CINEMA NOW: Labeled fraud by Marilyn Monroe's estate, 1940s sex film offered at $500,000 gets no buyers

Labeled fraud by Marilyn Monroe's estate, 1940s sex film offered at $500,000 gets no buyers

BUENOS AIRES, Argentina - There were no buyers Sunday at the auction of a 1940s stag film that an events promoter claims shows a young Marilyn Monroe having sex before she became a movie star.

The auction was a flop. Nobody came forward willing to pay Mikel Barsa's starting price of 2 million Argentine pesos, about $480,000.

Barsa said it didn't help matters that a spokeswoman for Monroe's estate was quoted in an Associated Press interview calling the whole thing a fraud.

"It doesn't surprise me. The latest statements of Nancy Carlson didn't do anything good for all this," Barsa said, referring to the spokeswoman for a company in charge of protecting Monroe's image and estate.

Barsa said he was still negotiating with an unidentified buyer from Denver whom he said was offering much less than a fair price. But he also said his lawyers were reviewing the matter now that Monroe's protectors warned they would sue him if the sale went through.

Barsa claimed before the auction that the scratchy, black-and-white, six-minute 8-mm film shows the young actress, known then as Norma Jeane Baker, around 1946 or 1947 when she was poor and desperate to break into show business.

Experts on Monroe's life, however, said it's highly unlikely that the smiling young blonde in the film is her.

Comparing the film with known Monroe images leaves ample room for doubt. And several documents Barsa said proved his argument — a letter from the American Film Institute and what looks like a declassified FBI file that mentions a 1965 attempt to sell an alleged Marilyn Monroe sex film — are inconclusive.

Monroe's image and estate is protected by the brand development and licensing company Authentic Brands Group. Its spokeswoman, Carlson, said a sale of the film would invite legal action for "perpetrating a fraud on the public, violating the Monroe estate's exclusive rights to her image and other claims of intellectual property infringement."

"To me personally, it doesn't even resemble her," Carlson said

Another Story on the Marilyn Monroe Sex Movie

There is nothing like a good mystery to gather people around for a heated discussion. Let’s see… Jesus, Hitler, Amelia Earhart, Bigfoot, and the Loch Ness Monster are bewildering topics, but celebrity fascination will ignite conversation for a long time.

Marilyn Monroe has been the target of many hoaxes over the years. The latest one is about a recently discovered Marilyn Monroe sex movie. Keya Morgan, a collectibles dealer, announced that he has obtained a black and white 15 minute reel featuring Marilyn. Keya has spoken publicly about his intent to create a television documentary on Marilyn, and has conveniently come across information leading to the alleged sex reel during his research.

The story starts with Keya getting information on the Marilyn sex film from a retired FBI agent. The purported tape is said to show a clothed Marilyn in the 1950’s, before she was famous, performing oral sex on an unknown male. The film shows the man only from the shoulders down, and there is speculation that it may have been either John F. Kennedy or his brother Bobby. FBI chief J. Edgar Hoover’s grudge against the Kennedy clan would explain why the FBI took high interest in this case. It has been reported that "J Edgar Hoover was completely obsessed. A team of nine individuals were analysing the tape inside a lab. J Edgar Hoover brought in a few prostitutes who allegedly had been with President Kennedy and they tried to ... see if that was really President Kennedy." The FBI still have possession of the original tape.

The son of one of the FBI informants got a copy of the Marilyn Monroe sex movie, which in time he passed down to his son, who is now in his late eighties, on his deathbed, and has lost interest in the sex tape. Keya acquired the tape and auctioned it off for 1.5 million to a New York businessman who swore that he would never reveal it, so as not to blemish Marilyn’s image.

Keya has declined to give the identities of the FBI agent, the informant or his son, and even the business man who bought the Marilyn Monroe sex movie. This yarn may seem a little thin to you, but oddly enough, declassified FBI files actually confirm the existence of the tape.

It is possible that Keya acquired this piece of information from the FBI files and the seed was planted. The declassified note from the FBI says: In New York, the informant visited the office of a man whose name has been blacked out from the reports. While in the office, the man showed the informant a "French-type" movie depicting Monroe "in unnatural acts with an unknown male." The man told the informant that Joe DiMaggio, one of her former husbands, had once sought to purchase it from him for $25,000 but that he had refused to part with it.

Although the FBI article mentions the tape being in the possession of a NY businessman at the time and not an FBI informant, Keya never acknowledges that. So, if the movie was owned by this NY businessman, how did Keya get it from the FBI informant who supposedly never had it?

Keya was asked what makes him so sure that it is Marilyn Monroe in the movie. He answered, “You see instantly that it's Marilyn Monroe - she has the famous mole." Well hey! Paula Abdul has a mole…hmm maybe it is Paula then. So, altogether, we have no tape, no witnesses, just a lot of hearsay.

At the end of the day, what is the point? It is just another ploy, a way for someone to get their 15 minutes of fame. Even if someone could get their hands on the Marilyn Monroe sex movie, what good would that do? Are we so curious about celebrities that we would be ready to bring down an icon? Or could we argue that we just have to know the truth no matter the cost?

Marilyn Monroe Biography

Marilyn Monroe

Monroe in a screen-test for the film noir Niagara (1953)

Born Norma Jeane Mortenson

June 1, 1926(1926-06-01)

Los Angeles, California, U.S.

Died August 5, 1962(1962-08-05) (aged 36)

Brentwood, Los Angeles, California, U.S.

Cause of death Barbiturate overdose

Resting place Westwood Village Memorial Park Cemetery, Westwood, Los Angeles

Other names Norma Jeane Baker

Norma Jeane Dougherty

Norma Jeane DiMaggio

Occupation Actress, model, film producer, singer

Years active 1947–62

Religion Jewish

Spouse James Dougherty (m. 1942–1946) «start: (1942)–end+1: (1947)»"Marriage: James Dougherty to Marilyn Monroe" Location: (linkback:http://en.wikipedia.org/wiki/Marilyn_Monroe) (divorced)

Joe DiMaggio (m. 1954–1954) «start: (1954)–end+1: (1955)»"Marriage: Joe DiMaggio to Marilyn Monroe" Location: (linkback:http://en.wikipedia.org/wiki/Marilyn_Monroe) (divorced)

Arthur Miller (m. 1956–1961) «start: (1956)–end+1: (1962)»"Marriage: Arthur Miller to Marilyn Monroe" Location: (linkback:http://en.wikipedia.org/wiki/Marilyn_Monroe) (divorced)

Signature

Marilyn Monroe (pronounced /mɒnˈroʊ/ or /mənˈroʊ/, born Norma Jeane Mortenson but baptized and raised as Norma Jeane Baker; June 1, 1926 – August 5, 1962[1]) was an American actress, singer and model.[2] After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950) were well received. By 1953, Monroe had progressed to leading roles. Her "dumb blonde" persona was used to comedic effect in such films 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, and her dramatic performance in Bus Stop (1956) was hailed by critics, and she received 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).



The final years of Monroe's life were marked by illness, personal problems, and a reputation for being unreliable and 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 possibility of an accidental overdose, as well as the possibility of 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 years and decades following her death, Monroe has often been cited as a pop and cultural icon as well as an eminent American sex symbol.[3][4][5]

Contents

1 Family and early life

2 Career

2.1 Early work: 1945–1947

2.2 Breakthrough: 1948–1951

2.3 Leading films: 1952–1955

2.4 International success: 1954–1957

2.5 Last films: 1958–1962

3 Death and aftermath

3.1 Administration of estate

4 Personal life

4.1 Relationships

4.2 Psychoanalysis

5 Portrayals

6 Filmography

7 Uncompleted films

8 Television appearances

9 Songs

10 Awards and nominations

11 See also

12 Notes

13 References

14 External links





[edit] Family and early lifeMain article: Early life of Marilyn Monroe

Marilyn Monroe was born on June 1, 1926 in the Los Angeles County Hospital[6] as Norma Jeane Mortenson (soon after changed to Baker), the third child born to Gladys Pearl Baker (née Monroe) (May 27, 1902 – March 11, 1984).[7] Monroe's birth certificate names the father as Martin Edward Mortensen with his residence stated as "unknown".[8] The name Mortenson is listed as her surname on the birth certificate, although Gladys immediately had it changed to Baker, the surname of her first husband and which she still used. Martin's surname was misspelled on the birth certificate leading to more confusion on who her actual father was. Gladys Baker had married a Martin E. Mortensen in 1924, but they had separated before Gladys' pregnancy.[9] Several of Monroe's biographers suggest that Gladys Baker used his name to avoid the stigma of illegitimacy.[10] Mortensen died at the age of 85, and Monroe's birth certificate, together with her parents' marriage and divorce documents, were discovered. The documents showed that Mortensen filed for divorce from Gladys on March 5, 1927, and it was finalized on October 15, 1928.[11][12] Throughout her life, Marilyn Monroe denied that Mortensen was her father.[9] She said that, when she was a child, she had been shown a photograph of a man that Gladys identified as her father, Charles Stanley Gifford. She remembered that he had a thin mustache and somewhat resembled Clark Gable, and that she had amused herself by pretending that Gable was her father.[9][13]



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, 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.[14]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' 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 she 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.[15] 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 say it was sexual)--one of Olive's sons had attacked the now middle-school-aged girl. Biographers and psychologists 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.[16][17] In early 1938, Grace sent her to live with yet another one of her aunts, Ana Lower, who lived in Van Nuys, another city in 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 only 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.[18][19][20] Several months later, Grace and Doc Goddard decided to relocate to 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.[18][21] In 1943, during World War II, Dougherty enlisted in the Merchant Marine and 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.



