and which later became something for all sorts of people to have opinions about, including writers like Gloria Steinem ( who was a Playboy bunny for a while) and Norman Mailer (who published a book about Marilyn featuring her last photo shoot with photographer Richard Avedon).
Marilyn Monroe
From Wikipedia, the free encyclopedia
| Marilyn Monroe | |
|---|---|
mid-1950s
|
|
| Born | Norma Jeane Mortenson June 1, 1926 Los Angeles, California |
| Died | August 5, 1962 (aged 36) Brentwood, Los Angeles, California |
| Cause of death | Barbiturate overdose |
| Resting place | Westwood Village Memorial Park Cemetery, Westwood, Los Angeles |
| Nationality | American |
| Other names | Norma Jeane Baker Norma Jeane Dougherty Norma Jeane DiMaggio Marilyn Monroe Miller |
| Occupation | Actress, model, singer, film producer |
| Years active | 1945–62 |
| Notable work(s) | Niagara, Gentlemen Prefer Blondes, River of No Return, The Seven Year Itch, Some Like It Hot, The Misfits |
| Religion | Pentecostal (1926–1956), Judaism (1956–1962)[1] |
| Spouse(s) | James Dougherty (m. 1942–46) (divorced) Joe DiMaggio (m. 1954–54) (divorced) Arthur Miller (m. 1956–61) (divorced) |
| Signature |  |
After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946 with Twentieth Century-Fox. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950), drew attention. By 1952 she had her first leading role in Don't Bother to Knock[6] and 1953 brought a lead in Niagara, a melodramatic film noir that dwelt on her seductiveness. Her "dumb blonde" persona was used to comic effect in subsequent films such as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953) and The Seven Year Itch (1955). Limited by typecasting, Monroe studied at the Actors Studio to broaden her range. Her dramatic performance in Bus Stop (1956) was hailed by critics and garnered a Golden Globe nomination. Her production company, Marilyn Monroe Productions, released The Prince and the Showgirl (1957), for which she received a BAFTA Award nomination and won a David di Donatello award. She received a Golden Globe Award for her performance in Some Like It Hot (1959). Monroe's last completed film was The Misfits (1961), co-starring Clark Gable, with a screenplay written by her then-husband, Arthur Miller.
The final years of Monroe's life were marked by illness, personal problems, and a reputation for unreliability and being difficult to work with. The circumstances of her death, from an overdose of barbiturates, have been the subject of conjecture. Though officially classified as a "probable suicide", the possibilities of an accidental overdose or a homicide have not been ruled out. In 1999, Monroe was ranked as the sixth-greatest female star of all time by the American Film Institute. In the decades following her death, she has often been cited as both a pop and a cultural icon as well as the quintessential American sex symbol.[7][8][9] In 2009, TV Guide Network named her No. 1 in Film's Sexiest Women of All Time.[10]
Contents
Family and early life
Main article: Early life of Marilyn Monroe
Gladys was mentally unstable and financially unable to care for the young Norma Jeane, so she placed her with foster parents Albert and Ida Bolender of Hawthorne, California, where she lived until she was seven. One day, Gladys visited and demanded that the Bolenders return Norma Jeane to her. Ida refused, as she knew Gladys was unstable and the situation would not benefit her young daughter. Gladys pulled Ida into the yard, then quickly ran back to the house and locked herself in. Several minutes later, she walked out with one of Albert Bolender's military duffel bags. To Ida's horror, Gladys had stuffed a screaming Norma Jeane into the bag, zipped it up, and was carrying it right out with her. Ida charged toward her, and their struggle split the bag apart, dumping out Norma Jeane, who wept loudly as Ida grabbed her and pulled her back inside the house, away from Gladys.[19] In 1933, Gladys bought a house and brought Norma Jeane to live with her. A few months later, Gladys began a series of mental episodes that would plague her for the rest of her life. In My Story, Monroe recalls her mother "screaming and laughing" as she was forcibly removed to the State Hospital in Norwalk.
Norma Jeane was declared a ward of the state. Gladys's best friend, Grace McKee, became her guardian. It was Grace who told Monroe that someday she would become a movie star. Grace was captivated by Jean Harlow, and would let Norma Jeane wear makeup and take her out to get her hair curled. They would go to the movies together, forming the basis for Norma Jeane's fascination with the cinema and the stars on screen. When Norma Jeane was 9, McKee married Ervin Silliman "Doc" Goddard in 1935, and subsequently sent Monroe to the Los Angeles Orphans Home (later renamed Hollygrove), followed by a succession of foster homes.[20] While at Hollygrove, several families were interested in adopting her; however, reluctance on Gladys' part to sign adoption papers thwarted those attempts. In 1937, Monroe moved back into Grace and Doc Goddard's house, joining Doc's daughter from a previous marriage. Due to Doc's frequent attempts to sexually assault Norma Jeane, this arrangement did not last long.
