Monroe

@MariIyNMonroe

- This is a Fan Account - Not Affiliated with Marilyn Monroe - Info of a misinterpreted Woman-Child.

Photos and Videos by @MariIyNMonroe

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We are all born sexual creatures thank god. It's a pity so many people despise and crush this natural gift. Art, real art comes from it--everything.

  • 203 days ago via site
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''You know its interesting that people associate if you happen to have blonde hair you know naturally or not naturally .. however .. or if your not out of shape in some way ... your absolutely dumb! I mean your considered dumb. I don't know why that is. It's a very limited view. It doesn't matter what the person looks like. Or if they happen not to be out of shape. My times to come .. gravity catches up with all of us!'' - Marilyn Monroe

One of the best legit Monroe quotes.

  • 485 days ago via site
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Love this version ... one of my favorite dresses too.

  • 903 days ago via site
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''Well whatever I am .. I'm the blonde.'' - On being told she was not the star of Gentlemen Prefer Blondes

  • 903 days ago via site
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Marilyn Monroe and the Marx Brothers - ''Love Happy''


Clip: http://www.youtube.com/watch?v=9P9S-N3IV10

''Marilyn auditioned for producer Lester Cowan for a walk-on bit in a Marx Brothers film, "Love Happy." Marilyn was required mainly to catch the eye of Groucho Marx (who plays a private detective) as she sidles past him.

According to Marilyn, she practiced walking in front of a mirror for a week. Of the three girls who auditioned that day, it was Marilyn whom Groucho asked to repeat her interpretation of a sexy walk. Groucho approved and Marilyn landed the role.

As she glides toward the camera in the slow, undulating walk that would become one of her trademarks, Marilyn's character tells Groucho, "I want you to help me ... Some men are following me." Groucho gives his patented leer and remarks, "Really? I can't understand why!"

Many have attempted to explain "the walk," including Natasha Lytess, who claimed she invented it for Marilyn, as well as Emmeline Snively, who insisted it was the result of weak ankles.

Gossip columnist Jimmy Starr believed Marilyn simply shaved a bit off one high heel in order to undulate in that manner, while Marilyn herself declared that she had always walked that way.

"Love Happy" is a minor, unfunny comedy that captured the Marx Brothers at the tail end of their film careers as a team. Still, Marilyn made enough of an impression on producer Cowan for him to release a publicity statement about her to columnist Louella Parsons. Cowan told Parsons that Marilyn was an orphan who had been raised in a series of foster homes in the Hollywood area.

Despite the brevity of Marilyn's role in "Love Happy," Parsons mentioned the starlet in her column. The writer became an early champion of Marilyn and later defended her on the occasions when Marilyn ran conflict of the press or her studio.


Marilyn agreed to travel to New York to help promote "Love Happy." Having always heard that New York was much cooler than Los Angeles, Marilyn packed only heavy, woolen suits to wear to the various publicity functions.

Cowan and Marilyn arrived in New York in the midst of a summer heat wave. The producer graciously purchased a simple cotton dress for Marilyn, though some publicity shots show her wearing a woolen suit while eating three ice cream cones, supposedly in an effort to keep cool.

While in New York, she participated in a publicity stunt for Photoplay magazine, in which she presented movie fan Virginia MacAllister with a brand-new home that MacAllister had won in Photoplay's "Dream House Contest." Photographs of the presentation appeared in the magazine's November 1949 issue.

Nearly simultaneously, Marilyn appeared in the October 1949 issue of Life magazine, in which she was photographed "emoting" with seven other Hollywood starlets. Together, these articles generated some much-needed publicity for the young actress.

She also landed a bit role in the forgettable Twentieth Century-Fox musical "A Ticket to Tomahawk," though she was still working without a contract.

During Marilyn's first three years in the film industry, she suffered rejection on both a professional and personal level; she sought the counsel of many who claimed to have an inside track to Hollywood success, only to be disappointed by their lack of results; she worked hard to please those who could help her; and in order to pay her bills, she was forced to make sacrifices and compromises others would later criticize. Looking back over Marilyn's early film experiences, one is struck not by the glamour of Hollywood but by its harsh reality.