[edit] Career[edit] Early work: 1945–1947

Mrs. Norma Jeane Dougherty, Yank Magazine, 1945While Dougherty served in the Merchant Marine, Monroe began working in the Radioplane Munitions Factory, mainly spraying airplane parts with fire retardant and inspecting parachutes. During that time, Army photographer David Conover noticed her and snapped a photograph of her for a Yank magazine article. He encouraged her to apply to The Blue Book Modeling Agency. She signed with the agency and began researching the work of Jean Harlow and Lana Turner. She was told that they were looking for models with lighter hair, so Norma Jeane bleached her brunette hair to a golden blonde.



Monroe 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."[22] 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 stagename, 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.[citation needed] Lyon, however, felt that the name "Marilyn Monroe" was sexy, had a "nice flow", and would be "lucky" due to the double "M"[23] and thus Norma Jeane Baker took the name Marilyn Monroe.



Marilyn Monroe's first movie role was an uncredited role as a telephone operator in The Shocking Miss Pilgrim in 1947.[24] She won a brief role that same year in Dangerous Years and extra appearances in Green Grass of Wyoming and You Were Meant for Me, she also won a three scene role as Betty in Scudda Hoo! Scudda Hay!. Monroe's part in Scudda Hoo! Scudda Hay! was to be three scenes long, but before the release of the film her part was cut down to a brief one-line scene.[citation needed] Green Grass of Wyoming, You Were Meant For Me, and Scudda Hoo! Scudda Hay!, wouldn't be released until 1948, which was months after Monroe's contract had ended in late 1947. She attempted to find opportunities for film work, and while unemployed, she posed for nude photographs. She was paid $50 and signed the model release form as "Mona Monroe".[citation needed] It would be the only time she would get paid for the nude photos. That year, she was also crowned the first "Miss California Artichoke Queen" at the annual artichoke festival in Castroville.[25]



[edit] Breakthrough: 1948–1951In 1948, Monroe signed a six-month contract with Columbia Pictures and was introduced to the studio's head drama coach Natasha Lytess, who became her acting coach for several years.[26] She starred in the low-budget musical Ladies of the Chorus (1948). Monroe was capitalized as one of the film's bright spots, but the movie didn't bring any success for Monroe nor Columbia.[27] During her short stint at Columbia, studio head Harry Cohn softened her appearance somewhat by correcting a slight overbite she had.





in The Asphalt Jungle (1950)She had a small role in the Marx Brothers film Love Happy (1949). Monroe impressed the producers, who sent her to New York to feature in the film's promotional campaign.[28] Love Happy brought Monroe to the attention of the talent agent, Johnny Hyde, who agreed to represent her. He arranged for her to audition for John Huston, who cast her in the drama The Asphalt Jungle as the young mistress of an aging criminal. Her performance brought strong reviews,[28] and was seen by the writer and director, Joseph Mankiewicz. He accepted Hyde's suggestion of Monroe for a small comedic role in All About Eve as Miss Caswell, an aspiring actress, described by another character 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.[29] 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.[30] It was at some time during this 1949–50 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,[31] and appeared in several minor films playing opposite such long-established performers as Mickey Rooney, Constance Bennett, June Allyson, Dick Powell and Claudette Colbert.[32] In March 1951, she appeared as a presenter at the 23rd Academy Awards ceremony.[33] 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 and Gregg Palmer both unsuccessfully auditioned for roles as Daisy Mae and Abner in a proposed Li'l Abner television series based on the Al Capp comic strip, but the effort never materialized.[34]



[edit] Leading films: 1952–1955

First issue of Playboy, December 1953In March 1952, Monroe faced a possible scandal when one of her nude photos from a 1949 session with photographer Tom Kelley was featured in a calendar. The press speculated about the identity of the anonymous model and commented that she closely resembled Monroe. As the studio discussed how to deal with the problem, Monroe suggested that she should simply admit that she had posed for the photograph but emphasize that she had done so only because she had no money to pay her rent.[35] She gave an interview in which she discussed the circumstances that led to her posing for the photographs, and the resulting publicity elicited a degree of sympathy for her plight as a struggling actress.[35]



She made her first appearance on the cover of Life magazine in April 1952, where she was described as "The Talk of Hollywood".[36] 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."[37] 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.[38]



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.[39] 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.[40]





With Keith Andes in Clash by Night (1952)This was followed by two films released in July, the comedy We're Not Married!, and the drama Don't Bother to Knock. We're Not Married! featured Monroe as a beauty pageant contestant. Variety described the film as "lightweight". Its reviewer commented that Monroe was featured to full advantage in a bathing suit, and that some of her scenes suggested a degree of exploitation.[41] In Don't Bother to Knock she played the starring role[42] of a babysitter who threatens to attack the child in her care. The downbeat melodrama was poorly reviewed, although Monroe commented that it contained some of her strongest dramatic acting.[42] Monkey Business, a successful comedy directed by Howard Hawks starring Cary Grant and Ginger Rogers, was released in September and was the first movie in which Monroe appeared in with platinum blonde hair.[43] In O. Henry's Full House for 20th Century Fox, released in August 1952, Monroe had a single one-minute scene with Charles Laughton, yet she received top billing alongside him and the film's other stars, including Anne Baxter, Farley Granger, Jean Peters and Richard Widmark.



Darryl F. Zanuck considered that Monroe's film potential was worth developing and cast her in Niagara, as a femme fatale scheming to murder her husband, played by Joseph Cotten.[44] During filming, Monroe's make-up artist Whitey Snyder noticed her stage fright (that would ultimately mark her behavior on film sets throughout her career); the director assigned him to spend hours gently coaxing and comforting Monroe as she prepared to film her scenes.[45]





As Rose in NiagaraMuch of the critical commentary following the release of the film focused on Monroe's overtly sexual performance,[44] and a scene which shows Monroe (from the back) making a long walk toward Niagara Falls received frequent note in reviews.[46] After seeing the film, Constance Bennett reportedly quipped, "There's a broad with her future behind her."[47] 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."[46] 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".[48] 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.[49] A photograph from this event was used on the cover of the first issue of Playboy in December 1953, with a nude photograph of Monroe, taken in 1949, inside the magazine.[50]





Performing "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (1953)Her next film was Gentlemen Prefer Blondes (1953) co-starring Jane Russell and directed by Howard Hawks. Her role as Lorelei Lee, a gold-digging showgirl, required her to act, sing, and dance. The two stars became friends, with Russell describing Monroe as "very shy and very sweet and far more intelligent than people gave her credit for".[51] She later recalled that Monroe showed her dedication by rehearsing her dance routines each evening after most of the crew had left, but she arrived habitually late on set for filming. Realizing that Monroe remained in her dressing room due to stage fright, and that Hawks was growing impatient with her tardiness, Russell started escorting her to the set.[52]



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.[53] 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.[54] How to Marry a Millionaire was a comedy about three models scheming to attract wealthy husbands. The film teamed Monroe with Betty Grable and Lauren Bacall, and was directed by Jean Negulesco.[55] 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."[56]



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.[57] "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.[58] 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.[59]





Marilyn Monroe and Jane Russell putting signatures, hand and foot prints in cement at Grauman's Chinese Theatre on June 26, 1953Instead, 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.[60] 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."[61] 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.[62]



[edit] International success: 1954–1957

Marilyn Monroe, appearing with the USO, poses for soldiers in Korea after a performance at the 3rd U.S. Inf. Div. area, February 17, 1954.Monroe and Joe DiMaggio were married in San Francisco on January 14, 1954. They travelled to Japan soon after, combining a honeymoon with a business trip previously arranged by DiMaggio. For two weeks she took a secondary role to DiMaggio as he conducted his business, having told a reporter, "Marriage is my main career from now on."[63] Monroe then travelled alone to Korea where she performed for 13,000 American Marines over a three-day period. She later commented that the experience had helped her overcome a fear of performing in front of large crowds.[64] Edward H. Comins (1932–2011) of Las Vega, Nevada, the winner of a Bronze Star medal in the Korean War, reported having cooked for Monroe during one of her engagements abroad.[65]



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[61] 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.[66] 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.[67] 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.[68]





in The Seven Year Itch (1955)