Grace sent Monroe to live with her great-aunt, Olive Brunings, in Compton, California; this was also a brief stint ended by an assault (some reports[which?] say it was sexual) when one of Olive's sons had attacked the now middle-school-aged girl. Biographers and psychologists[who?] have questioned whether at least some of Norma Jeane's later behavior (i.e., hypersexuality, sleep disturbances, substance abuse, disturbed interpersonal relationships), was a manifestation of the effects of childhood sexual abuse in the context of her already problematic relationships with her psychiatrically ill mother and subsequent caregivers.[21][22] In early 1938, Grace sent her to live with yet another one of her aunts, Ana Lower, who lived in the Van Nuys area of Los Angeles County. Years later, she would reflect fondly about the time that she spent with Lower, whom she affectionately called "Aunt Ana". She would explain that it was one of the few times in her life when she felt truly stable. As she aged, however, Lower developed serious health problems.
In 1942, Monroe moved back to Grace and Doc Goddard's house. While attending Van Nuys High School, she met a neighbor's son, James Dougherty (more commonly referred to as simply "Jim"), and began a relationship with him.[2][23][24] Several months later, Grace and Doc Goddard relocated to West Virginia, where Doc had received a lucrative job offer. Although it was never explained why, they decided not to take Monroe with them. An offer from a neighborhood family to adopt her was proposed, but Gladys rejected the offer. With few options left, Grace approached Dougherty's mother and suggested that Jim marry her so that she would not have to return to an orphanage or foster care, as she was two years below the California legal age. Jim was initially reluctant, but he finally relented and married her in a ceremony arranged by Ana Lower. During this period, Monroe briefly supported her family as a homemaker.[2][25] In 1943, during World War II, Dougherty enlisted in the Merchant Marine. He was initially stationed on Santa Catalina Island off California's west coast, and Monroe lived with him there in the town of Avalon for several months before he was shipped out to the Pacific. Frightened that he might not come back alive, Monroe begged him to try and get her pregnant before he left. Dougherty disagreed, feeling that she was too young to have a baby, but he promised that they would revisit the subject when he returned home. Subsequently, Monroe moved in with Dougherty's mother.
Career
Early work: 1945–1947
Norma Jeane became one of Blue Book's most successful models; she appeared on dozens of magazine covers. Her successful modeling career brought her to the attention of Ben Lyon, a 20th Century Fox executive, who arranged a screen test for her. Lyon was impressed and commented, "It's Jean Harlow all over again."[28] She was offered a standard six-month contract with a starting salary of $125 per week. Lyon did not like the name Norma Jeane and chose "Carole Lind" as a stage name, after Carole Lombard and Jenny Lind, but he soon decided it was not an appropriate choice. Monroe was invited to spend the weekend with Lyon and his wife Bebe Daniels at their home. It was there that they decided to find her a new name. Following her idol Jean Harlow, she decided to choose her mother's maiden name of Monroe. Several variations such as Norma Jeane Monroe and Norma Monroe were tried and initially "Jeane Monroe" was chosen. Eventually, Lyon decided Jeane and variants were too common, and he decided on a more alliterative sounding name. He suggested "Marilyn", commenting that she reminded him of Marilyn Miller. Monroe was initially hesitant because Marilyn was the contraction of the name Mary Lynn, a name she did not like.[29] Lyon, however, felt that the name "Marilyn Monroe" was sexy, had a "nice flow", and would be "lucky" due to the double "M".[30]
During her first few months at 20th Century Fox, Monroe had no speaking roles in any films but, alongside other new contract players, took singing, dancing and other classes. She appeared as an extra in some movies, but no exact list exists; some film buffs claim she appears in the musical comedies The Shocking Miss Pilgrim and You Were Meant for Me, and in the Western Green Grass of Wyoming, but these are unconfirmed.[31] Her first credited role was as a waitress in "Dangerous Years", released in December 1947, in which she had nine short lines. In March 1948, she appeared in a bit part as Betty in Scudda Hoo! Scudda Hay! (released after "Dangerous Years" but filmed before). Dressed in a pinafore and walking down the steps of a church, she says, "Hi, Rad" to the main character, played by June Haver, who responds, "Hi, Betty." After Monroe's stardom, 20th Century Fox began claiming that Monroe's only line in the film had been cut out, an anecdote Monroe repeated on Person to Person in 1955, but film historian James Haspiel says her line is intact and she also appears in a shot with herself and another woman paddling a canoe.[31]
Breakthrough: 1948–1951
After the release of the poorly reviewed Ladies of the Chorus and being dropped by Columbia, Monroe had to struggle to find work. She particularly wanted film work, and when the offers didn't come, she returned to modeling. In 1949, she caught the eye of photographer Tom Kelley, who convinced her to pose nude. Monroe was laid out on a large fabric of red silk and posed for countless shots. She was paid $50 and signed the model release form as "Mona Monroe". This was the only time that Monroe was paid for her nude posing.
