55th Anniversary Memorial Week: August 1-5, 2017

By | Marilyn Memorials & Gatherings, Marilyn News | No Comments

The countdown is on to the 2017 Memorial Week in Los Angeles, marking 55 years since Marilyn Monroe left us and honouring her memory.  Immortal Marilyn is working hard to bring fans several memorable events, and this is the page to visit to keep up on the latest!

Memorial Week takes place from August 1-5, 2017 and is a gathering of Marilyn fans from around the world.  Immortal Marilyn is proud to plan and sponsor a number of special events during this week once again!  Check out all the details and check back regularly for updates and news!

Accommodations

As it has been for many years, Immortal Marilyn’s “home base” will be the Hollywood Orchid Suites Hotel.  Walking distance from Hollywood Boulevard and attractions such as the Walk of Fame, Kodak Theatre, and Graumann’s Chinese Theatre, the Orchid is ideally located for a visit to Hollywood!  The hotel is taking reservations from IM members already – book soon, as it fills up fast.

There are a number of other hotels in the are fans can consider for their accommodations, especially as the Orchid fills up, including the famed Roosevelt Hotel, the Hollywood Celebrity Hotel which is in close proximity to the Orchid Suites, and the Magic Castle.

If you would like assistance with finding a roommate to share the costs of a hotel room, please feel free to contact us at immortalmarilyn@gmail.com.

Memorial Week Events List

Immortal Marilyn is in the process of planning all of our events for Memorial Week.  Other events will be hosted by Marilyn Remembered, which has a schedule and details here.  Here is a schedule of events as they currently stand.

August 1, 2017

Marilyn’s Hollywood:  A Fact-Based Tour of Cinema’s Greatest Icon

In conjunction with the Marilyn Remembered Fan Club, join us for a guided tour of Los Angeles and Hollywood, lead by Elisa Jordan of LA Woman Tours.  You’ll learn about the people who helped shape Marilyn’s life and the places that inspired her. What you’ll see:

  • The orphanage where she dreamed of becoming a star
  • The former beauty salon where she first became a blonde
  • The restaurant where she met Yankee Slugger Joe DiMaggio on a blind date
  • The house (well, the gate anyway) where she passed into eternity.

The tour will start at 10:00 AM.  Marilyn’s Hollywood takes place in a comfortable mini coach. We will be getting out at various stops for photo opportunities, so remember to bring a camera.  Note:  Seating is limited, we recommend you purchase tickets as soon as possible.

To learn more about the tour and to reserve your seat, click here.

August 2, 2017

Immortal Marilyn Pool Party

Location: Avalon Hotel Beverly Hills (formerly the Beverly Carlton).

Time:

RED CARPET ARRIVAL: 2:30pm

POOL PARTY: 3-6pm

VIEWING OF MARILYN’S ROOM: 6-7 pm in small groups

Cost: $80 per person.

Details: The kick-off event for Memorial Week is IM’s traditional pool party!  This year we will gather around the pool at the Avalon Hotel where Marilyn herself lived in her starlet years and was frequently photographed.  This event will include a buffet-style meal and drink credit in the ticket price.  To make this day extra-special, attendees will have the opportunity to visit and take photographs inside Marilyn’s suite at the hotel, where her famous 1952 Life magazine cover was shot!  Although it’s not required, it’s traditional to attend the pool party in 1950s attire, and feel free to come in your 50s swimsuit for a dip in the hourglass shaped pool where Marilyn was photographed!  SOLD OUT, NO TICKETS AVAILABLE

A variety of fantastic raffle prizes are being gathered, and each attendee will receive ten raffle tickets as part of the ticket price.  Additional raffle tickets are available for purchase, priced as follows:

$1 each

7 for $5

15 for $10

30 for $20

Tickets will be sold at the pool party.  Cash only please.  Must be present to win!

August 3, 2017

Marilyn’s Hollywood Tour.  Hosted by Elisa Jordan of LA Woman Tours, a second tour will take place based on demand (tour requires minimum of 10 guests.  (See above for full information)  To learn more about the tour and to reserve your seat, click here.  SOLD OUT FOR THIS DATE.

Gentlemen Prefer Blondes On The Big Screen.  Marilyn Remembered is hosting Gentlemen Prefer Blondes on the big screen at the famous TCL (Graumann’s) Chinese Theater in Hollywood.  Details and ticket pricing as follows, ticket can be purchased at Fandango.

6:00 PM – VIP Package Tour
7:00 PM – Gentlemen Prefer Blondes
9:00 PM Private Reception

Pricing:

$39.00: VIP Package
– Movie ticket, a large popcorn, a large drink
– Tour ticket
– Private reception with a glass of champagne
– A Marilyn souvenir

$10.00: Gentlemen Prefer Blondes Showing Only

August 4, 2017

Santa Monica Beach Dinner and Sunset Toast.

Location: Mariasol Restaurant on the Santa Monica Pier

Time: 5:30 – 8:30 PM

Cost: $40

Details:  Join us for a private dinner in the Del Sol Room at Mariasol Restaurant, located over the water on the world-famous Santa Monica Pier with unparalleled views of the beach and the Pacific Ocean .  Ticket includes a buffet dinner, non-alcoholic beverages (a bar with private bartender will be available on an individual tab basis), and a sparkling wine toast at sunset, all hosted by the fabulous staff at Mariasol.  After dinner, join us as we go out to the beach put our feet in the sand where Marilyn once walked and raise a second glass to her memory on the eve of her passing.