An iconic image entered popular culture.[69]One of Monroe's most notable film roles was shot in September 1954, a skirt-blowing key scene for The Seven Year Itch in New York City. In it, she stands with her co-star, Tom Ewell, while the air from a subway grating blows her skirt up. A large crowd watched as director Billy Wilder ordered the scene to be refilmed many times. Joe DiMaggio was reported to have been present and infuriated by the spectacle.[70] After a quarrel, witnessed by journalist Walter Winchell, the couple returned to California where they avoided the press for two weeks, until Monroe announced that they had separated.[71] Their divorce was granted in November 1954.[72] The filming was completed in early 1955, and after refusing what she considered to be inferior parts in The Girl in the Red Velvet Swing and How to Be Very, Very Popular, Monroe decided to leave Hollywood on the advice of Milton Greene. The role of Curly Flagg in How to Be Very, Very Popular went to Sheree North, and Girl in the Red Velvet Swing went to Joan Collins. The Seven Year Itch was released and became a success, earning an estimated $8 million.[73] Monroe received positive reviews for her performance and was in a strong position to negotiate with 20th Century Fox.[73] On New Year's Eve 1955, they signed a new contract which required Monroe to make four films over a seven-year period. The newly formed Marilyn Monroe Productions would be paid $100,000 plus a share of profits for each film. In addition to being able to work for other studios, Monroe had the right to reject any script, director or cinematographer she did not approve of.[74][75] In June 2011, the dress was sold for $4.6 million to an undisclosed buyer.[76]



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 in him her frustration with her 20th Century Fox contract and the roles she was offered. Her salary for Gentlemen Prefer Blondes amounted to $18,000, while freelancer Jane Russell was paid more than $100,000.[77] 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.[78]



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.[79]



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.[80] Monroe had met Paula Strasberg and her daughter Susan on the set of There's No Business Like Show Business,[81] 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.[82]



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.[83] 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.[84][85] 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.[86] 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.[87] Kim Stanley later recalled that students were discouraged from applauding, but that Monroe's performance had resulted in spontaneous applause from the audience.[87] 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."[87]



The first film to be made under the contract and production company was Bus Stop directed by Joshua Logan. Logan had studied under Constantin Stanislavski, approved of method acting, and was supportive of Monroe.[88] Monroe severed contact with her drama coach, Natasha Lytess, replacing her with Paula Strasberg, who became a constant presence during the filming of Monroe's subsequent films.[89]





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.[90] Though not nominated for an Academy Award,[91] she received a Golden Globe nomination.





In The Prince and the Showgirl (1957), Monroe co-starred with Laurence Olivier, who also directed the film.Bus Stop was followed by The Prince and the Showgirl directed by Laurence Olivier, who also co-starred. Prior to filming, Olivier praised Monroe as "a brilliant comedienne, which to me means she is also an extremely skilled actress". During filming in England he resented Monroe's dependence on her drama coach, Paula Strasberg, regarding Strasberg as a fraud whose only talent was the ability to "butter Marilyn up". He recalled his attempts at explaining a scene to Monroe, only to hear Strasberg interject, "Honey — just think of Coca-Cola and Frank Sinatra."[92] Olivier later commented that in the film "Marilyn was quite wonderful, the best of all."[93] Monroe's performance was hailed by critics, especially in Europe, where she won the David di Donatello, the Italian equivalent of the Academy Awards, as well as the French Crystal Star Award. She was also nominated for a BAFTA. It was more than a year before Monroe began her next film. During her hiatus, she summered with Miller in Amagansett, New York. She suffered a miscarriage on August 1, 1957.[94][95]



[edit] Last films: 1958–1962

In Some Like It Hot (1959)With Miller's encouragement she returned to Hollywood in August 1958 to star in Some Like It Hot. The film was directed by Billy Wilder and co-starred Jack Lemmon and Tony Curtis. Wilder had experienced Monroe's tardiness, stage fright, and inability to remember lines during production of The Seven Year Itch. However her behavior was now more hostile, and was marked by refusals to participate in filming and occasional outbursts of profanity.[96] Monroe consistently refused to take direction from Wilder, or insisted on numerous retakes of simple scenes until she was satisfied.[97] She developed a rapport with Lemmon, but she disliked Curtis after hearing that he had described their love scenes as "like kissing Hitler".[98] Curtis later stated that the comment was intended as a joke.[99] During filming, Monroe discovered that she was pregnant. She suffered another miscarriage in December 1958, as filming was completed.[100]



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.[101] 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?"[102] 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."[103] Wilder had become ill during filming, and explained, "We were in mid-flight – and there was a nut on the plane."[104] In hindsight, he discussed Monroe's "certain indefinable magic" and "absolute genius as a comic actress."[102]



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.[105] 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.[106] 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.[107] The film was not a critical or commercial success.[108]



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.[109] 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.[110] Greenson stated that his main objective at the time was to enforce a drastic reduction in Monroe's drug intake.[111]





Monroe in her final completed film, The Misfits (1961)In 1956, Arthur Miller had briefly resided in Nevada and wrote a short story about some of the local people he had become acquainted with, a divorced woman and some aging cowboys. By 1960 he had developed the short story into a screenplay, and envisaged it as containing a suitable role for Monroe. It became her last completed film. The Misfits, directed by John Huston and costarring Clark Gable, Montgomery Clift, Eli Wallach and Thelma Ritter. Shooting commenced in July 1960, with most taking place in the hot Northern Nevada desert.[112] Monroe was frequently ill and unable to perform, and away from the influence of Dr. Greenson, she had resumed her consumption of sleeping pills and alcohol.[111] A visitor to the set, Susan Strasberg, later described Monroe as "mortally injured in some way,"[113] and in August, Monroe was rushed to Los Angeles where she was hospitalized for ten days. Newspapers reported that she had been near death, although the nature of her illness was not disclosed.[114] Louella Parsons wrote in her newspaper column that Monroe was "a very sick girl, much sicker than at first believed", and disclosed that she was being treated by a psychiatrist.[114] Monroe returned to Nevada and completed the film, but she became hostile towards Arthur Miller, and public arguments were reported by the press.[115] Making the film had proved to be an arduous experience for the actors; in addition to Monroe's distress, Montgomery Clift had frequently been unable to perform due to illness, and by the final day of shooting, Thelma Ritter was in hospital suffering from exhaustion. Gable, commenting that he felt unwell, left the set without attending the wrap party.[116] Monroe and Miller returned to New York on separate flights.[117]



Within ten days Monroe had announced her separation from Miller, and Gable had died from a heart attack.[118] 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,[119] 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".[120] Monroe later attended the christening of the Gables' son, at the invitation of Kay Gable.[120] The Misfits received mediocre reviews, and was not a commercial success, though some praised the performances of Monroe and Gable.[120] Huston later commented that Monroe's performance was not acting in the true sense, and that she had drawn from her own experiences to show herself, rather than a character. "She had no techniques. It was all the truth. It was only Marilyn."[120]



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.[121] Her divorce from Arthur Miller was finalized in January 1961, with Monroe citing "incompatibility of character",[121] and in February she voluntarily entered the Payne Whitney Psychiatric Clinic. Monroe later described the experience as a "nightmare".[122] 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.[123] She returned to California and lived in a rented apartment as she convalesced.



In 1962, Monroe began filming Something's Got to Give, which was to be the third film of her four-film contract with 20th Century Fox. It was to be directed by George Cukor, and co-starred Dean Martin and Cyd Charisse. She was ill with a virus as filming commenced, and suffered from high temperatures and recurrent sinusitis. On one occasion she refused to perform with Martin as he had a cold, and the producer Henry Weinstein recalled seeing her on several occasions being physically ill as she prepared to film her scenes, and attributed it to her dread of performing. He commented, "Very few people experience terror. We all experience anxiety, unhappiness, heartbreaks, but that was sheer primal terror."[124]



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."[125] (also see entry 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,[124] Monroe was dismissed. The studio 20th Century Fox filed a lawsuit against her for half a million dollars,[126] 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."[126] Monroe was replaced by Lee Remick, and when Dean Martin refused to work with any other actress, he was also threatened with a lawsuit.[126] 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.[127] She next posed for Bert Stern for Vogue in a series of photographs that included several nudes.[127] 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, "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."[128]



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.[129] 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[130] 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.[129] Her dispute with 20th Century Fox was resolved, and her contract 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.[131] 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".[129]



[edit] Death and aftermathMain article: Death of Marilyn Monroe



The crypt of Marilyn Monroe (2005)On August 5, 1962, LAPD police sergeant Jack Clemmons received a call at 4:25 am from Dr Ralph Greenson, Monroe's psychiatrist, proclaiming that Monroe was found dead at her home in Brentwood, Los Angeles, California.[132] She was 36 years old. At the subsequent autopsy, eight milligram per cent of Chloral hydrate and 4.5 milligram percent of Nembutal were found in her system,[133] and Dr. Thomas Noguchi of the Los Angeles County Coroners office recorded cause of death as "acute barbiturate poisoning," resulting from a "probable suicide."[134] Many theories, including murder, circulated about the circumstances of her death and the timeline after the body was found. Some conspiracy theories involved John and Robert Kennedy, while other theories suggested CIA or Mafia complicity. It was reported that the last person Monroe called was the President.[135][136]



On August 8, 1962, Monroe was interred in a crypt at Corridor of Memories #24, at the Westwood Village Memorial Park Cemetery in Los Angeles. Lee Strasberg delivered the eulogy. The crypt space immediately to the left of Monroe's was bought and reserved by Hugh Hefner in 1992.[137] DiMaggio took control of the funeral arrangements which consisted of only 31 close family and friends. Police were also present to keep the press away.[138] Her casket was solid bronze and was lined with champagne colored silk.[139] Allan “Whitey” Snyder did her make-up which was supposedly a promise made in earlier years if she were to die before him.[139] She was wearing her favorite green Emilio Pucci dress.[139] In her hands was a small bouquet of pink teacup roses.[139] For the next 20 years, red roses were placed in a vase attached to the crypt, courtesy of Joe DiMaggio.[138]