After signing on with Johnny Hyde, Monroe had brief roles in three films, A Ticket to Tomahawk, Right Cross, and The Fireball, all of which were released in 1950 and brought no attention to her career. Hyde soon thereafter arranged for her to audition for John Huston, who cast her in the Metro-Goldwyn-Mayer drama The Asphalt Jungle as the young mistress of an aging criminal. Her performance brought strong reviews,[35] and was seen by the writer and director, Joseph Mankiewicz. He accepted Hyde's suggestion to cast Monroe in a small comedic role in All About Eve as Miss Caswell, an aspiring actress, described by another character, played by George Sanders, as a student of "The Copacabana School of Dramatic Art". Mankiewicz later commented that he had seen an innocence in her that he found appealing, and that this had confirmed his belief in her suitability for the role.[37] Following Monroe's success in these roles, Hyde negotiated a seven-year contract for her with 20th Century Fox, shortly before his death in December 1950.[38] It was at some time during this 1949–1950 period that Hyde arranged for her to have a slight bump of cartilage removed from her somewhat bulbous nose which further softened her appearance and accounts for the slight variation in look she had in films after 1950.
In 1951, Monroe enrolled at University of California, Los Angeles, where she studied literature and art appreciation.[39] During this time Monroe had minor parts in four films: the low-budget drama Home Town Story with Jeffrey Lynn and Alan Hale, Jr., and three comedies: As Young as You Feel with Monty Woolley and Thelma Ritter; Love Nest with June Haver and William Lundigan; and Let's Make It Legal with Claudette Colbert and Macdonald Carey, all of which were filmed on a moderate budget and only became mildly successful.[40] In March 1951, she appeared as a presenter at the 23rd Academy Awards ceremony.[41] In 1952, Monroe appeared on the cover of Look magazine wearing a Georgia Tech sweater as part of an article celebrating female enrollment to the school's main campus. In the early 1950s, Monroe unsuccessfully auditioned for the role of Daisy Mae in a proposed Li'l Abner television series based on the Al Capp comic strip, but the effort never materialized.[42]
Leading films: 1952–1955
She made her first appearance on the cover of Life magazine in April 1952, where she was described as "The Talk of Hollywood".[48] The following year, she was photographed by noted Life magazine photographer Alfred Eisenstaedt, considered "The father of photojournalism."[49][50] He photographed Monroe on the patio of her Hollywood home. Many of the images from that sitting have been reproduced in numerous subsequent publications and by Life magazine.[51][52] Monroe was pleased with his images of her, later telling him, "You made a palace out of my patio."[53]
Stories of her childhood and upbringing portrayed her in a sympathetic light: a cover story for the May 1952 edition of True Experiences magazine showed a smiling and wholesome Monroe beside a caption that read, "Do I look happy? I should—for I was a child nobody wanted. A lonely girl with a dream—who awakened to find that dream come true. I am Marilyn Monroe. Read my Cinderella story."[54] It was also during this time that she began dating baseball player Joe DiMaggio. A photograph of DiMaggio visiting Monroe at the 20th Century Fox studio was printed in newspapers throughout the United States, and reports of a developing romance between them generated further interest in Monroe.[55]
Four films in which Monroe featured were released beginning in 1952. She had been lent to RKO Studios to appear in a supporting role in Clash by Night, a Barbara Stanwyck drama, directed by Fritz Lang.[56] Released in June 1952, the film was popular with audiences, with much of its success credited to curiosity about Monroe, who received generally favorable reviews from critics.[57]
Much of the critical commentary following the release of the film focused on Monroe's overtly sexual performance,[61] and a scene which shows Monroe (from the back) making a long walk toward Niagara Falls received frequent note in reviews.[64] After seeing the film, Constance Bennett reportedly quipped, "There's a broad with her future behind her."[65] Whitey Snyder also commented that it was during preparation for this film, after much experimentation, that Monroe achieved "the look, and we used that look for several pictures in a row ... the look was established."[64] While the film was a success, and Monroe's performance had positive reviews, her conduct at promotional events sometimes drew negative comments. Her appearance at the Photoplay awards dinner in a skin-tight gold lamé dress was criticized. Louella Parsons' newspaper column quoted Joan Crawford discussing Monroe's "vulgarity" and describing her behavior as "unbecoming an actress and a lady".[66] Monroe had previously received criticism for wearing a dress with a neckline cut almost to her navel when she acted as Grand Marshall at the Miss America Parade in September 1952.[67] A photograph from this event was used on the cover of the first issue of Playboy in December 1953.[44]
Monroe and Jane Russell putting signatures, hand and foot prints in cement at Grauman's Chinese Theatre on June 26, 1953
The cement prints, photographed in 2011
At the Los Angeles premiere of the film, Monroe and Russell pressed their hand- and footprints in the cement in the forecourt of Grauman's Chinese Theatre. Monroe received positive reviews and the film grossed more than double its production costs.[70] Her rendition of "Diamonds Are a Girl's Best Friend" became associated with her. Gentlemen Prefer Blondes also marked one of the earliest films in which William Travilla dressed Monroe. Travilla dressed Monroe in eight of her films including Bus Stop, Don't Bother to Knock, How to Marry a Millionaire, River of No Return, There's No Business Like Show Business, Monkey Business, and The Seven Year Itch.[71] How to Marry a Millionaire was a comedy about three models scheming to attract wealthy husbands. The film teamed Monroe with Betty Grable (whom she replaced in Gentlemen Prefer Blondes) and Lauren Bacall, and was directed by Jean Negulesco.[72] The producer and scriptwriter, Nunnally Johnson, said that it was the first film in which audiences "liked Marilyn for herself [and that] she diagnosed the reason very shrewdly. She said that it was the only picture she'd been in, in which she had a measure of modesty... about her own attractiveness."[73]