Tickets can be purchased via Paypal at lkasperowicz@gmail.com.  Please email for information on purchasing by mail. TICKET SALES ARE CLOSED.

August 5th, 2017  

Memorial Service at Westwood Memorial Park.  The annual memorial service for Marilyn Monroe, held by Marilyn Remembered, will take place at 11 am in the chapel at Pierce Brothers Westwood Memorial Park. Inside seating for the service is fully reserved at this time, but attendees can still listen to the service from outside.

An Evening With Marilyn: A Special Charity Event at Hollygrove.  A charity event at Hollygrove, formerly the Los Angeles Orphan’s Home, hosted by Marilyn Remembered.  Details can be found here.  SOLD OUT.

 

LOVE OUR LOGOS???  Check out IM’s Memorial Week store at Red Bubble featuring all of Melody Lockard’s incredible designs and get your souvenir gear!

To keep up on the news, join the discussion, and enjoy the excitement of planning this amazing week of Marilyn events, please join us in our Memorial plans Facebook Group!

 

 

Author Q&A With Michelle Morgan Sunday May 6th!

By | IM Articles, Marilyn News | No Comments

JOIN US this Sunday (May 6), on the Immortal Marilyn Facebook page, for a Q&A session with author Michelle Morgan, whose newest book The Girl: Marilyn Monroe, The Seven Year Itch, and the Birth of an Unlikely Feminist hits US shelves May 8th!

Michelle Morgan is the prolific author of many carefully researched old Hollywood bios, including her Marilyn books Marilyn Monroe: Private and Undisclosed and Becoming Marilyn. She’ll join us here at IM to answer any questions you may have about her new book, any of her books, or Marilyn herself.

Our Michelle Morgan author Q&A will take place on Sunday, May 6th at 1 pm Central Time (US), 7 pm UK time.

COME BY AND WIN: Everyone who pops by to say hi will be entered to win one of 4 Seven Year Itch posters AND a copy of Michelle’s new book!!

Check out Michelle’s new book on Amazon, available for pre-order now: https://www.amazon.com/Girl-Marilyn-Monroe-Unl…/…/0762490594

Visit Michelle’s Official Author Page here on FB: https://www.facebook.com/groups/124973377514850/

Book Review: The Girl: Marilyn Monroe, The Seven Year Itch, and the Birth of an Unlikely Feminist

By | Book Reviews, IM Articles | No Comments

Would Marilyn Monroe have called herself a feminist?

The answer is probably no; in Marilyn’s day and age the word was basically unheard of.  It didn’t come into popular use until a few years after her death.  Even if it was in use, it seems unlikely she would have seen herself that way given the times in which she lived.

Was Marilyn Monroe a feminist?

That’s an entirely different question.  Marilyn Monroe came into adulthood in the era when women went to work to step up for the war effort.  And she didn’t wait around for her husband to return; a taste of independence and freedom sent her instead into her first divorce and the long, hard fight for a career in Hollywood.

But it isn’t young Norma Jeane’s strength in the face of incredible adversity that is the focus of Michelle Morgan’s newest book on our girl – it’s The Girl.  Named for Marilyn’s character in The Seven Year Itch, Morgan’s book focuses on the events surrounding the making of that film, and those that followed.  Without a doubt, it was an absolutely life-changing era in Marilyn’s life, and while those watching it happen may not have recognized its import, hindsight shows it for what it really was.  Marilyn Monroe stood up to Hollywood, took control of her life and career, and emerged victorious.

Experienced Marilyn biographer Michelle Morgan traces that era in great detail; following Marilyn through the end of her marriage to Joe DiMaggio, her flight to New York, the founding of Marilyn Monroe Productions, and the incredible success of The Seven Year Itch that cemented her position as a box office draw without compare.  It was the success of the film that was a major part of the power Marilyn was able to wield over the Fox powers that be, eventually winning her the contract changes she had been fighting for since before she and DiMaggio said “I do” and more creative control over her films.

This book takes a more detailed look than any before at the years that changed the trajectory of Marilyn Monroe’s career.  Morgan approaches it with her usual solid research and attention to detail, digging up nuggets of information that will leave even the most seasoned fan saying “I didn’t know that!”  The book explores the creation  of Marilyn’s production company with photographer Milton Greene – and the factors surrounding the end of that partnership –  as well as her conversion from a Hollywood sex symbol to a New Yorker running in the highest intellectual circles.  It also looks in depth at the film that was at the center of all of it; Marilyn’s last film on her “slave” contract with Fox.  In retrospect, it’s hard to believe the amount of change that took place in Marilyn’s life in the span of about two years.

Some may say that Marilyn Monroe wasn’t a feminist, and by much of today’s definition, she may not have been.  For her era, however, her stalwart refusal to bend to the pressure of men who could have destroyed her career is nothing short of remarkable.  Morgan sheds light on a side of Marilyn that is rarely discussed, the actress and the woman whose life and career were truly remarkable aside from all of the sensational tabloid trash that has dominated the narrative about Marilyn for so long.