In August 2009, the crypt space directly above that of Monroe was placed for auction[140] 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.[137] The winning bid was placed by an anonymous Japanese man for $4.6 million,[141] but the winning bidder later backed out "because of the paying problem". Playboy magazine founder Hugh Hefner, who never met Monroe, bought the crypt next to hers at the Westwood Village Memorial Park Cemetery. He affirmed that the initial success of his magazine directly correlated with Monroe.[citation needed]



[edit] Administration of estate

Monroe's Brentwood home (1992)In her will, Monroe stated she would leave Lee Strasberg her personal effects, which amounted to just over half of her residuary estate, expressing her desire that he "distribute [the effects] among my friends, colleagues and those to whom I am devoted".[142] Instead, Strasberg stored them in a warehouse, and willed them to his widow, Anna, who successfully sued Los Angeles-based Odyssey Auctions in 1994 to prevent the sale of items consigned by the nephew of Monroe's business manager, Inez Melson. In October 1999, Christie's auctioned the bulk of Monroe's effects, including those recovered from Melson's nephew, netting an amount of $13,405,785. Subsequently, Strasberg sued the children of four photographers to determine rights of publicity, which permits the licensing of images of deceased personages for commercial purposes. The decision as to whether Monroe was a resident of California, where she died and where her will was probated,[143] or New York, which she considered her primary residence, was worth millions.[144]



On May 4, 2007, a New York judge ruled that Monroe's rights of publicity ended at her death.[145][146][147] In October 2007, California Governor Arnold Schwarzenegger signed Senate Bill 771.[148] The legislation was supported by Anna Strasberg and the Screen Actors Guild.[149] Senate Bill 771 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.[150] 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.[151] The decision was reaffirmed by the United States District Court of New York in September 2008.[152]



In July 2010, Monroe's Brentwood home was put up for sale by Prudential California Realty. The house was sold for $3.6 million.[153] 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.[154][155]



[edit] Personal life[edit] RelationshipsMonroe 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. Allegedly, 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 enduring friendship lasting until her death. She also suffered two miscarriages and an ectopic pregnancy during her three marriages.[156][157]



Monroe married James Dougherty on June 19, 1942, at the home of Chester Howell in Los Angeles. As a result of her modeling career, he began to lose interest in her and stated that he did not approve of her new job. Monroe then decided to divorce Dougherty. The marriage ended when he returned from overseas in 1946. In The Secret Happiness of Marilyn Monroe and To Norma Jeane with Love, Jimmie, he claimed they were in love, but dreams of stardom lured her away. In 1953, he wrote a piece called "Marilyn Monroe Was My Wife" for Photoplay, in which he claimed that she threatened to jump off the Santa Monica Pier if he left her. She was reported to have been furious and explained in 1956 interview that she confessed to having attempted suicide during the marriage and stated that she felt trapped and bored by Dougherty, even blaming their marriage on her foster mother.[158] In her autobiography, explaining the sudden dissolution of their marriage, Monroe stated, "My marriage didn't make me sad, but it didn't make me happy either. My husband and I hardly spoke to each other. This wasn't because we were angry. We had nothing to say. I was dying of boredom."[159]



Doc Goddard had plans to publish extra details about the marriage, citing that he hoped to clear up rumors about an arranged marriage, but decided against the publication at the last minute.[160] In the 2004 documentary Marilyn's Man, Dougherty made three new claims: that he invented the "Marilyn Monroe" persona; studio executives forced her to divorce him; and that he was her true love and her "dedicated friend for life".



Monroe eloped with Joe DiMaggio at San Francisco City Hall on January 14, 1954. In 1951, DiMaggio saw a photograph of Monroe alongside Chicago White Sox players Joe Dobson and Gus Zernial, prompting him to request a date with her in 1952. Of their initial meeting, Monroe wrote in My Story that she did not have a desire to know him, as she had feared a stereotypical jock. During their honeymoon in Japan, she was asked to visit Korea as part of the USO. She performed ten shows in four days for over 100,000 servicemen.





Joe DiMaggio and Marilyn Monroe staying at Imperial Hotel in Tokyo on their honeymoon (1954)Maury Allen quoted New York Yankees PR man Arthur Richman that Joe told him that the marriage went wrong from then. On September 14, 1954, Monroe filmed the famed skirt-blowing scene for The Seven Year Itch in front of New York's Trans-Lux Theater. Bill Kobrin, then Fox's east coast correspondent, told the Palm Springs Desert Sun in 1956 that it was Billy Wilder's idea to turn the shoot into a media circus, and that the couple had a "yelling battle" in the theater lobby.[161] She filed for divorce on grounds of mental cruelty nine months after the wedding. In February 1961, Monroe was admitted to the Payne Whitney Psychiatric Clinic. She contacted DiMaggio, who secured her release. She later joined him in Florida, where he was serving as a batting coach at the New York Yankees' training camp. Bob Hope jokingly dedicated Best Song nominee The Second Time Around to them at the 1961 Academy Awards. According to Allen, on August 1, 1962, DiMaggio – alarmed by how Monroe had fallen in with people he considered detrimental to her well-being – quit his job with a PX supplier to ask her to remarry him. After Monroe's death, DiMaggio claimed her body and arranged her funeral. For 20 years, he had a half-dozen red roses delivered to her crypt three times a week. In 2006, DiMaggio's adopted granddaughters auctioned the bulk of his estate, which featured two letters Monroe penned to him and a photograph signed "I love you, Joe, Marilyn."[162]



On June 29, 1956, Monroe married playwright Arthur Miller, in a civil ceremony in White Plains, New York. Monroe met Miller in 1950. During this filming of Bus Stop, the relationship between Monroe and Miller had developed, and although the couple were able to maintain their privacy for almost a year, the press began to write about them as a couple,[163] often referred to as "The Egghead and The Hourglass".[164] The reports of their romance were soon overtaken by news that Miller had been called to testify before the House Un-American Activities Committee to explain his supposed communist affiliations. Called upon to identify communists he was acquainted with, Miller refused and was charged with contempt of Congress. He was acquitted on appeal.[165] During the investigation, Monroe was urged by film executives to abandon Miller, rather than risk her career but she refused, later branding them as "born cowards".[165] The press began to discuss an impending marriage, but Monroe and Miller refused to confirm the rumor. In June 1956, a reporter was following them by car, and as they attempted to elude him, the reporter's car crashed, killing a female passenger. Monroe became hysterical upon hearing the news, and their engagement was announced, partly in the expectation that it would reduce the excessive media interest they were being subjected to.[164] City Court Judge Seymour D. Robinowitz presided over the hushed ceremony in the law office of Sam Slavitt (the wedding had been kept secret from both the press and the public). Monroe and Miller wed again two days later in a Jewish ceremony before a small group of guests. Rabbi Robert E. Goldburg, a Reform rabbi at Congregation Mishkan Israel, presided over the ceremony.[166] Their nuptials were celebrated at the home of Miller's literary agent, Kay Brown, in Westchester County, NY. Some 30 friends and relatives attended the hastily arranged party. Less than two weeks after the wedding, the Millers flew to London, where they were greeted at Parkside House by Laurence Olivier and wife Vivien Leigh. Monroe created chaos among the normally staid British press. In reflecting on his courtship of Monroe, Miller wrote, "She was a whirling light to me then, all paradox and enticing mystery, street-tough one moment, then lifted by a lyrical and poetic sensitivity that few retain past early adolescence."[167] Nominally raised as a Christian but before her 1956 conversion (to Judaism),[168] Monroe laughingly rejected Jane Russell's conversion attempts during the 1953 filming of "Gentlemen Prefer Blondes" saying "Jane tried to convert me (to religion) and I tried to introduce her to Freud".[169] She did convert to Judaism before marrying Miller.[170][171][172][173] After she finished shooting The Prince and the Showgirl with Laurence Olivier, the couple returned to the United States from England and discovered she was pregnant. Tony Curtis, her co-star from Some Like It Hot, claims he got Monroe pregnant during their on-off affair that was rekindled during the filming of Some Like It Hot in 1959, while she was still married to Arthur Miller.[174][175][176][177]



Miller's screenplay for The Misfits, a story about a despairing divorcée, was meant to be a Valentine gift for his wife, but by the time filming started in 1960 their marriage was beyond repair. A Mexican divorce was granted on January 24, 1961 in Ciudad Juarez by Francisco José Gómez Fraire. On February 17, 1962, Miller married Inge Morath, one of the Magnum photographers recording the making of The Misfits. In January 1964, Miller's play After The Fall opened, featuring a beautiful and devouring shrew named Maggie. Simone Signoret noted in her autobiography the morbidity of Miller and Elia Kazan resuming their professional association "over a casket". In interviews and in his autobiography, Miller insisted that Maggie was not based on Monroe. However, he never pretended that his last Broadway-bound work, Finishing the Picture, was not based on the making of The Misfits. He appeared in the documentary The Century of the Self, lamenting the psychological work being done on her before her death.