Monroe's films of this period established her "dumb blonde" persona and contributed to her popularity. In 1953 and 1954, she was listed in the annual "Quigley Poll of the Top Ten Money Making Stars", which was compiled from the votes of movie exhibitors throughout the United States for the stars that had generated the most revenue in their theaters over the previous year.[74] "I want to grow and develop and play serious dramatic parts. My dramatic coach, Natasha Lytess, tells everybody that I have a great soul, but so far nobody's interested in it." Monroe told the New York Times.[75] She saw a possibility in 20th Century Fox's upcoming film, The Egyptian, but was rebuffed by Darryl F. Zanuck who refused to screen test her.[76]
Instead, she was assigned to the western River of No Return, opposite Robert Mitchum. Director Otto Preminger resented Monroe's reliance on Natasha Lytess, who coached Monroe and announced her verdict at the end of each scene. Eventually Monroe refused to speak to Preminger, and Mitchum had to mediate.[77] Of the finished product, she commented, "I think I deserve a better deal than a grade Z cowboy movie in which the acting finished second to the scenery and the CinemaScope process."[78] In late 1953 Monroe was scheduled to begin filming The Girl in Pink Tights with Frank Sinatra. When she failed to appear for work, 20th Century Fox suspended her.[79]
International success: 1954–1957
Returning to Hollywood in March 1954, Monroe settled her disagreement with 20th Century Fox and appeared in the musical There's No Business Like Show Business. The film failed to recover its production costs[78] and was poorly received. Ed Sullivan described Monroe's performance of the song "Heat Wave" as "one of the most flagrant violations of good taste" he had witnessed.[82] Time magazine compared her unfavorably to co-star Ethel Merman, while Bosley Crowther for The New York Times said that Mitzi Gaynor had surpassed Monroe's "embarrassing to behold" performance.[83] The reviews echoed Monroe's opinion of the film. She had made it reluctantly, on the assurance that she would be given the starring role in the film adaptation of the Broadway hit The Seven Year Itch.[84]
An iconic image entered popular culture.[85]
Milton Greene had first met Monroe in 1953 when he was assigned to photograph her for Look magazine. While many photographers tried to emphasize her sexy image, Greene presented her in more modest poses, and she was pleased with his work. As a friendship developed between them, she confided to him her frustration with her 20th Century Fox contract and the roles she was offered and he quoted her once as saying "I just want people to be happy to see me." Her salary for Gentlemen Prefer Blondes amounted to $18,000, while freelancer Jane Russell was paid more than $100,000.[92] Greene agreed that she could earn more by breaking away from 20th Century Fox. He gave up his job in 1954, mortgaged his home to finance Monroe, and allowed her to live with his family as they determined the future course of her career.[93]
On April 8, 1955, veteran journalist Edward R. Murrow interviewed Greene and his wife Amy, as well as Monroe, at the Greenes' home in Connecticut on a live telecast of the CBS program Person to Person. The kinescope of the telecast has been released on home video.[94]
Truman Capote introduced Monroe to Constance Collier, who gave her acting lessons. She felt that Monroe was not suited to stage acting, but possessed a "lovely talent" that was "so fragile and subtle, it can only be caught by the camera". After only a few weeks of lessons, Collier died.[95] Monroe had met Paula Strasberg and her daughter Susan on the set of There's No Business Like Show Business,[96] and had previously said that she would like to study with Lee Strasberg at the Actors Studio. In March 1955, Monroe met with Cheryl Crawford, one of the founders of the Actors Studio, and convinced her to introduce her to Lee Strasberg, who interviewed her the following day and agreed to accept her as a student.[97]
In May 1955, Monroe started dating playwright Arthur Miller; they had met in Hollywood in 1950 and when Miller discovered she was in New York, he arranged for a mutual friend to reintroduce them.[98] On June 1, 1955, Monroe's birthday, Joe DiMaggio accompanied Monroe to the premiere of The Seven Year Itch in New York City. He later hosted a birthday party for her, but the evening ended with a public quarrel, and Monroe left the party without him. A lengthy period of estrangement followed.[99][100] Throughout that year, Monroe studied with the Actors Studio, and found that one of her biggest obstacles was her severe stage fright. She was befriended by the actors Kevin McCarthy and Eli Wallach who each recalled her as studious and sincere in her approach to her studies, and noted that she tried to avoid attention by sitting quietly in the back of the class.[101] When Strasberg felt Monroe was ready to give a performance in front of her peers, Monroe and Maureen Stapleton chose the opening scene from Eugene O'Neill's Anna Christie, and although she had faltered during each rehearsal, she was able to complete the performance without forgetting her lines.[102] Kim Stanley later recalled that students were discouraged from applauding, but that Monroe's performance had resulted in spontaneous applause from the audience.[102] While Monroe was a student, Lee Strasberg commented, "I have worked with hundreds and hundreds of actors and actresses, and there are only two that stand out way above the rest. Number one is Marlon Brando, and the second is Marilyn Monroe."[102]
Monroe's dramatic performance as Chérie in Bus Stop (1956), a saloon singer with little talent, marked a departure from her earlier comedies.