The Girl falls into the rare category of Marilyn Monroe books that show her as a real person who worked hard and took her career and her legacy very seriously.  It should take its place proudly on the shelf of any Marilyn fan.

The Girl is set for release on May 8, and can be pre-ordered on Amazon now.

-Leslie Kasperowicz for IM

Book Review – Of Women and Their Elegance

By | Book Reviews, IM Articles | No Comments

Of Women and Their Elegance

Norman Mailer

With photographs by Milton H. Greene

Simon and Schuster 1980

 

The thing with Mailer is like the thing with Hemingway—you either love him or you can’t stand him. It’s hard to be ambivalent about a larger than life figure, be it Mailer, Hemingway or, yes, Marilyn Monroe. Mailer is full of himself, pretentious at times, an icon and touchstone of his times, one of those guys who try so hard at being the ultimate macho man that you can’t help but be put off while wondering at the same time why he is so preoccupied with making sure his image is one of Primal Man. And he was talented. Very.

Marilyn was one of the ones who couldn’t stand him, primarily due to his forever heavy handed attempts to meet and be a part of her life. What comes through in the accounts of her response to Mailer is the idea that she thought him a macho ass who was far too full of himself. Personally I get a kick out of him and think some of his work brilliant, (The Naked and the Dead, The Executioners Song, The Idol and the Octopus), while some of it is incomprehensible, (Harlot’s Ghost), or just flat out bad, (The Deer Park). And, as most of you know, Mailer was somewhat obsessed with Marilyn Monroe. The only difference between him and any man of his generation was that he published two books about the object of his obsession while all the others merely dreamed. Let me make on more point about Mailer: He was obsessed with Marilyn Monroe, the movie star, the sexual fantasy. He never met, let alone knew or had any insight into the actual woman behind the Hollywood veneer.

The best known of Mailer’s attempts to get Marilyn down on paper was his first, Marilyn, and to be honest, it is primarily remembered due to its lush illustrations capturing Monroe the still photograph model non-parallel. Seven years later, feeling he hadn’t quite captured her, Mailer brought out Of Women and Their Elegance. And, like everything else he ever produced, it is a work that you either love or really pisses you off. The later opinion is the result of the unique angle Mailer attempted—the text is written as if it were Marilyn’s actual thoughts and for most fans, knowing how little she actually thought of him, the idea of his penning her inner most thoughts is slightly galling.

Does he carry it off? I don’t think so but then maybe you will. Should you try and find a copy or leave this one out of your collection? I say find it and treasure it—not so much for the oddity of a man who styled himself as one of his generation’s macho icons but as the attempts of a lovelorn fan trying hard to understand the woman he never met. And the photographs. Ah yes, the photos. The book is chock full of Milton Greene’s work, THE Monroe photographer in my opinion and that of many MM fans. What may sound strange coming from me is that what is truly wonderful here is that not all of the photos are of Marilyn but a good sample of Greene’s non-MM work. By including his work with such luminaries as Marlene Dietrich, Anna Magnani, Judy Garland, Sophia Loren, and Jane Fonda, you can see that Milton’s genius could and did expand from his legendary work with Marilyn.

The text, the reader is told, “while based on episodes in Marilyn Monroe’s life, and on the reminiscences of Amy and Milton Greene, does not pretend that these are the actual thoughts of Miss Monroe…” And while the Marilyn depicted here is the Marilyn of Norman Mailer’s imagination and likely a far cry from the actual human who was Marilyn Monroe, it is an interesting concept especially when you keep reminding yourself that this is work of a man infatuated with an image, who longed to meet and possibly know the real woman yet never had the opportunity. That is the true reason for my own fascination with this book, knowing how much he wanted to meet her and couldn’t help but realize that she in no way felt the same. It is the work of a man saddled with an unrequited love/lust infatuation trying to understand the woman who held herself forever out of his reach or understanding.

 

-David Marshall for IM

Book Review: Making Sense of Marilyn

By | Book Reviews, IM Articles | No Comments

How do you solve a problem like Norma Jeane, when even her name is in doubt? More than a thousand books to date have been devoted to this question. As Ezra Goodman, at the height of her fame, wrote so prophetically: “The riddle that is Marilyn Monroe has not been solved.” Andrew Norman’s Making Sense of Marilyn is the latest attempt. With a background in medicine, Dr Norman is now a prolific biographer. Marilyn would surely be proud, if rather surprised, to find herself among a litany of subjects as lofty and diverse as Jane Austen and Winston Churchill.

The difficulty of understanding who Marilyn really was, Norman believes, is compounded by unreliable sources. Her 1954 memoir, My Story, was ghost-written with Marilyn’s co-operation before being shelved at her request, and later revised for posthumous publication. But the confusion had begun when she was a child, and her troubled mother Gladys, whether deliberately or by mistake, told her that her estranged father had died in a car accident. “In her early years [Marilyn] was insecure and introspective,” Norman observes, “and unable even to make sense of herself.” As a starlet, she followed the studio’s Cinderella narrative and claimed she was an orphan. This was done partly for publicity, but also to protect living relatives. Unfortunately, these fabrications also hurt others close to her, like foster carer Ida Bolender, with whom she had lived until she was seven years old.

