl next door, Norma Jeane Baker into a glamorous and universally-recognised screen goddess. This comprehensive exhibition brings together authentic artefacts, clothing and other objects belonging to Marilyn. More than 20 original film costumes from some of Marilyn’s greatest films such as Gentlemen Prefer Blondes, How to Marry a Millionaire and Love Nest feature alongside numerous dresses and accessories from Marilyn’s personal wardrobe. The ground-breaking collaboration with Twentieth Century Fox will allow unprecedented access to the 12 films Marilyn completed with the studio, including glamorous studio portraits, wardrobe test photographs, lobby cards and film posters. Curated by Bendigo Art Gallery, the costumes, personal clothing and artefacts have been drawn from private collections around the world and have never been seen before in Australia.
To complement the exhibition, Bendigo Art Gallery has secured Seward Johnson’s iconic eight metre high sculpture of Marilyn Monroe, Forever Marilyn. This sculpture has been seen in Chicago and Palm Springs, USA and makes its international debut in Bendigo.”
“The gallery has worked with film studio Twentieth Century Fox to bring together items from collections around the world, including a pleated gold lame gown seen in Gentleman Prefer Blondes, costumes from films including How to Marry a Millionaire, accessories and even the star’s personal address book.
Curator Tansy Curtin has been hunting for pieces across the US and Europe, particularly some sold at a large auction of items owned by the actress Debbie Reynolds in 2012. On her wish list is a version of the famed white dress from Some Like it Hot, also designed by William Travilla. A request for a dress has been made (there are multiple versions, part of the ‘mystery and falsehoods’ surrounding Monroe’s costumes, Curtin said), and the Bendigo Art Gallery hopes to lock in its final inventory within weeks.”
As part of Twentieth Century-Fox’s centenary celebrations, 100 films will now be released digitally for the first time, including two Marilyn rarities: her first film, Scudda Hoo! Scudda Hay!, in which she makes a fleeting appearance; and Marilyn, the 1963 documentary narrated by Rock Hudson, which has never been released on video or DVD. How to Marry a Millionaire will also be available, as well as The Shocking Miss Pilgrim, the 1947 Betty Grable movie in which Marilyn was rumoured to have been an extra (however, this remains unconfirmed as she cannot be seen.)
Although best-known for his role as Lee Majors’ boss in The Six Million Dollar Man, Richard Anderson’s career dates back to the golden age of Hollywood. Born in 1926, he made his movie debut in 1947 – just like Marilyn Monroe. Anderson would later appear in Bus Stop, a TV series based on Marilyn’s 1956 movie. But as he reveals in a new book, Richard Anderson – At Last…, their first encounter occurred long before she appeared before a camera.
“Part of my job as Commissioner of Safety at University High was to sit at the east gate to make sure that the students had a pass to come to school and leave.
One day, I was eating a 15-cent lunch of egg salad sandwich and my favourite dessert – sherbet.
Sitting there eating raspberry sherbet, the east gate door opens and in walks this lady. Blonde with everything else that counts. She gave me a big smile, and I stopped eating.
‘How are you?’ she murmured.
‘I’m fine now,’ I said…
From the east gate to the main building is a long, long walk. She smiled her beautiful smile and then slowly moved away – very slowly – I watched the way she moved until she was out of sight. What a walk. I was transfixed. I also wasn’t hungry anymore…
Moreover, I forgot to ask for her pass!
I would later learn that her name was Norma Jeane Mortenson. But she will be forever be known to all as…Marilyn Monroe.”
Anderson was also a student at University High School, volunteering for the Commissioner of Safety post in 1941. Norma Jeane’s first boyfriend, Chuck Moran – whom she dated that year – was a University High student, although at the time of their relationship, Norma Jeane attended Emerson Junior High.
In September 1941, while living with Grace Goddard and her family, Norma Jeane enrolled at Van Nuys High. But in February 1942, after Grace’s husband was promoted to a post in his native West Virginia, fifteen year-old Norma Jeane returned to live with Ana Lower, and transferred to University High. By June, she had left school to marry Jim Dougherty.
Norma Jeane was not yet a blonde at this time, although she could be described as ‘California blonde’ (because her hair lightened in the sun.) But Anderson’s story rings true. By the late 1940s, he was a member of the Actors Lab in Los Angeles, recalling that Marilyn and John Garfield were also regulars.