In Bus Stop, Monroe played Chérie, a saloon singer with little talent who falls in love with a cowboy, Beauregard "Bo" Decker, played by Don Murray. Her costumes, make-up and hair reflected a character who lacked sophistication, and Monroe provided deliberately mediocre singing and dancing. Bosley Crowther of The New York Times proclaimed: "Hold on to your chairs, everybody, and get set for a rattling surprise. Marilyn Monroe has finally proved herself an actress." In his autobiography, Movie Stars, Real People and Me, director Logan wrote, "I found Marilyn to be one of the great talents of all time... she struck me as being a much brighter person than I had ever imagined, and I think that was the first time I learned that intelligence and, yes, brilliance have nothing to do with education." Logan championed Monroe for an Academy Award nomination and complimented her professionalism until the end of his life.[105] Though not nominated for an Academy Award,[106] she received a Golden Globe nomination.
Last films: 1958–1962
Some Like it Hot became a resounding success, and was nominated for six Academy Awards. Monroe was acclaimed for her performance and won the Golden Globe Award for Best Actress - Motion Picture Musical or Comedy. Wilder commented that the film was the biggest success he had ever been associated with.[117] He discussed the problems he encountered during filming, saying "Marilyn was so difficult because she was totally unpredictable. I never knew what kind of day we were going to have ... would she be cooperative or obstructive?"[118] He had little patience with her method-acting technique and said that instead of going to the Actors Studio "she should have gone to a train-engineer's school ... to learn something about arriving on schedule."[119] Wilder had become ill during filming, and explained, "We were in mid-flight—and there was a nut on the plane."[120] In hindsight, he discussed Monroe's "certain indefinable magic" and "absolute genius as a comic actress."[118]
By this time, Monroe had only completed one film, Bus Stop, under her four-picture contract with 20th Century Fox. She agreed to appear in Let's Make Love, which was to be directed by George Cukor, but she was not satisfied with the script, and Arthur Miller rewrote it.[121] Gregory Peck was originally cast in the male lead role, but he refused the role after Miller's rewrite; Cary Grant, Charlton Heston, Yul Brynner and Rock Hudson also refused the role before it was offered to Yves Montand.[122] Monroe and Miller befriended Montand and his wife, actress Simone Signoret, and filming progressed well until Miller was required to travel to Europe on business. Monroe began to leave the film set early and on several occasions failed to attend, but her attitude improved after Montand confronted her. Signoret returned to Europe to make a film, and Monroe and Montand began a brief affair that ended when Montand refused to leave Signoret.[123] The film was not a critical or commercial success.[124]
Monroe's health deteriorated during this period, and she began to see a Los Angeles psychiatrist, Dr. Ralph Greenson. He later recalled that during this time she frequently complained of insomnia, and told Greenson that she visited several medical doctors to obtain what Greenson considered an excessive variety of drugs. He concluded that she was progressing to the point of addiction, but also noted that she could give up the drugs for extended periods without suffering any withdrawal symptoms.[125] According to Greenson, the marriage between Miller and Monroe was strained; he said that Miller appeared to genuinely care for Monroe and was willing to help her, but that Monroe rebuffed while also expressing resentment towards him for not doing more to help her.[126] Greenson stated that his main objective at the time was to enforce a drastic reduction in Monroe's drug intake.[127]
Within ten days Monroe had announced her separation from Miller, and Gable had died from a heart attack.[134] Gable's widow, Kay, commented to Louella Parsons that it had been the "eternal waiting" on the set of The Misfits that had contributed to his death, though she did not name Monroe. When reporters asked Monroe if she felt guilty about Gable's death, she refused to answer,[135] but the journalist Sidney Skolsky recalled that privately she expressed regret for her poor treatment of Gable during filming and described her as being in "a dark pit of despair".[136] Monroe later attended the christening of the Gables' son, at the invitation of Kay Gable.[136]
During the following months, Monroe's dependence on alcohol and prescription medications began to take a toll on her health, and friends such as Susan Strasberg later spoke of her illness.[139] Her divorce from Arthur Miller was finalized in January 1961, with Monroe citing "incompatibility of character",[139] and in February she voluntarily entered the Payne Whitney Psychiatric Clinic. Monroe later described the experience as a "nightmare".[140] She was able to phone Joe DiMaggio from the clinic, and he immediately traveled from Florida to New York to facilitate her transfer to the Columbia Presbyterian Medical Center. She remained there for three weeks. Illness prevented her from working for the remainder of the year; she underwent surgery to correct a blockage in her Fallopian tubes in May, and the following month underwent gallbladder surgery.[141] She returned to California and lived in a rented apartment as she convalesced.