Norman relies mainly on primary sources, including accounts from Marilyn’s first husband, Jim Dougherty; her half-sister, Bernice Miracle; actress Susan Strasberg; and photographer George Barris, described as her ‘confidante.’ In the months before she died, Marilyn worked on a magazine shoot with Barris. He also interviewed her extensively for a book project, which was finally published many years later. However, the details of Barris’ arrangement with Marilyn are even hazier than the origins of My Story. And while she does seem to have put her trust in Barris, he had only met her once before their collaboration.

“When a little girl feels lonely and that no one cares or wants her,” Marilyn told Barris, “it’s just something that she can never forget as long as she lives.” In 1935, she went to live with her mother for the first time. Gladys worked as a film cutter in Hollywood and had put down a deposit on a new home. But after a few happy months, her mental health rapidly declined. She suffered a nervous breakdown and was committed to a psychiatric hospital. A family friend, Grace Goddard, took over Marilyn’s care but this did not prevent her from being shunted between foster homes and an orphanage. As no one was willing to tell the truth about her mother’s illness, for several years the young girl was unsure whether Gladys was still living.

Compounding her sense of abandonment was the spectre of sexual abuse. Returning to My Story, Norman considers her experience of being molested by a boarder in a foster home. The account is deliberately vague, with some details probably altered. Jim Dougherty dismissed the claim that she had been raped, on the grounds that she was still a virgin when they married. But this does not preclude other forms of abuse.

Her first marriage, at sixteen, was arranged when Grace, her legal guardian, moved to another state. Marilyn had been dating Jim, a neighbour and five years her senior, for several months. “It wasn’t fair to push me into marriage,” she told Barris, admitting she was “scared to death about what a husband would do to me.” According to Jim, the marriage was happy at first, but his decision to enlist in the Merchant Marine triggered his wife’s fears of rejection. While he was serving overseas she began working as a model, and the marriage collapsed.

While her early film career was arduous, she surrounded herself with creative mentors who encouraged her ambitions. Her perceptive analysis of the characters she played belied their essential shallowness. She would describe Angela in The Asphalt Jungle as a “rich man’s darling”; All About Eve’s Miss Caswell as an “untalented showgirl”; in Monkey Business she was Miss Laurel, a “slightly dumb secretary”; and as Rose in Niagara, an “amoral type.” Her fragile identity was often at odds with her public image as a sex symbol, and fame only intensified this conflict.

Even with lesser material, Marilyn gave her all to each role: and when stardom was hers, she shone like no other. None of her inner turmoil is evident in The Seven Year Itch, made while her brief marriage to Joe DiMaggio was falling apart. “Marilyn enters into the spirit of the film,” Norman remarks, “proving once again that comedy was her forte.” In 1955 she moved to New York, and committed herself to method acting and psychoanalysis – a dual process that could be, as Norman comments, “equally painful and distasteful.” Bernice Miracle felt that Marilyn had lost confidence in herself, but her career continued to soar.

Her third husband, playwright Arthur Miller, found her next performance, in Bus Stop (1956), “deeply moving.” But filming of The Prince and the Showgirl led to clashes with her co-star and director, Sir Laurence Olivier. Norman believes that “the film is made bearable only by Marilyn’s gaiety.” The Miller marriage was overshadowed by Arthur’s legal battle with the House Un-American Activities Committee, which he finally won with Marilyn’s loyal support. “Instead of showing anger at the way her husband had been treated,” Norman remarks on her public demeanour, “she was the epitome of dignity and charm.”

Behind the scenes, Miller was alarmed by her psychological dependence on acting coaches Lee and Paula Strasberg, and her growing addiction to sleeping pills. Watching Marilyn perform ‘I’m Through With Love’ in Some Like It Hot, Norman observes that she looked “genuinely sad.” Curtice Taylor, whose father Frank produced The Misfits, considered her a “natural actress,” but this deeply personal project (written for her by Miller) would mark the end of her longest relationship.

Miller’s controversial 1964 play, After the Fall, depicts the doomed marriage of a suicidal star and her guilt-ridden husband, and Norman believes it holds the key to Marilyn’s troubled psyche (and why Miller was unable to save her.) Following their divorce, she moved back to Los Angeles and grew close again to DiMaggio, whom Bernice described as “full of common sense and concern.”

Norman briefly mentions George Barris’ claim that she was in a “serious romance” with John F. Kennedy, but seems reluctant to pursue it further. It is doubtful that Barris had any direct knowledge of the alleged affair. Nonetheless, Norman argues that she looked “pinched and drawn” during her iconic performance of ‘Happy Birthday Mr. President’ at Madison Square Garden in May 1962. By June, she had been fired from her unfinished comedy, Something’s Got to Give, due to repeated absences from the set.

In the weeks before her fatal overdose in August, Marilyn was seeing her psychiatrist Dr Ralph Greenson almost daily. Her physician, Dr Hyman Engleberg, was trying to wean her off barbiturates, but also prescribing Chloral Hydrate. At times Marilyn’s speech was slurred, and she became drowsy and uncoordinated – a side-effect of the drugs she was taking. Miller had noted during their marriage how she seemed oblivious to the physical ravages of her habit, while Norman argues that barbiturate abuse may have exacerbated her recurrent depression.