From President Kennedy's birthday gala where Monroe sang "Happy Birthday, Mr. President", May 19, 1962.On May 19, 1962, Monroe made her last significant public appearance, singing "Happy Birthday, Mr. President" at a birthday party for President John F. Kennedy at Madison Square Garden. The dress that she wore to the event, specially designed and made for her by Jean Louis, sold at an auction in 1999 for USD $1.26 million.[178] Monroe reportedly had an affair with President John F. Kennedy. JFK's reputed mistress Judith Exner, in her 1977 autobiography, also wrote about an affair that she said the president and Monroe had.[179] Journalist Anthony Summers examines the issue of Monroe's relationships with the Kennedy brothers at length in two books: his 1993 biography of FBI Director J. Edgar Hoover, entitled Official and Confidential: The Secret Life of J. Edgar Hoover, and his 1985 biography of Monroe, entitled Goddess. In the Hoover book, Summers concludes that Monroe was in love with President Kennedy and wanted to marry him in the early 1960s; that she called the White House frequently; and that, when the married President had to break off their affair, Monroe became even more depressed, and then turned to Robert Kennedy, who visited Monroe in Los Angeles the day that she died.[180] Patricia Seaton Lawford, the fourth wife of actor Peter Lawford, also deals with the Monroe-Kennedy matters in her 1988 biography of Peter Lawford, entitled The Peter Lawford Story. Lawford's first wife was Patricia Kennedy Lawford, a sister of John and Robert; Lawford was very close to the Kennedy family for over a decade, including the time of Monroe's death. In 1997, documents purporting to prove a coverup of a relationship between JFK and Monroe were discovered to be fraudulent.[181]



[edit] PsychoanalysisMonroe 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.[182]



[edit] PortrayalsMonroe has been portrayed by:



Catherine Hicks in Marilyn: The Untold Story (1980)

Susan Griffiths in a fictionalized biopic Marilyn and Me (1991)

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 Norma Jean & Marilyn (1996)

Poppy Montgomery in Blonde (2001)

Holly Beavon in James Dean (2001)

Sophie Monk in The Mystery of Natalie Wood (2004)

Michelle Williams will portray Monroe in My Week with Marilyn (2011)

Charlotte Sullivan in The Kennedys (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.

Monroe was also portrayed once again by Susan Griffiths in a look-alike fashion as a waitress in the restaurant scene in the 1994 film Pulp Fiction.

[edit] FilmographyYear Title Role Co-stars Director Producer Notes

1947 Shocking Miss Pilgrim, TheThe Shocking Miss Pilgrim Telephone Operator Betty Grable

Dick Haymes Seaton, GeorgeGeorge Seaton 20th Century Fox Uncredited

1947 Dangerous Years Evie Billy Halop

Ann E. Todd Pierson, ArthurArthur Pierson 20th Century Fox

1948 Green Grass of Wyoming Extra in Square Dance Scene Peggy Cummins

Charles Coburn King, LouisLouis King 20th Century Fox Uncredited

1948 You Were Meant for Me Extra "Lady in Waiting" Cary Grant

Jeanne Crain Bacon, LloydLloyd Bacon 20th Century Fox Uncredited

1948 Scudda Hoo! Scudda Hay! Betty June Haver

Natalie Wood Herbert, HughHugh Herbert 20th Century Fox Uncredited

1948 Ladies of the Chorus Peggy Martin Adele Jergens Karlson, PhilPhil Karlson Columbia Pictures First major film appearance

1949 Love Happy Grunion's Client Harpo Marx

Chico Marx

Groucho Marx Miller, DavidDavid Miller United Artists

1950 A Ticket to Tomahawk Clara Dan Dailey

Anne Baxter

Rory Calhoun Sale, RichardRichard Sale 20th Century Fox Uncredited

1950 Right Cross Dusky Ledoux June Allyson

Dick Powell Sturges, JohnJohn Sturges Metro-Goldwyn-Mayer Uncredited

1950 Fireball, TheThe Fireball Polly Mickey Rooney

Pat O'Brien Garnett, TayTay Garnett 20th Century Fox

1950 Asphalt Jungle, TheThe Asphalt Jungle Angela Phinlay Sterling Hayden

Louis Calhern

Jean Hagen Huston, JohnJohn Huston Metro-Goldwyn-Mayer

1950 All About Eve Miss Claudia Caswell Bette Davis

Anne Baxter

George Sanders Mankiewicz, Joseph L.Joseph L. Mankiewicz 20th Century Fox

1951 Home Town Story Iris Martin Jeffrey Lynn

Alan Hale, Jr.

Donald Crisp Arthur Pierson Metro Goldwyn Mayer

1951 As Young as You Feel Hariett Monty Woolley

Thelma Ritter

Jean Peters Harmen Jones 20th Century Fox

1951 Love Nest Roberta "Bobbie" Stevens June Haver

William Lundigan

Frank Fay Newman, Joseph M.Joseph M. Newman 20th Century Fox

1951 Let's Make It Legal Joyce Mannering Claudette Colbert

Macdonald Carey

Barbara Bates Sale, RichardRichard Sale 20th Century Fox

1952 O. Henry's Full House Streetwalker Fred Allen

Anne Baxter

Richard Widmark Koster, HenryHenry Koster 20th Century Fox

1952 Monkey Business Lois Laurel Cary Grant

Ginger Rogers

Charles Coburn Hawks, HowardHoward Hawks 20th Century Fox

1952 Clash by Night Peggy Barbara Stanwyck

Keith Andes

Paul Douglas Lang, FritzFritz Lang RKO Radio Pictures

1952 We're Not Married! Anabel Norris Ginger Rogers

Fred Allen

Victor Moore Goulding, EdmundEdmund Goulding 20th Century Fox

1952 Don't Bother to Knock Nell Forbes Richard Widmark

Anne Bancroft Baker, Roy WardRoy Ward Baker 20th Century Fox First starring role

1953 Niagara Rose Loomis Joseph Cotten

Jean Peters Hathaway, HenryHenry Hathaway 20th Century Fox

1953 Gentlemen Prefer Blondes Lorelei Lee Jane Russell

Charles Coburn

Elliot Reid Hawks, HowardHoward Hawks 20th Century Fox Nominated for Best Motion Picture Actress in Comedy or Musical

1953 How to Marry a Millionaire Pola Debevoise Betty Grable

Lauren Bacall

William Powell Negulesco, JeanJean Negulesco 20th Century Fox

1954 River of No Return Kay Weston Robert Mitchum

Tommy Rettig

Rory Calhoun Preminger, OttoOtto Preminger 20th Century Fox

1954 There's No Business Like Show Business Victoria "Vicky" Hoffman Ethel Merman

Dan Dailey

Donald O'Connor Lang, WalterWalter Lang 20th Century Fox

1955 Seven Year Itch, TheThe Seven Year Itch The Girl Tom Ewell

Evelyn Keyes Wilder, BillyBilly Wilder 20th Century Fox Contains the famous scene of Monroe's skirt beinf blow up by a subway grating.

1956 Bus Stop Chérie Don Murray

Arthur O'Connell Logan, JoshuaJoshua Logan 20th Century Fox

1957 Prince and the Showgirl, TheThe Prince and the Showgirl Elsie Marina Laurence Olivier Olivier, LaurenceLaurence Olivier Warner Brothers The only film released under Marilyn Monroe Productions.

1957 Some Like It Hot Sugar Kane Kowalczyk Tony Curtis

Jack Lemmon Wilder, BillyBilly Wilder Metro-Goldwyn-Mayer Monroe's most successful film. Known as a comedy film classic.

1960 Let's Make Love Amanda Dell Yves Montand

Frankie Vaughan

Tony Randall Cukor, GeorgeGeorge Cukor 20th Century Fox

1961 Misfits, TheThe Misfits Roslyn Taber Clark Gable

Eli Wallach

Montgomery Clift Huston, JohnJohn Huston United Artists Final film appearance



[edit] Uncompleted filmsYear Film Role Co-stars Director Producer

1962 Something's Got to Give Ellen Wagstaff Arden Dean Martin

Cyd Charisse George Cukor 20th Century Fox



[edit] Television appearancesYear TV Program Role Notes

1953 The Jack Benny Program Herself 1 episode

1955 Person to Person Herself Television documentary

1959 Premier Khrushchev in the USA Herself Television documentary

1962 Presidnet Kennedy's Birthday Salute Herself Television movie



[edit] SongsYear Film title Song title

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

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



[edit] Awards and nominations1951 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 Golden Globe, Best Motion Picture Actress in Comedy or Musical for Some Like It Hot

1962 Golden Globe, World Film Favorite: Female

Star on the Hollywood Walk of Fame 6104 Hollywood Blvd.

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.

[edit] See also Los Angeles portal

Biography portal

Marilyn Monroe in popular culture

Berniece Baker Miracle, Monroe's half-sister

[edit] Notes1.^ Marilyn Monroe Biography

2.^ Obituary Variety, August 8, 1962, page 63.

3.^ Hall, Susan G. (2006). American Icons: An Encyclopedia of the People, Places, and Things that Have Shaped Our Culture. Greenwood Publishing Group. p. 468. ISBN 9780275984298.