On May 19, 1962, she attended the early birthday celebration of President John F. Kennedy at Madison Square Garden, at the suggestion of Kennedy's brother-in-law, actor Peter Lawford. Monroe performed "Happy Birthday" along with a specially written verse based on Bob Hope's "Thanks for the Memory". Kennedy responded to her performance with the remark, "Thank you. I can now retire from politics after having had 'Happy Birthday' sung to me in such a sweet, wholesome way."[143] (also see, Happy Birthday, Mr. President)
Monroe returned to the set of Something's Got to Give and filmed a sequence in which she appeared nude in a swimming pool. Commenting that she wanted to "push Liz Taylor off the magazine covers", she gave permission for several partially nude photographs to be published by Life. Having only reported for work on twelve occasions out of a total of 35 days of production,[142] Monroe was dismissed. The studio 20th Century Fox filed a lawsuit against her for half a million dollars,[144] and the studio's vice president, Peter Levathes, issued a statement saying "The star system has gotten way out of hand. We've let the inmates run the asylum, and they've practically destroyed it."[144] Monroe was replaced by Lee Remick, and when Dean Martin refused to work with any other actress, he was also threatened with a lawsuit.[144] Following her dismissal, Monroe engaged in several high-profile publicity ventures. She gave an interview to Cosmopolitan and was photographed at Peter Lawford's beach house sipping champagne and walking on the beach.[145] She next posed for Bert Stern for Vogue in a series of photographs that included several nudes.[145] Published after her death, they became known as 'The Last Sitting'.
Richard Meryman interviewed her for Life, in which Monroe reflected upon her relationship with her fans and her uncertainties in identifying herself as a "star" and a "sex symbol". She referred to the events surrounding Arthur Miller's appearance before the House Un-American Activities Committee in 1956, and her studio's warning that she would be "finished" if she showed public support for him, and commented,[146]
You have to start all over again. But I believe you're always as good as your potential. I now live in my work and in a few relationships with the few people I can really count on. Fame will go by, and, so long, I've had you, fame. If it goes by, I've always known it was fickle. So at least it's something I experienced, but that's not where I live.In the final weeks of her life, Monroe engaged in discussions about future film projects, and firm arrangements were made to continue negotiations on Something's Got to Give.[147] Among the projects was a biography of Jean Harlow filmed two years later unsuccessfully with Carroll Baker. Starring roles in Billy Wilder's Irma la Douce[148] and What a Way to Go! were also discussed; Shirley MacLaine eventually played the roles in both films. Kim Novak replaced her in Kiss Me, Stupid, a comedy in which she was to star opposite Dean Martin. A film version of the Broadway musical, A Tree Grows in Brooklyn, and an unnamed World War I-themed musical co-starring Gene Kelly were also discussed, but the projects never materialized due to her death.[147] Her dispute with 20th Century Fox was resolved, her contract was renewed into a $1 million two-picture deal, and filming of Something's Got to Give was scheduled to resume in early fall 1962. Marilyn, having fired her own agent and MCA in 1961, managed her own negoiations as President of Marilyn Monroe Productions. Also on the table was an Italian four-film deal worth 10 million giving her script, director, and co-star approval.[149] Allan "Whitey" Snyder who saw her during the last week of her life, said Monroe was pleased by the opportunities available to her, and that she "never looked better [and] was in great spirits".[147]
Death and aftermath
Main article: Death of Marilyn Monroe
Monroe was interred on August 8, 1962, in a crypt at Corridor of Memories No. 24, at the Westwood Village Memorial Park Cemetery in Los Angeles. Joe DiMaggio took control of the funeral arrangements which consisted of only 31 close family and friends, excluding Hollywood's elite. Lee Strasberg, her acting teacher, delivered the eulogy, and had once claimed that of all his acting students, she was the one who stood out above the rest, second only to Marlon Brando. As part of her eulogy, he stated:
In her eyes, and in mine, her career was just beginning.... She had a luminous quality. A combination of wistfulness, radiance, and yearning that set her apart and made everyone wish to be part of it – to share in the childish naivete which was at once so shy and yet so vibrant.[155]Police were also present to keep the press away.[156] Her casket was solid bronze and was lined with champagne colored silk.[157] Allan "Whitey" Snyder did her make-up, which was supposedly a promise made in earlier years if she were to die before him.[157] She was wearing her favorite green Emilio Pucci dress.[157] In her hands was a small bouquet of pink teacup roses.[157] For the next 20 years, red roses were placed in a vase attached to the crypt, courtesy of DiMaggio.[156]