He also recalls seeing Marilyn, now a major star, in the Fox Commissary with her Monkey Business co-star Cary Grant and director Howard Hawks. Grant went to the trouble of introducing her to Anderson. However, she recognised him instantly.
This story is also believable, as Marilyn never took even the smallest kindness for granted. Anderson writes that he was on loan to Fox for A Life of Her Own (starring Lana Turner), but that film was made at MGM in 1950, two years before Monkey Business.
All the Best Lines, George Tiffin’s collection of movie-related quotes, anecdotes, is out now in paperback with a gorgeous cover photo of Marilyn on the set of There’s No Business Like Show Business (the hardback features Grace Kelly and Cary Grant on the cover instead.) A chapter entitled ‘I Just Want to Be Wonderful’ is dedicated to MM. All the Best Lines is available from The Works and other bookshops.
In August, I posted about a new Italian book focusing on Marilyn’s cinematic legacy, Marilyn Monroe Inganni. Fraser Penney – IM staffer and friend – has shared a preview with ES Updates.
Maurice Zolotow’s seminal 1961 biography has been released in Spanish, with an extensive photo section. Let’s hope it will be reissued in English as well, as it’s essential reading for any true fan.
Another old favourite, Michael Conway and Mark Ricci’s The Films of Marilyn Monroe, was also reissued in Italy recently. Finally, if you’re interested in learning more about the history of Marilyn’s home studio, Peter Lev’s Twentieth Century-Fox: The Zanuck-SkourasYears is out now in paperback. And a new retrospective of Eve Arnold’s long career features Marilyn on the cover.
Timemagazine profiles Cold War Roadshow, an upcoming documentary about Soviet premier Nikita Khrushchev’s historic visit to the US in 1959, on its website today – including footage of an evasive Marilyn being interviewed by reporters after a luncheon in Khrushchev’s honour at Twentieth Century-Fox.
Marilyn’s reluctance to comment may have been as a result of her husband Arthur Miller’s persecution by the rabidly anti-Communist House Un-American Activities Committee. Miller had been acquitted just a year before.
In 2010, it was announced that a dramatisation of Khrushchev’s trip would be produced for HBO, but this has yet to materialise. Cold War Roadshow will be broadcast on PBS in the US on November 18: a DVD is also available.
Styling the Stars: Treasures From the Twentieth Century Fox Archive, a new coffee table book by Angela Cartwright and Tom McLaren, will be published in October. It is 320pp long, and measures 8.3 x 5.9 x 0.9 inches. Marilyn graces the cover in an unusual, elegant profile shot, taken during costume tests for There’s No Business Like Show Business.
“Revered for their indisputable sense of style, classic Hollywood films continue to inspire today’s fashions. But the carefully crafted appearances of the timeless characters personified by the likes of Clark Gable, Julie Andrews, and Audrey Hepburn came as the result of meticulous hairstyling, makeup, and costume design. In Hollywood’s trendsetting world of glamour and glitz, continuity photographs ensured that these wardrobe elements remained consistent throughout the filming process. Now, decades later, these shots provide a striking record of the evolution of Hollywood fashion from the 1930s to the early 1970s. Written by Angela Cartwright and Tom McLaren, with a foreword by Maureen O’Hara, this collection of candid rarities offers a glimpse into the details of prepping Hollywood’s most iconic personalities, plus revelatory stories about Twentieth Century Fox classics. Here readers find images of Shirley Temple as she runs a brush through her trademark curls, Marilyn Monroe as she’s fitted for an elegant evening gown, Cary Grant as he suits up for a swim, and Paul Newman donning a six-shooter. The result is a stunning collector’s volume of film and fashion photography, as well as an invaluable compendium of movie history.”
Actor James Garner, who first found fame as a comedic cowboy in the 1950s TV series, Maverick, has died aged 86. His most popular role was that of private detective Jim Rockford in the long-running series, The Rockford Files. He also made over fifty films, including The Great Escape, Victor/Victoria, Murphy’s Romance, Sunset (as Wyatt Earp)and Maverick (a big-screen remake, starring Mel Gibson.) One of Garner’s final roles was in The Notebook (2004.) He is survived by his wife of 58 years, Lois Clarke, and two daughters.