4.^ Rollyson, Carl (2005). Female Icons: Marilyn Monroe to Susan Sontag. iUniverse. p. 2. ISBN 9780595357260.

5.^ Churchwell, Sarah (2005). The Many Lives of Marilyn Monroe. Metropolitan Books. ISBN 9780805078183.

6.^ Churchwell, pp. 150–51.

7.^ Riese and Hitchens, p. 33.

8.^ Churchwell, p. 151.

9.^ a b c Summers, p. 5.

10.^ Churchwell, p. 150, citing previous biographers Anthony Summers, Donald Spoto and Fred Guiles.

11.^ L.A.County Hall of Records Case No. D-53720, 05MAR1927.

12.^ AP (February 13, 1981). "Mortensen's Death and documents". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9D02E1DC1639F930A25751C0A967948260. Retrieved March 2, 2010.

13.^ Churchwell, p. 154.

14.^ Taraborrelli JR (2009). The Secret Life of Marilyn Monroe. New York: Grand Central Publishing, pp. 35–56.

15.^ "Milestones". EMQ/Families First. http://www.emqff.org/about/agency/milestones.shtml. Retrieved September 28, 2009.

16.^ Taraborrelli JR (2009). The Secret Life of Marilyn Monroe. New York: Grand Central Publishing, pp. 81–83.

17.^ Daniel Schechter, Erica Willheim (2009). Evaluation of possible child sexual abuse and its sequelae in the case of an adult female patient. In JW Barnhill (Ed.) Approach to the Psychiatric Patient. American Psychiatric Association Press. pp. 328–332.

18.^ a b She obtained an order from the City Court of the State of New York and legally changed her name to Marilyn Monroe on February 23, 1956.

19.^ "James Dougherty, 84; Was Married to Marilyn Monroe Before She Became a Star". LA Times. http://articles.latimes.com/2005/aug/18/local/me-dougherty18. Retrieved May 13, 2011.

20.^ "Personal Letter from a 16-Year Old Marilyn Monroe Sells for $52,460 at Bonhams & Butterfields". artdaily.org. April 20, 2011. Retrieved May 7, 2011.

21.^ "Let's make loaf: Marilyn Monroe's stuffing recipe reveals her hidden talent as a domestic goddess". Daily Mail. November 13, 2010. Retrieved May 13, 2011.

22.^ Riese and Hitchen, p. 288.

23.^ Summers, p. 27.

24.^ Full cast and crew for The Shocking Miss Pilgrim, Internet Movie Database.

25.^ beachcalifornia.com. "Castroville, California, Photos of the artichoke capital on the central coast". Beachcalifornia.com. http://www.beachcalifornia.com/castrov.html. Retrieved March 2, 2010.

26.^ Summers, p. 38.

27.^ Summers, p. 43.

28.^ a b Summers, p. 45.

29.^ Staggs, p. 92.

30.^ Riese and Hitchens, p. 228.

31.^ Summers, p. 50.

32.^ Evans, pp. 98–109.

33.^ Wiley and Bona, p. 208.

34.^ "Biography of Gregg Palmer". IMDB. http://www.imdb.com/name/nm0658250/bio. Retrieved February 21, 2009.

35.^ a b Summers, p. 58.

36.^ Evans, p. 112.

37.^ Evans, pp. 128–129.

38.^ Summers, p. 67.

39.^ Jewell and Harbin, p. 266.

40.^ Riese and Hitchens, p. 93.

41.^ Riese and Hitchens, p. 545.

42.^ a b Riese and Hitchens, p. 132.

43.^ Riese and Hitchens, p. 336.

44.^ a b Churchwell, p. 233.

45.^ Summers, p. 74.

46.^ a b Churchwell, p. 62.

47.^ Riese and Hitchens, p. 340.

48.^ Churchwell, p. 234.

49.^ Summers, p. 71.

50.^ Summers, p. 59.

51.^ Russell, p. 137.

52.^ Russell, p. 138.

53.^ Churchwell, p. 63.

54.^ 11:25 am (January 13, 2009). "Palmspringslife.com". Palmspringslife.com. http://www.palmspringslife.com/Blogs/The-Life/January-2009/The-Man-Who-Dressed-Marilyn-Monroe-the-legendary-William-Travilla/. Retrieved March 2, 2010.

55.^ Riese and Hitchens, p. 222.

56.^ Summers, p. 86.

57.^ "The 2006 Motion Picture Almanac, Top Ten Money Making Stars". Quigley Publishing Company. http://www.quigleypublishing.com/MPalmanac/Top10/Top10_lists.html. Retrieved August 25, 2008.

58.^ Summers, pp. 85–86.

59.^ Riese and Hitchens, p. 139.

60.^ Server, p. 249.

61.^ a b Churchwell, p. 65.

62.^ Summers, p. 92.

63.^ Summers, pp. 93–95.

64.^ Summers, p. 96.

65.^ "Edward H. Comins". Wyoming Tribune Eagle. http://www.wyomingnews.com/articles/2011/05/01/obituaries/03obit_05-01-11.txt. Retrieved May 1, 2011.

66.^ Riese and Hitchens, p. 338.

67.^ Riese and Hitchens, p. 440.

68.^ Summers, p. 101.

69.^ Rosemary Hanes with Brian Taves. "Moving Image Section—Motion Picture, Broadcasting and Recorded Sound Division" The Library of Congress. Retrieved January 26, 2011.

70.^ Summers, p. 103.

71.^ Summers, pp. 103–105.

72.^ Riese and Hitchens, p. 129.

73.^ a b Riese and Hitchens, p. 475.

74.^ Summers, p. 146.

75.^ Riese and Hitchens, p. 309.

76.^ "Marilyn Monroe Dress Is Sold for $4.6 Million". Fox News. June 20, 2011. Retrieved June 20, 2011.

77.^ Summers, pp. 119–120.

78.^ "Milton H Greene — Archives of The World Famous Photographer". http://www.archivesmhg.com. Retrieved August 5, 2008.

79.^ "Milton H. Greene, Amy Greene, Marilyn Monroe on Edward R. Murrow's Person to Person — Video". Miltons-marilyn-monroe.com. http://www.miltons-marilyn-monroe.com/Marilyn_Monroe_Video.html. Retrieved March 2, 2010.

80.^ Summers, p. 128.

81.^ Strasberg, p. 54.

82.^ Summers, p. 129.

83.^ Riese and Hitchens, p. 325.

84.^ Summers, p. 142.

85.^ Riese and Hitchens, p. 124.

86.^ Summers, p. 130.

87.^ a b c Summers, p. 145.

88.^ Riese and Hitchens, p. 275.

89.^ Summers, p. 151.

90.^ Riese and Hitchens, p. 276.

91.^ Summers, p. 154.

92.^ Olivier, pp. 211–212.

93.^ Olivier, p. 213.

94.^ Churchwell, p. 261.

95.^ Moberly Monitor-Index, Moberly, MO, Friday, August 2, 1957, p. 6, cols 6–7, article: "Marilyn Monroe Loses Her Baby By Miscarriage."

96.^ Churchwell, p. 262.

97.^ Churchwell, p. 264.

98.^ Riese and Hitchens, p. 111

99.^ Wyatt, Petronella (April 18, 2008). "Tony Curtis on Marilyn Monroe: It was like kissing Hitler!". The Daily Mail (UK). http://www.dailymail.co.uk/tvshowbiz/article-560606/Tony-Curtis-Marilyn-Monroe-It-like-kissing-Hitler.html. Retrieved October 26, 2008.

100.^ Churchwell, p. 265.

101.^ Riese and Hitchens, p. 489.

102.^ a b Summers, p. 178

103.^ Riese and Hitchens, p. 2.

104.^ Summers, p. 177.

105.^ Riese and Hitchens, p. 269.

106.^ Summers, p. 183.

107.^ Summers, p. 186.

108.^ Riese and Hitchens, p. 270.

109.^ Summers, p. 188.

110.^ Summers, p.189

111.^ a b Summers, p. 190.

112.^ Rocha, Guy. "Myth #60 – Myths and "The Misfits"". http://nsla.nevadaculture.org/index.php?option=com_content&task=view&id=732&Itemid=418. Retrieved April 17, 2010Sierra Sage, Carson City/Carson Valley, Nevada, January 2001 edition

113.^ Strasberg, p. 134.

114.^ a b Summers, p. 194.

115.^ Summers, pp. 192 & 194.

116.^ Goode, p. 284.

117.^ Summers, p. 195.

118.^ Goode, pp. 284–285.

119.^ Harris, p. 379.

120.^ a b c d Summers, p. 196.

121.^ a b Summers, p. 198.

122.^ Summers, p. 199.

123.^ Summers, p. 202.

124.^ a b Summers, p. 268

125.^ Summers, p. 271.

126.^ a b c Summers, p. 274.

127.^ a b Summers, p. 275.

128.^ Richard, Meryman (September 14, 1997). "Great interviews of the 20th century: Marilyn Monroe interviewed by Richard Meryman (excerpts of the original interview published by Life Magazine, August 7, 1962)". The Guardian (London). http://www.guardian.co.uk/theguardian/2007/sep/14/greatinterviews. Retrieved July 27, 2008.

129.^ a b c Summers, p. 301.

130.^ Riese and Hitchens, p. 552.