In August 2009, the crypt space directly above that of Monroe was placed for auction[158] on eBay. Elsie Poncher plans to exhume her husband and move him to an adjacent plot. She advertised the crypt, hoping "to make enough money to pay off the $1.6 million mortgage" on her Beverly Hills mansion.[159] The winning bid was placed by an anonymous Japanese man for $4.6 million,[160] but the winning bidder later backed out "because of the paying problem". In 1992, Playboy magazine founder Hugh Hefner, who never met Monroe, bought the crypt immediately to the left of hers at the Westwood Village Memorial Park Cemetery.[159] He was proud of the fact that Monroe had graced the first Playboy centerfold.[161]
Administration of estate
On May 4, 2007, a New York judge ruled that Monroe's rights of publicity ended at her death.[165][166][167] In October 2007, California Governor Arnold Schwarzenegger signed Senate Bill 771.[168] The legislation, supported by Anna Strasberg and the Screen Actors Guild, established that non-family members may inherit rights of publicity through the residuary clause of the deceased's will, provided that the person was a resident of California at the time of death.[169][170] In March 2008, the United States District Court in Los Angeles ruled that Monroe was a resident of New York at the time of her death, citing the statement of the executor of her estate to California tax authorities, and a 1966 sworn affidavit by her housekeeper.[171] The decision was reaffirmed by the United States District Court of New York in September 2008.[172]
In July 2010, Monroe's Brentwood home was put up for sale by Prudential California Realty. The house was sold for $3.6 million.[173] Monroe left to Lee Strasberg an archive of her own writing—diaries, poems, and letters, which Anna discovered in October 1999. In October 2010, the documents were published as a book, Fragments.[174][175]
Personal life
Main article: Personal life of Marilyn Monroe
Monroe had three marriages, all of which ended in divorce. The first was to James Dougherty, the second to Joe DiMaggio, and lastly to Arthur Miller. It is claimed she was briefly married to writer Robert "Bob" Slatzer. She is alleged to have had affairs with both John and Robert Kennedy. Marlon Brando, in his autobiography Songs My Mother Taught Me,
claimed that he had had a relationship with her, and that they remained
friends until her death. She also suffered two miscarriages and an ectopic pregnancy during her three marriages.[176][177]Monroe's relationships have garnered much press. Author Anthony Summers in his biography of J. Edgar Hoover concluded that Monroe was in love with President Kennedy and wanted to marry him; she called the White House frequently in 1962; and that, when the married president ended their affair, Monroe became even more depressed, and turned to Robert Kennedy, who reportedly visited Monroe in Los Angeles the day that she died.[178]
Monroe had a long experience with psychoanalysis. She was in analysis with Margaret Herz Hohenberg, Anna Freud, Marianne Rie Kris, Ralph S. Greenson (who found Monroe dead), and Milton Wexler.[179]
Books
Many books have been written about Marilyn Monroe. A selection is below:- Marilyn: Her Life in Her Own Words: Marilyn Monroe's Revealing Last Words and Photographs by George Barris (April 1, 2001)
- My Story by Marilyn Monroe and Ben Hecht (September 29, 2006)
- Marilyn in Art by Roger Taylor (May 1, 2006)
- Marilyn Monroe: Metamorphosis by David Wills (November 8, 2011)
Portrayals
Monroe has been portrayed by:- Misty Rowe in Goodbye Norma Jeane (a highly fictionalized telling of Marilyn's early years) (1976)
- Lorenzo Ferrero in the opera Marilyn (1980)
- Catherine Hicks in Marilyn: The Untold Story (1980)
- Constance Forslund in This Year's Blonde (1980)
- Madonna in "Material Girl" (1985)
- Susan Griffiths is a Marilyn Monroe impersonator who has portrayed Monroe, or an intentional look-alike, in the fictionalized biopic Marilyn & Me (1991) and in several films and television series, including the 1994 film Pulp Fiction (a look-alike waitress), Quantum Leap, Dark Skies, Curb Your Enthusiasm and Timecop.
- Melody Anderson in Marilyn & Bobby: Her Final Affair (1993)
- By Ashley Judd as the younger Marilyn (who constantly appears as an illusion to the older Marilyn thorought the film), and by Mira Sorvino as the older Marilyn in a movie about a fictional account of Monroe's life called Norma Jean & Marilyn (1996)
- Mariah Carey in her music video "I Still Believe" (1998)
- Barbara Niven in The Rat Pack (1998)
- Poppy Montgomery in Blonde (2001)
- Holly Beavon in James Dean (2001)
- Suzie Kennedy impersonated Marilyn Monroe in the episode Who Killed Marilyn Monroe? (2003) of the TV series Revealed and in the Italian movie Io & Marilyn (2009)
- Sophie Monk in The Mystery of Natalie Wood (2004)
- Charlotte Sullivan in The Kennedys (2011)
- Michelle Williams in My Week with Marilyn (2011)
- Naomi Watts will portray Monroe in another adaptation of Joyce Carol Oates' book in a film also called Blonde (2012). It is unknown if it will premiere on TV or be released to theaters.
- Megan Hilty, Uma Thurman and Katharine McPhee play actresses who portray Monroe in the TV series Smash (2012–13).
- Laura Aikin in Robin de Raaff's opera, Waiting for Miss Monroe (2012)[180]
- Sunny Thompson in the current touring one woman production Marilyn: Forever Blonde[181]
- Eivør Pálsdóttir in Gavin Bryars' opera Marilyn Forever [182]
Songs
 |
This section needs additional citations for verification. (January 2013) |
Elton John (music) and Bernie Taupin (lyrics) wrote another song in her honor, "Candle in the Wind".[183]
Glenn Danzig, of the American rock band The Misfits (who were named after Monroe's final film) released a song named "Who Killed Marilyn?" in 1981.