There was a documented history of mental illness in Marilyn’s family, and her mother Gladys was diagnosed a paranoid schizophrenic. While some biographers now speculate that Marilyn may have suffered from Bipolar Disorder, Norman explores the alternate possibility of Borderline Personality Disorder (BPD.) This condition generally manifests in early adulthood, and is so-named because it sits on the borderline between neurosis and psychosis. Its defining features include unstable self-image; feelings of emptiness; fear of abandonment; bouts of anxiety, and impulsivity; instability in relationships; severe dissociative feelings; and recurrent suicidal behaviour.     

“Marilyn was a gifted, caring and intelligent person, with deep sensitivity and a poetic soul,” Norman writes, noting that “creativity is so often forged in the crucible of pain.” No matter how high she climbed on the ladder of success, insecurities constantly dragged her down and she needed close supervision to keep her from self-harm. In Making Sense of Marilyn, Andrew Norman refers frequently to Monroe’s own words, recorded in interviews and her own journals and poetry.

Over a concise 160 pages, and with a selection of photographs, the author cites his sources fully. Setting aside a few minor factual errors, this is a finely drawn portrait of a remarkable woman who wanted most of all to be loved. And as Dr. Norman concludes, “this yearning, and her vulnerability, captivated the world.”

– Tara Hanks for IM

Book Review: Marilyn Norma Jeane by Gloria Steinem

By | Book Reviews, IM Articles | No Comments

Marilyn: Norma Jeane

By Gloria Steinem

Photographs by George Barris

1986 Henry Holt and Company

ISBN 0805000607

 

By this time you realize that there are literally countless books focused on the life, career, and physical beauty of Marilyn Monroe. There have been novels, coffee table picture books, memoirs with chapters devoted to the legendary movie star, conspiracy tomes, silly books, scholarly studies, scandal books and gossipy books, books written by friends, pseudo friends, maids, even one by her dog. So this month, looking back on all these choices, I wanted to talk about one that really stands out for me, now and when it was first published.

Not your average Marilyn biographer: Gloria Steinem receiving the Presidential Medal of Freedom in 2013.

You have to be of a certain age to fully grasp the impact Gloria Steinem’s book had when it first came out, but then one of the perks of growing older is filling in those younger on things that happened in the past when you too were young. In 1986 Gloria Steinem was in her early fifties, the icon of the feminist movement, a women of considerable intelligence who had stood at the head of a movement that had literally been changing America’s perception of women for well over twenty years. For her to have written a book about Marilyn Monroe was nearly as surprising as say, Elizabeth Warren writing a book on Taylor Swift. The author and subject just didn’t seem to mesh, the differences between them so vast that one wasn’t sure if it was a joke, a put on or a put down. The bigger surprise was that with one book Gloria Steinem presented Marilyn Monroe with the respect she’d ached for all of her life. What’s more the book forced people to stop and consider that there might be more to Marilyn than anyone had ceded her during her lifetime let alone over the twenty-four years since her death. If Gloria Steinem, THE feminist intellectual of the day, was telling us to take another look at the wiggle-giggle gal of the 1950s, maybe we’d misjudged Monroe; maybe there really was something there of depth that had escaped all the countless newspaper reporters, movie critics, gossip columnists, and moviegoers.

Mailer’s Marilyn  was the first to try to explain this. But his book, filled with incredibly gorgeous photos one after another, was, after all, written by Norman Mailer, a great intellectual, granted, but whose prose, especially when writing about Marilyn, tended to be even a bit more purple than his usual output. Mailer, love him or not, made it clear that he was infatuated with Monroe and in between his drooling wolf observations of her life, made it even more clear that he’d wanted her as badly as every male of his generation and to heck with her mind or any other qualities. That he ended his book with a contrived conspiracy theory that he’d later admitted he’d made up only because scandal sells almost as well as sex and he’d needed the money, did him and his subject a disservice.

But Steinem doesn’t share Mailer’s testosterone infused perspective. Ms. Steinem, in 1986, stated flat out that Marilyn Monroe not only deserved our respect, she deserved a second look by all those who had pooh-poohed her impact not only on American film but American culture and history. Before Steinem’s book, it was a given that the majority of women both during Marilyn’s lifetime and after held a sort of resentment against her, considered her more of a joke than an actress. Marilyn Monroe was a male fantasy, a buxom blonde with a child’s innocence, someone men joked about and elbowed their pals over while women found her somewhat vulgar and rather embarrassing.

Steinem addresses this perception directly. She admits that as a young women she did find Marilyn Monroe, in her tight dresses and cooing voice an embarrassment. But when she admitted that there was something there, something that wasn’t allowed to come through in those early 50s films, she began to view Marilyn Monroe as an incredibly strong figure who had risen to the very top of her field in a heavily male dominated industry. Most readers in 1986 tended to forget what a powerful figure Marilyn Monroe truly has been. Sure Bette Davis and others had fought their studios and helped actors break out of the studio restraints, but when Marilyn risked everything to follow her own path by deserting Hollywood and heading off to New York, she proved that a woman could be a one hell of a powerful force to reckon with.