131.^ Riese and Hitchens, p. 491.

132.^ Wolfe, Donald H. The Last Days of Marilyn Monroe. (1998) ISBN 0-7871-1807-9.

133.^ Clayton, p. 361.

134.^ Summers, pp. 319, 320.

135.^ Reed, Jonathan M. & Squire, Larry R. The Journal of Neuroscience, May 15, 1998, 18(10):3943–3954.

136.^ Laurence Leamer (2002). The Kennedy Men: 1901–1963. HarperCollins. ISBN 0060502886. http://books.google.com/?id=NQnPJ0BrvmYC&pg=PA605&dq=%22Frank+A.+Capell%22&cd=2#v=onepage&q=%22Frank%20A.%20Capell%22. "Two years later Frank A. Capell, a right-wing journalist, published a book in which he alleged that Bobby was having an affair with the actress, ..."

137.^ a b "Monroe 'burial plot' up for sale". BBC. August 16, 2009. http://news.bbc.co.uk/1/hi/world/americas/8204358.stm. Retrieved August 17, 2009.

138.^ a b Wilkins, F. [1]."Reel Reviews". April 17, 2010, accessed February 27, 2011.

139.^ a b c d Victor, A.[2]. "Marilyn's Funeral". n.d, accessed February 27, 2011

140.^ "eBay: Crypt Above Marilyn Monroe For Sale". eBay. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=320412140795. Retrieved August 17, 2009. [dead link]

141.^ Dillon, Nancy (August 24, 2009). "Winning bid for tomb above Marilyn Monroe at $4.6 million". Daily News (New York). http://www.nydailynews.com/real_estate/2009/08/24/2009-08-24_ebay_bidding_on_tomb_above_marilyn_monroe_at_46_million.html. Retrieved March 2, 2010.

142.^ "The Will of Marilyn Monroe". Court TV. http://www.courttv.com/archive/legaldocs/newsmakers/wills/monroe.html. Retrieved August 25, 2008.

143.^ "Clip of December 24, 1962 announcement in Los Angeles Metropolitan News-Enterprise of January 17, 1963 Hearing of Petition for the Probate in the Matter of the Estate of Marilyn Monroe" www.cursumperficio.net 9 July 2010

144.^ Koppel, Nathan (April 10, 2006). "A battle erupts over the right to market Monroe". Pittsburgh Post-Gazette. http://www.post-gazette.com/pg/06100/681034-28.stm. Retrieved August 25, 2008.

145.^ "Judge rejects Monroe claim to photographer profits". ABC News. May 5, 2007. http://www.abc.net.au/news/stories/2007/05/05/1915318.htm. Retrieved August 25, 2008.

146.^ "Photographer's Heirs Prevail in Dispute over Marilyn Monroe Images, et al". Thearchivesstore.com. http://www.thearchivesstore.com/news.html. Retrieved March 2, 2010.

147.^ Hoskins, Michael W. (March 19, 2008). "Indy firm loses Marilyn Monroe rights case". cms.ibj.com. http://cms.ibj.com/ASPXPages/6iframes/FrontEndArticlesDetailPage.aspx?ArticleID=12716&NoFrame=1. Retrieved March 19, 2008.

148.^ info.sen.ca.gov SB 771. Retrieved December 31, 2008.

149.^ Screen Actors Guild on SB 771. Retrieved December 31, 2008.

150.^ Long-Dead Celebrities Can Now Breathe Easier New York Times October 24, 2007. Retrieved December 31, 2008.

151.^ Marilyn Monroe Estate Takes a Hit The Wall Street Journal Online April 1, 2008. Retrieved December 31, 2008.

152.^ Indiana Company Loses Marilyn Monroe Lawsuit Inside Indiana Business September 4, 2008. Retrieved December 31, 2008.

153.^ "Celebrity Real Estate – Marilyn Monroe Home (Photos) for Sale in Brentwood". National Ledger. July 14, 2010. http://www.nationalledger.com/ledgerpop/article_272633253.shtml. Retrieved July 15, 2010.

154.^ Kashner, Sam (November 2010). "Marilyn and Her Monsters". Vanity Fair Magazine. http://www.vanityfair.com/hollywood/features/2010/11/marilyn-monroe-201011. Retrieved March 16, 2011.

155.^ Marilyn Monroe: Fragments. HarperCollins. October 14, 2010. ISBN 0007395345.

156.^ "Marilyn Monroe: Still Life". PBS. July 19, 2006. Retrieved May 8, 2011.

157.^ "Tony Curtis: 'Marilyn Monroe miscarried my baby'". The Guardian. August 7, 2009. Retrieved May 8, 2011.

158.^ "Marilyn: The case for 'assisted suicide'". Independent. March 18, 2007. Retrieved May 20, 2011.

159.^ My Story by Marilyn Monroe. ISBN 1589793161.

160.^ The Life and Death of Marilyn Monroe by Fred Lawrence Guiles.

161.^ Goolsby, Denise (June 26, 2006). "Meet Marilyn Monroe photographer Saturday". The Desert Sun. Archived from the original on December 13, 2007. http://web.archive.org/web/20071213031710/http://www.thedesertsun.com/apps/pbcs.dll/article?AID=/20060626/UPDATE/60626018. Retrieved August 25, 2008.

162.^ Shea, John (May 17, 2006). "Joe's Bid-Ness: DiMaggio's granddaughters are selling off their memorabilia". San Francisco Chronicle. http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2006/05/17/SPGLFIT1GH1.DTL. Retrieved August 25, 2008.

163.^ Summers, p. 139

164.^ a b Riese and Hitchens, p. 326

165.^ a b Summers. p 157.

166.^ "Identity: When Marilyn Monroe Became a Jew: as told by her rabbi's newly released letters", Reform Judaism (magazine), Union for Reform Judaism, Spring 2010, pp. 18–20.

167.^ Arthur Miller, Timebends, 1987, New York, Grove Press, p. 359, ISBN 0-8021-0015-5.

168.^ "Presley, Monroe, Taylor and Sammy Davis Jr could all be in the Jewish American Hall of Fame". The Jewish American Hall of Fame. http://www.amuseum.org/jahf/nomination/elvis_article.html. Retrieved April 6, 2011.

169.^ "Buxom actress Jane Russell dead at 89", Reuters, March 1, 2011.

170.^ "Popsie & Poopsie". Time Magazine. November 21, 1960. http://www.time.com/time/magazine/article/0,9171,874202,00.html. Retrieved November 7, 2008.

171.^ Stillman, Deanne (September 26, 1999). "Art/Architecture: The Alchemy of an Icon: Marilyn Monroe at Auction; A Lasting Charisma That Still Turns the Ordinary Into Gold". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9801E0DD163FF935A1575AC0A96F958260&n=Top/Reference/Times%20Topics/People/K/Kennedy,%20John%20Fitzgerald. Retrieved November 7, 2008.

172.^ "1961: End of the road for Monroe and Miller". BBC. January 24, 1961. http://news.bbc.co.uk/onthisday/hi/dates/stories/january/24/newsid_4588000/4588212.stm. Retrieved November 7, 2008.

173.^ "Amuseum.org". Amuseum.org. http://amuseum.org/jahf/nomination/elvis_article.html. Retrieved March 2, 2010.

174.^ Jo Clements (August 7, 2009). "'Marilyn Monroe miscarried after falling pregnant with my child,' claims actor Tony Curtis". The Daily Mail (UK). http://www.dailymail.co.uk/tvshowbiz/article-1204773/Marilyn-Monroe-miscarried-falling-pregnant-child-claims-actor-Tony-Curtis.html. Retrieved July 29, 2010.

175.^ Irvine, Chris (August 7, 2009). "Tony Curtis: 'Marilyn Monroe miscarried my baby'". London: Telegraph. http://www.telegraph.co.uk/news/newstopics/celebritynews/5986060/Tony-Curtis-Marilyn-Monroe-miscarried-my-baby.html. Retrieved July 29, 2010.

176.^ Catherine Shoard (August 7, 2009). "Tony Curtis: 'Marilyn Monroe carried my baby'". The Guardian (UK). http://www.guardian.co.uk/film/2009/aug/07/tony-curtis-marilyn-monroe-baby. Retrieved July 29, 2010.

177.^ Gatecrasher (August 5, 2009). "Marilyn Monroe and Tony Curtis had affair while making 'Some Like it Hot,' Curtis reveals in book". Daily News (New York). http://www.nydailynews.com/gossip/2009/08/06/2009-08-06_marilyn_monroe_and_tony_curtis_had_a_.html. Retrieved July 29, 2010.

178.^ (Scholar.google.co.uk) Marilyn's hot 'Happy Birthday' dress brings in a cool million. CNN. October 28, 1999. Archived from the original on February 6, 2007. http://web.archive.org/web/20070206174811/http://www.cnn.com/STYLE/9910/28/monroe.auction.01/. Retrieved June 1, 2010.

179.^ Frum, David (2000). How We Got Here: The '70s. New York, New York: Basic Books. p. 28. ISBN 0465041957.

180.^ Summers, Anthony (1993). Official and Confidential: The Secret Life of J. Edgar Hoover. ISBN 0575042362.