The Chilean rock band Los Prisioneros has a song called ¿Quién mató a Marilyn? (In English, Who killed Marilyn?), the lyrics of which are about Marilyn Monroe's death.
Filmography
Main article: Marilyn Monroe filmography
Uncompleted films
| Film | Year | Role | Co-stars | Director | Producer |
|---|---|---|---|---|---|
| Something's Got to Give | 1962 | Ellen Wagstaff Arden | Dean Martin and Cyd Charisse | George Cukor | 20th Century Fox |
Television appearances
As Herself| TV Program | Year | Notes |
|---|---|---|
| The Jack Benny Program | 1953 | 1 episode |
| Person to Person | 1955 | Television documentary |
| Premier Khrushchev in the USA | 1959 | Television documentary |
| President Kennedy's Birthday Salute | 1962 | Television movie |
| Lykke og krone | 1962 | Norwegian television documentary |
Songs
| Year | Film title | Song title | Notes |
|---|---|---|---|
| 1948 | Ladies of the Chorus | "Every Baby Needs a Da-Da-Daddy" | |
| "Anyone Can See I Love You" | |||
| "Ladies of the Chorus" | |||
| 1950 | A Ticket to Tomahawk | "Oh, What a Forward Young Man You Are" | |
| 1953 | Niagara | "Kiss" | |
| 1953 | Gentlemen Prefer Blondes | "Two Little Girls from Little Rock" | |
| "When Love Goes Wrong" | |||
| "Bye Bye Baby" | |||
| "Diamonds Are a Girl's Best Friend" | |||
| "Four French Dances—Sur le balcon, La Tentateur, Sol taire, Parle d'affair" | |||
| "Down Boy"' | |||
| "When The Wild Wild Women Go Swimmin' Down in the Bimini Bay" | |||
| 1953 | Recordings for RCA | "She Acts Like A Woman Should" | |
| "You'd Be Surprised" | |||
| "A Fine Romance" | |||
| "Do It Again" | |||
| 1954 | River of No Return | "I'm Gonna File My Claim" | |
| "One Silver Dollar" | Covered by Vaya Con Dios (album track) | ||
| "Down in the Meadow" | |||
| "River of No Return" | |||
| 1954 | There's No Business Like Show Business | "Heat Wave" | |
| "Lazy" | |||
| "After You Get What You Want" | |||
| "A Man Chases a Girl" | |||
| 1956 | Bus Stop | "That Old Black Magic" | |
| 1957 | The Prince and the Showgirl | "I Found a Dream" | |
| 1959 | Some Like It Hot | "Runnin' Wild" | |
| "I Wanna Be Loved By You" | |||
| "I'm Through With Love" | |||
| "Some Like It Hot" | |||
| 1960 | Let's Make Love | "My Heart Belongs to Daddy" | |
| "Specialization" | |||
| "Let's Make Love" | |||
| "Incurably Romantic" | |||
| 1962 | – | "Happy Birthday, Mr. President" |
Awards and nominations
- 1951 Henrietta Award: The Best Young Box Office Personality
- 1952 Photoplay Award: Fastest Rising Star of 1952
- 1952 Photoplay Award: Special Award
- 1952 Look American Magazine Achievement Award: Most Promising Female Newcomer of 1952
- 1953 Golden Globe Henrietta Award: World Film Favorite Female.
- 1953 Sweetheart of the Month (Playboy)
- 1953 Photoplay Award: Most Popular Female Star
- 1954 Photoplay Award for Best Actress: for Gentlemen Prefer Blondes and How to Marry a Millionaire
- 1956 BAFTA Film Award nomination: Best Foreign Actress for The Seven Year Itch
- 1956 Golden Globe nomination: Best Motion Picture Actress in Comedy or Musical for Bus Stop
- 1958 BAFTA Film Award nomination: Best Foreign Actress for The Prince and the Showgirl
- 1958 David di Donatello Award (Italian): Best Foreign Actress for The Prince and the Showgirl
- 1959 Crystal Star Award (French): Best Foreign Actress for The Prince and the Showgirl
- 1960 Star on the Hollywood Walk of Fame 6104 Hollywood Blvd.[184]
- 1960 Golden Globe, Best Motion Picture Actress in Comedy or Musical for Some Like It Hot
- 1962 Golden Globe, World Film Favorite: Female
- 1995 and 2012 (re-dedication) Palm Springs, California, Golden Palm Star – Palm Springs Walk of Stars[185]
- 1999 she was ranked as the sixth greatest female star of all time by the American Film Institute in their list AFI's 100 Years...100 Stars.
See also
- Berniece Baker Miracle, Monroe's half-sister
- Forever Marilyn – a giant statue of Monroe by John Seward Johnson II, now in Palm Springs, California
- Love, Marilyn (2012, biographical documentary film directed by Liz Garbus)
- Marilyn Monroe in popular culture
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