We, in 2017, know this but it took someone of Steinem’s stature to point the fact out to Middle America. If the online groups had been around in the 1980s, maybe it wouldn’t have been such a surprise that the majority of her fans are women, that it took a feminine perspective to see beyond the moistened and parted lips, the bleached hair and perfect proportions. And that is what Steinem brought to the table. There are drawbacks to the work; like most authors covering the Monroe story in the 1980s, she too sources a lot of her research to Robert Slatzer and there’s a lot of Kennedy finger pointing, a connection that was still a major shock even ten years after it had first reached the popular press. But beyond that, Steinem brought a near lyrical sense of Marilyn, aided greatly by illustrating the majority of the book with the wonderful George Barris sessions from the summer of 1962.

Steinem could have, like Mailer, used any of the hundreds of talented photographers who had worked with Marilyn, each with their own unique perception of the ultimate star. But by using the Barris photos taken shortly before Marilyn’s passing, Steinem was able to illustrate that there was a stronger connection with the everyday woman than anyone had noticed before. Sure, Marilyn looks beautiful and desirable but she also looks like a woman in her thirties with windblown hair on a cold day at the beach. And when she and Barris got together for a second session in the Hollywood Hills, Marilyn doesn’t come across so much as the va-va-voom sex symbol of the day as an easily accessible woman of her era in her Jax slacks and Pucci jerseys.

Steinem presents a Marilyn most often overlooked– the Marilyn of 1962 rather than say 1954 or 1957. Even in 1986 the Barris photos show a woman who could easily be contemporary and that brings Steinem’s point across even stronger; there is very little difference between the hurdles and obstacles a woman alone in Hollywood faced in Marilyn’s day and the untold crap a woman has to put up with in the workplace of 1986, let alone 2017.

There’s another reason why I want to point this book out and encourage anyone who hasn’t found it yet to make an effort to do so: Steinem is a great writer. The talent she has shown in her essays for Ms. Magazine, the periodic pieces that appear in the New Yorker, or in the several collections of her work and her recent autobiography, is possibly even more evident here. The book has the feeling that Steinem  has allowed herself the sheer space to fully explore her own feelings rather than restrict herself to a single column. Let me give just one example:

“In the 1930s, when English critic Cyril Connolly proposed a definition of posterity to measure whether a writer’s work had stood the test of time, he suggested that posterity should be limited to ten years. The form and content of popular culture were changing too fast, he explained, to make any artist accountable for more than a decade.

“Since then , the pace of change had been accelerated even more. Everything from the communications revolution to multinational entertainment has altered the form of culture. Its content has been transformed by civil rights, feminism, an end to film censorship, and much more. Nonetheless, Monroe’s personal and intimate ability to inhabit our fantasies has gone right on. As I write this, she is still better known than most living movie stars, most world leaders, and most television personalities. The surprise is that she rarely has been taken seriously enough to ask why that is so.”

 

– David Marshall

Review: Artists in Love: Marilyn and Arthur Miller

By | IM Articles | No Comments

Artists in Love is a ten-part documentary series, produced in Italy for the satellite channel Sky Arts, and first broadcast in 2016. Among the famous couples profiled are the Mexican artists, Frida Kahlo and Diego Rivera; opera singer Maria Callas’s tortured relationship with shipping magnate Aristotle Onassis; plus singers Johnny Cash and June Carter, and filmmaker Federico Fellini and his actress wife, Giulietta Masina.

The eighth episode features Arthur Miller and Marilyn Monroe. Like the rest of the series, it is presented by the English actress Samantha Morton, who played a Monroe impersonator in the 2009 film, Mister Lonely. “Marilyn, like me, was brought up in foster care,” she said at the time, “so I knew what it was like not to feel safe and secure.” The eloquent guest speakers include two of Monroe’s biographers, Carl Rollyson and Michelle Morgan, and Stephen Marino, founder of the Arthur Miller Society.

Happy times early in the Monroe-Miller marriage.

When Arthur and Marilyn married in 1956, they were dubbed ‘the egghead and the hourglass’ by the press. However, a closer examination of their backgrounds shows they were not as different as it might appear. Both grew up during the Great Depression, and were late developers. Neither was an exceptional student: Arthur was athletic but showed no literary ability until he studied Dostoyevsky’s The Brothers Karamazov for a high-school book report. He would recommend this novel to Marilyn, then on the cusp of stardom, when they first met in 1951.

Although there was an instant attraction, Arthur was already married with two young children. They corresponded for a while after he returned to New York. “I didn’t see him for about four years,” Marilyn recalled. “I used to think he might see me in a movie and I wanted to do my best because he had said he thought I ought to act on the stage. People who were around and who heard him, laughed, but he said, ‘No, I’m very sincere.’”

Arthur’s respect for Marilyn, and his refusal to exploit her sexually, were a contrast to the rampant misogyny in Hollywood and a mainstay of her regard for him. After she moved to New York in 1955, their romance began in earnest. Arthur, a Pulitzer-winning playwright and the toast of Broadway, was nonetheless unprepared for Marilyn’s immense fame. When he impulsively announced their engagement to the press, it came as a surprise even to her.