Garner is best-known to MM fans as Doris Day’s leading man in Move Over Darling, the 1963 remake of Marilyn’s unfinished last film, Something’s Got To Give. What readers may not recall, however, is that Garner was originally chosen to star alongside Monroe, as Ted Schwarz explained in his 2010 biography, Marilyn Revealed.
“James Garner demanded $200,000 to do the picture, but Fox thought he was a $150,000-a-picture actor and would pay him no more. He quit. Then, in the convoluted thinking of Hollywood, the new producer, a man named Henry Weinstein, turned to Dean Martin that March, paying Martin double what Fox had wanted to pay Garner.”
Garner commented on both projects in his autobiography, The Garner Files (2012.)
“The best part of this remake of the 1940 screwball comedy My Favourite Wife was Doris Day. I’d been slated to make it as Something’s Got to Give with Marilyn Monroe, but I did The Great Escape instead, so Dean Martin took my part. Twentieth fired Marilyn for chronic tardiness and stopped production, retitled it Move Over Darling, and made it with me and Doris.
Doris didn’t play sexy, she didn’t act sexy, she was sexy. Which is better in the bedroom than a lot of things. And Doris was a joy to work with.”
After Marilyn was fired, executives at Fox spread the rumour that her work on the film was ‘unwatchable.’ However, footage from Something’s Got to Give, uncovered in 1990, shows Marilyn looking better than she had done in years. Her screen chemistry with Dean Martin was evident, and the opening scene, in which she greets her long-lost children after being rescued from a shipwreck, ranks among her finest work.
However, there is something undeniably stilted and weary about Something’s Got to Give – perhaps a combination of the hackneyed script, and George Cukor’s indifferent direction. Move Over Darling is a briskly efficient 1960s rom-com, though lacking some of the star-power Marilyn could have brought. Patrick Samuel compared the two versions in a 2011 review for Static Mass Emporium:
“Despite its shortcomings it has its charm and moments of fun but misses what Monroe and Martin brought to the unfinished Something’s Got To Give; sensuality and a high doses of sex appeal. Although, from watching what remains of Something’s Got To Give, it misses the charm and fun of Move Over Darling! Cukor’s version is sombre and swings more toward melodrama than screwball comedy. If only there was a way to move something over.”
Perhaps the most celebrated child star of all time, Shirley Temple, died on Monday, February 10th. Writing for Bust, Alanna Bennett notes that in her teenage years, Shirley looked a lot like the then-unknown Norma Jeane Baker.
“I mean, look at them. It could be chocked up to 1940s/1950s styles — the hair style is certainly that, and makeup trends also probably played a part — but there’s also a definite shared heart-shaped face, lip and eye shape, nose curvature, etc.
What’s interesting to me here is that these women did not spend the majority of their lifetimes resembling each other. It appears that they did, however, sort of meet in the middle: Temple spent her young childhood as one of the most famous people in the world, then went on to live a relatively ‘normal’ life thereafter; Monroe had that relatively ‘normal’ life roughly until her breakthrough in 1948, when she was twenty-two. Temple was also born only two years after Monroe, in 1928.
Both women made a big impact on the culture of their time — generations of women spent their childhoods wanting to be Shirley Temple, and their adolescence or adulthood yearning to be Marilyn Monroe. They obviously had very complicated lives in large part because of that, but there’s something calming in seeing their similarities.”
Temple delighted Depression era filmgoers, and some have said she helped to save Twentieth Century Fox from bankruptcy during the 1930s. Marilyn would later become the same studio’s most bankable star of the 50s.
Shirley Temple Black retired from acting in 1950, aged 22, and later became a US diplomat, travelling the globe under successive Republican administrations.
Marilyn’s biographer, Carl Rollyson, speculates that ‘it was the portrayal of Shirley as waif and orphan that appealed to Marilyn and formed the basis of some of Marilyn’s stories about her childhood.’
In later life, however, Marilyn did not always welcome the comparison, as this extract from journalist W.J. Weatherby’s Conversations With Marilyn reveals:
“‘I read your article about me,’ she said. ‘Who’s Mrs Patrick Campbell?’
I had described her in the article as a cross between a theatrical grand-dame like Mrs Campbell and a child star like Shirley Temple.
She beamed when I told her, but added that she took a dim view of being even remotely compared to ‘Lolita Temple.’
‘Sorry. Now that I know you better, I wouldn’t compare you to anyone.'”