181.^ Randolph, Eleanor (September 26, 1997). "JFK-Monroe 'Affair' Papers Faked, ABC Reports". Los Angeles Times. http://articles.latimes.com/1997/sep/26/news/mn-36463. Retrieved February 25, 2011.

182.^ Mecacci, Luciano (2009). Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe (pp. 1–36, 181–183). Vagabondd Voices, Sulaisiadar 'san Rudha (Scotland). ISBN 978-0-9560560-1-6.

[edit] ReferencesChurchwell, Sarah (2004). The Many Lives of Marilyn Monroe. Metropolitan Books. ISBN 0-8050-7818-5.

Clayton, Marie (2004). Marilyn Monroe: Unseen Archives. Barnes & Noble Inc.. ISBN 0-7607-4673-7.

Evans, Mike (2004). Marilyn: The Ultimate Book. MQ Publications. ASIN B000FL52LG.

Kouvaros, George. ""The Misfits": What Happened Around the Camera". Film Quarterly (University of California Press) 55 (4): 28–33. doi:10.1525/fq.2002.55.4.28. JSTOR 1213933.

Gilmore, John (2007). Inside Marilyn Monroe, A Memoir. Ferine Books, Los Angeles. ISBN 0-97889680-7.

Goode, James (1986). The Making of "The Misfits". Limelight Editions, New York. ISBN 0-87910-065-6.

Guiles, Fred Lawrence (1993). Norma Jean: The Life of Marilyn Monroe. Paragon House Publishers. ISBN 1-55778-583-X.

Harris, Warren G. (2002). Clark Gable, A Biography. Aurum Press, London. ISBN 1-85410-904-9.

Jacke, Andreas: Marilyn Monroe und die Psychoanalyse. Psychosozial Verlag, Gießen 2005, ISBN 978-3-89806-398-2, ISBN 3-89806-398-4

Jewell, Richard B.; Harbin, Vernon (1982). The RKO Story. Octopus Books, London. ISBN 0-706-41285-0.

Meaker, M. J. Sudden Endings: 13 Profiles in Depth of Famous Suicides Doubleday & Company, Inc., Garden City, NY: 1964 p. 26–45: "Marilyn and Norma Jean: Marilyn Monroe"

Mecacci, Luciano (2009). Freudian Slips: The Casualties of Psychoanalysis from the Wolf Man to Marilyn Monroe. Vagabondd Voices, Sulaisiadar 'san Rudha (Scotland). ISBN 978-0-9560560-1-6.

Monroe, Marilyn; Hecht, Ben (2000). My Story. Cooper Square Press. ISBN 0-8154-1102-2. http://benhechtbooks.net/ben_hecht__marilyn_monroe. Retrieved August 5, 2008.

Olivier, Laurence (1982). Confessions of an Actor. Simon and Schuster. ISBN 0-14-006888-0.

Riese, Randall; Hitchens, Neal (1988). The Unabridged Marilyn. Corgi Books, London. ISBN 0-552-99308-5.

Russell, Jane (1986). An Autobiography. Arrow Books, London. ISBN 0-09-949590-2.

Server, Lee (2001). Robert Mitchum, Baby I Don't Care. St. Martin's Press, New York. ISBN 0-571-20994-7.

Spoto, Donald (2001). Marilyn Monroe: The Biography. Cooper Square Press. ISBN 0-8154-1183-9.

Staggs, Sam (2000). All About "All About Eve". St. Martin's Griffin, New York. ISBN 0-312-27315-0.

Summers, Anthony (1985). Goddess, The Secret Lives of Marilyn Monroe. Guild Publishing, London. ISBN 0-575-03641-9.

Lindsay Lohan as Marilyn Monroe in "The Last Sitting"

Photographs by Bert Stern

In 1962, photographer Bert Stern shot a series of photos of Marilyn Monroe that have collectively come to be known as “The Last Sitting.” Taken during several boozy sessions at the Hotel Bel-Air, the photographs are arguably the most famous images ever captured of America’s most famous actress: Monroe, sleepy-eyed and naked, sips from a Champagne glass, enacts a fan dance of sorts with various diaphanous scarves, romps with erotic playfulness on a bed of white linens. Six weeks after she had posed, Monroe was found dead of an apparent barbiturate overdose.

The photos endure partly as artifacts—as the last visible evidence of the living woman (a legacy reinforced by Stern’s decision to publish the contact sheets Monroe herself had crossed out in red marker). But the pictures are also remarkable for the raw truths they seem to reveal. In them, we see an actress whose comedic talents were overshadowed by her sex appeal, a woman who is cannily aware of her pinup status, yet is also beginning to show her 36 years. In many shots, she is obviously drunk. This was an unhappy time for Monroe. Notorious for her on-set antics, she had been publicly lambasted by Billy Wilder after Some Like It Hot, then fired from the production of Something’s Got to Give; she’d endured two recent divorces and, in 1961, a brief stint in a psychiatric ward.

Stern excavated and preserved the poignant humanity of the real woman—beautiful, but also fragile, needy, flawed—from the monumental sex symbol. In our armored, airbrushed age, his achievement feels almost revolutionary.

Forty-six years later, Stern has revisited his classic shots with Lindsay Lohan, another actress whose prodigious fame is not quite commensurate with her professional achievements. Stern, who shot the photos on film rather than digitally, told me he was interested in Lohan because he suspected “she had a lot more depth to her” than one might assume from “those teenage movies.” Indeed, many in the film industry believe that Lohan has yet to pursue projects equal to her gifts. Without putting too fine a point on it, you might say Lohan has, like Monroe, a knack for courting the tabloids and tripping up her career. (Readers will remember that Lohan had her own Billy Wilder moment two summers ago on the set of Georgia Rule.) Stern said the project also grew out of his interest in “controversial women,” or “bad girls,” like “Britney, Paris, and Lindsay.” Monroe was, in a sense, the original tabloid queen.

Though Lohan’s willingness to reprise the photos might seem a sly nod to her scandalous past, the actress offered a straightforward explanation. “I didn’t have to put much thought into it. I mean, Bert Stern? Doing a Marilyn shoot? When is that ever going to come up? It’s really an honor.” During a break in the daylong shoot, Lohan sat cross-legged on a bed in the four-room suite and spoke to me, in that familiar throaty voice with its staccato rhythms, about her abiding obsession with Monroe. Her interest took root a decade ago with multiple viewings of Niagara during the London filming of The Parent Trap. She has even purchased an apartment where Marilyn once lived. “If you saw my house … I have a lot of Marilyn stuff,” she told me, including a huge painting of Monroe.

“It’s eerie,” Lohan said of the painting, a Christmas gift, “because it’s this picture of her, and it’s kind of cartoony, and there’s a big bottle of pills next to her, and they’ve fallen over.” Lohan called Monroe’s suicide “tragic,” and then added, elliptically, “You know, it’s also tragic what just recently happened to someone else.” I asked whether she was referring to Heath Ledger. She nodded: “They are both prime examples of what this industry can do to someone.” Why some and not others, I asked, since it has often seemed that the thrice-rehabbed Lohan might meet a similar fate. Lohan replied with a flicker of annoyance: “I don’t know. I’m not them. But I sure as hell wouldn’t let it happen to me.” Still, one wonders whether Lohan’s participation in this project, given all the spooky parallels, isn’t the photographic equivalent of moving into a haunted house. (Which, in fact, she may have already done.)

Lohan viewed the shoot as a theatrical performance, as a chance to inhabit the role of an idol. “I wanted to portray the book and get it point-on as much as I could, to bring it back to life,” she said. Hence the strict mimesis: scarves, nudity, and all. “Not more than fifteen minutes had passed since she’d arrived, and already she had agreed to take her clothes off!” Stern writes of Monroe in his swaggering introduction to The Complete Last Sitting, the book in which all 2,571 photos have been collected. He might have said the same about Lohan. “I was comfortable with it,” the actress remarked of the nudity (though she did confess to doing “250 crunches” the previous night). All made up, in winged eyeliner and shellacked blonde wig, Lohan, who has returned to her former voluptuousness, at times appeared more Marilyn than the thin, somewhat diminished woman of the original Marilyn photos. “It was very similar, déjà vu you might say, like revisiting an old street,” said Stern.

The original photos, however, were distinguished by an almost claustrophobic intimacy between photographer and muse. In the first session, Stern persuaded the entourage of stylists to leave him alone with Monroe. The shoot thus took on the symbolic (if not the actual) contours of a liaison. The rise of the celebrity industrial complex has rendered this sort of tense pas de deux all but impossible. At the Lohan shoot, the crowd included Lohan’s manager, her security guard, and her younger sister, Ali; a makeup artist and assistant, a hairstylist and assistant, a stylist, a manicurist, a sentry to watch the borrowed diamonds; Stern, his manager, and two photo assistants. Lohan and Stern worked in an adjoining room, while the rest of us hovered outside like groupies at a backstage entrance.

“Here is a woman who is giving herself to the public,” Lohan said, about the Monroe photos, when we spoke the next day by phone. “She’s saying, ‘Look, you’ve taken a lot from me, so why don’t I give it to you myself.’ She’s taking control back.” Like any tabloid veteran, Lohan understands the potency of a photograph, and that the best way to respond to a society that views you only as an image might just be on its own terms.

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