Over the next few years, Marilyn came closer to enjoying a settled domestic life than she had ever known. But there were tensions from the beginning, with Arthur facing creative stasis while Marilyn supported him financially. Only weeks after the wedding, Arthur is said to have expressed his frustration in a journal, which Marilyn found laid open on his desk. The gulf between his idealised love for Marilyn and the complicated reality of her struggles within the star system was difficult to bear.

On the set of The Misfits

For her part, Marilyn was desperate to have children – a lack she felt deeply – and still scarred by her own past trauma. Arthur tried to cope with his wife’s emotional distress but was disturbed by her growing addictions. By the time they worked together on one of her finest films, The Misfits, their marriage was nearly over. There is a lingering sense that both were ultimately disenchanted with each other.

Miller has been criticised for not attending Marilyn’s funeral in 1962, but he can hardly be blamed for wanting to put this unhappy experience behind him. Perhaps a more interesting quandary is how Marilyn might have responded to his portrait of the doomed Maggie in his 1964 play, After the Fall, which he had conceived during their marriage. The ghost of Marilyn would loom over his later plays, and he wrote searingly about her in his autobiography, Timebends. Public interest in this bittersweet love story shows no sign of abating, and his daughter Rebecca Miller (born after Marilyn died, to his third wife, Inge Morath) has recently completed a feature-length documentary, Arthur Miller: Writer.

Artists in Love is certainly one of the better documentaries about Marilyn’s life, although there are a few misunderstandings along the way. Some Like It Hot (1959)  is chronologically misplaced before The Prince and the Showgirl (1957), for example. A famous quote from Rita Hayworth (‘Every man I have ever known has fallen in love with Gilda, and awakened with me’) is wrongly attributed to Marilyn. More seriously, her drinking problem is exaggerated, and it is even suggested that this may have caused her to lose a baby. In fact, the primary cause of her miscarriages was endometriosis. The dangers of drinking in pregnancy were not widely known at the time, and while Marilyn did sometimes drink to excess, her greatest dependency was on the drugs prescribed by her trusted doctors.

Nonetheless, Samantha Morton’s parting words are affecting. “Did Marilyn give up on herself before age could make her wiser?” she asks. “Did Miller give up on her without giving her a chance to change? Or did they both fear the inevitable ruin of the glimmering and enchanting image she presented to the world?”

Review: Dead Blondes: You Must Remember Marilyn

By | IM Articles | No Comments

“Marilyn, that icon of über-femininity, is most often compared to other dead women. Or rather, other dead women are compared to her … Whenever a glamorous young woman dies, she is compared to Marilyn Monroe, whether she was a blonde – or dumb – or not.” – Sarah Churchwell

“Like many women, I’ve been studying Marilyn Monroe my entire life,” Karina Longworth writes in the notes for her podcast, You Must Remember This. After making her name in the blogosphere, Longworth has published studies of contemporary movie icons including Meryl Streep.

No less than three classic Monroe films (Bus Stop, Some Like It Hot, and The Misfits) are featured in Hollywood Frame by Frame, a book of contact sheets for which Longworth supplied the text. Since 2014, she has been exploring Hollywood history in her popular and influential podcast. A trilogy of episodes about Marilyn’s life and death is the centrepiece of a dedicated series, ‘Dead Blondes’, and her marriage to Arthur Miller was profiled in an earlier season, ‘The Blacklist.’

In this pantheon of dead blondes, Marilyn is preceded by Peg Entwhistle, Thelma Todd, Jean Harlow, Veronica Lake and Carole Landis; and her successors include Jayne Mansfield, Barbara Payton, Grace Kelly, Barbara Loden and Dorothy Stratten. “The title is a little bit tongue-in-cheek, but it’s also incredibly literal,” Longworth told Entertainment Weekly. “There does seem to be this fascination in the wider culture with these quote-unquote ‘perfect victims,’ the beautiful woman who is taken too soon.”

The first episode, ‘Marilyn Monroe: The Beginning’, is also a repeat, from the ‘Star Wars’ season. Longworth retells the story of Norma Jeane’s unhappy childhood and rise to fame. While she certainly grew up in the shadows of Hollywood, Longworth’s deterministic view is probably overstated. Reframing old gossip from a postmodern perspective, she takes Marilyn’s rumoured promiscuity at face value, as a symptom of endemic sexual harassment. Her early films are barely mentioned, as Longworth believes that cheesecake photos (which suggested to men that Marilyn was “easily pleased,” although she actually found the whole process rather amusing), plus her deft handling of the nude calendar scandal, and a headline-grabbing romance with Joe DiMaggio played a greater part in her ascent to stardom. Mastering her own publicity, she became a “sex goddess for the people,” and by openly discussing her experiences of abuse, she projected a type of “female damage” that women understood all too well. But the guileless vulnerability which solidified her image soon became a prison.

In a decade characterised by material pleasures and sexual repression, curvaceous Marilyn represented ‘a feminine icon of plenty’, but in private, she was plagued by miscarriages and endometriosis. Ezra Goodman, in his The Fifty Year Decline and Fall of Hollywood, described her, and the blonde bombshells who followed in her wake, as ‘lost souls’ whose malleable personae mirrored post-war America’s identity crisis. In ‘Marilyn Monroe: The Persona’, Longworth focuses on her initial starring roles. She gave an affecting performance in Don’t Bother to Knock, an overlooked drama which Longworth judges “both terrifying and sympathetic in its sexualised portrait of female hysteria.”

This was followed by “a trilogy of parodies of consumerism”, starting with Niagara (1953), in which she plays the libidinous Rose, her only character to die onscreen. Although Rose is herself an accessory to murder, Longworth finds her death “legitimately sad – but sadness doesn’t sell.” After Gentlemen Prefer Blondes, Marilyn would be more often  identified with comedic parts. Lorelei Lee, Longworth argues, was “the smartest of [Monroe’s] dumb blondes”, justifying her lust for diamonds and manipulation of men as essential self-protection. Blondes was also her first major musical, in which, alongside co-star Jane Russell, she mastered “acting in song.” How to Marry a Millionaire took a more critical view of the selfish society, but is also less cynical as the gold-diggers finally choose love.

Media coverage of her career was often blatantly sexist, such as the 1953 Confidential article, ‘Why Joe DiMaggio Is Striking Out With Marilyn Monroe’, which alleged that movie mogul Joe Schenck was her ‘sugar daddy’. Some of her movies were also regressive in their gender politics, such as River of No Return (1954), in which her character falls for Robert Mitchum after an attempted rape. Even Bus Stop (1956), her first film under a new contract – in which, influenced by the Method, she gave one of her best performances – veers between “garish comedy” and a more sensitive exploration “a woman trying to direct her own life.”

Longworth believes that incidents like the broken strap at Marilyn’s 1956 press conference with Sir Laurence Olivier were “highly calculated”, and by the time she was filming The Prince and the Showgirl in England, Olivier apparently shared that view. Newly married to Arthur Miller, and under the spell of the Strasbergs and psychoanalysis, Marilyn was also dependent on sleeping pills, and the doctors who prescribed them.

After their relationship went public, Arthur Miller was targeted by the House Un-American Activities Committee (HUAC.) He had attended a few Communist Party meetings in the 1930s, but by 1956, he was no longer interested in party politics. He later claimed that the chairman of HUAC had offered to drop the charges if Marilyn would pose for a photograph with him. She was also being monitored by the FBI at this time, and during filming of Bus Stop, they believed she was living at the Chateau Marmont. This was incorrect – her drama coach, Paula Strasberg, was staying at the hotel, although Marilyn may have used the suite for ‘trysts’ with Miller. As Longworth notes in ‘The Blacklist: After the Fall’, Paula had previously been named by Miller’s former associate, Elia Kazan, in his testimony before HUAC.

Miller famously did not ‘name names’, and was estranged from Kazan. By the time of his acquittal in 1958, Marilyn was filming Some Like It Hot. Her problems on the set are well-documented, but it would become her most enduringly popular movie. Playing the “dumbest of blondes”, Longworth remarks that she “had nothing ‘mental’ to work with.” Her next film, Let’s Make Love, was notable mainly for her affair with co-star Yves Montand. After hearing the gossip, Kazan approached Miller and they began working on After the Fall, a play which draw heavily on his troubled marriage, and would open at the Lincoln Center, which the two men co-founded, in 1964.

The Misfits, which Miller wrote for Marilyn, is one of Longworth’s favourite movies – although she criticises him for “lazily and cruelly” incorporating scenes from their marriage into the script. Nonetheless, Marilyn’s training in the Method suited the introspective material. From Some Like It Hot onwards, Longworth argues, Marilyn’s screen persona was becoming more natural and poignant. After divorcing Miller, she depended increasingly on her psychiatrist, Dr Ralph Greenson. Longworth sees this as a controlling relationship, and observes in ‘Marilyn Monroe: The End’ that he failed in weaning her off prescribed drugs. Concluding that there is little agreement between scholars and investigators on Marilyn’s rumoured affairs with the Kennedy Brothers, Longworth believes that her “sad, but not dramatic” demise was probably accidental, and to those who knew the scale of her addiction, even inevitable.

Karina Longworth is an accomplished storyteller and perceptive critic, but her research is not impeccable. Her main sources are biographies by Donald Spoto, Gloria Steinem and Lois Banner.  Although she takes a mostly sympathetic, even feminist view, she is not immune to sensationalism and once posted – but later deleted – Marilyn’s autopsy photo on Twitter to promote the show (it was first published, amid much disquiet, in Anthony Summers’ Goddess.) She occasionally misattributes quotations, or conflates different events, which can give a misleading impression. For example, while the young Norma Jeane may have fantasised that her father was Clark Gable, there is no evidence that she actually believed this, or told it to others. And the 113-ft ‘longest walk in history’ in Niagara was not Marilyn’s death scene. If Longworth’s aim is to demythologise the Monroe legend, she doesn’t fully succeed. Although You Must Remember This offers a lively analysis of the star system, it shouldn’t be taken too literally but rather as a starting point for further exploration.

 

Tara Hanks for Immortal Marilyn