Fortunately, Marilyn's small bit in "Love Happy" would prove to be more of a break than she anticipated. In addition to the attention she received by promoting the film in the East, she attracted the eye of respected Hollywood agent Johnny Hyde, who saw the comedy at an advance screening.

Hyde tracked down the agent of the beautiful blonde with "the walk" and negotiated with Harry Lipton to take over the contract of Marilyn Monroe. Marilyn needed an opportunity, she needed expert guidance, and she needed confidence. She would get all of that -- and more -- from agent Johnny Hyde.''

Source: Entertainment.howstuffworks.com



''I hear you're looking for a sexy blonde to play with the Marx Brothers. Would you like to see me. I'm blonde and I'm sexy. '' - MM to Lester Cowan on the casting of Love Happy, 1949

''It's amazing. She's Mae West, Theda Bara, and Bo Peep all rolled into one.'' - Groucho Marx

- Groucho claimed a crush and remarked she had the ''prettiest ass in the business''.

- ''Love Happy'' not regarded well, was the last official Marx Brothers film.

- During the early 1950s, Groucho described his perfect woman: “Someone who looks like Marilyn Monroe and talks like George S. Kaufman.''

- Shortly after his death, his children found a gag letter written by Groucho that stated that he wanted to be buried on top of Marilyn Monroe.


Groucho's interview on The Today Show (1963) talking about Marilyn Monroe - @ 02:25

http://www.youtube.com/watch?v=OFal_pKsshY&feature=related

Transcribed below:

''I want to tell you about Marilyn Monroe, we did one picture in which she had a bit. She got a hundred dollars for one days work, you can imagine how long ago this was, and Lester Cowan who was producing the picture, he called me up because I was going to do the scene with Marilyn, he called me up --- and he said, I wish you would come over the studio tomorrow to my office because we're going to try out 3 girl's for the part in this picture, I think it was called ''Love Happy'', terrible picture...so I sat there with Lester and the three girls were there I was introduced to them, and he says now the first girl walk, and she walked across from one end to the other and he says very nice, and now the second girl walk... she did it too, and then the third one...he says now you walk across, and he says well which one do you like best? and I said, your kidding aren't you? Now how can you take anybody except that last girl.....the whole room revolved around when she walked.....and it was Marilyn Monroe - and she got $100 dollars, and then we quit shooting at 5 and she got $25 dollars extra for going to a couple gas stations...they were plugging some kind of gas or something, which was part of the picture or something and she got 25 dollars extra and they took snapshots of her from 6 to 8:00.
She was a wonderful girl really, very nice girl. That was her first picture and was almost our last.'' - Groucho Marx

(Correction on Grouchos part, it wasn't her first picture.



Trivia: ''Not good comic timing'' - Groucho Marx died 3 days after Elvis Presley. Anger over Presley's death, the media paid little attention to the passing of this comic genius.

  • 940 days ago via site
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Movieland Magazine July 1952

''I DRESS FOR MEN'' says Marilyn Monroe

The girl with built in wolf whistle is obviously qualified to talk on this subject. We hear that lunch time - when Marilyn Monroe is around - is like "MALE call"- Her table is the busiest one in the Twentieth Century - Fox commissary, the Cafe de la Paix. Women know you can't resist a magnet, too. During the making of "We're Not Married" Marilyn was lined up with a bevy of other bathing beauties. One of the girls had won 15 beauty contests, and a studio man asked her, "How would you feel about competing with Marilyn Monroe?" Said the girl, "I'd quit!"

''I wonder why most women dress for women? I think that's a mistake; for myself it would be, anyway. I happen to like men, so I usually like the same things they like. Therefore it's a matter of simple logic that, of course, I dress for men!''

''Also, I am aware, that I am a woman, and I enjoy being a woman. I don't think I could dress like the illustrations in the high - fashion magazines. For that you require what is thought as a Vogueish figure , and is, I believe, a boyish type figure and I don't have a boyish figure.''

''To begin with, I believe your body should make your clothes look good - instead of using clothes to make the body conform to what is considered fashionable at the moment, distorted or not. That's why I don't care for " unorganic" clothes- clothes that have no relation to the body. Clothes, it seems to me, should have a relationship to the body, not be something distinct from it.''

''I don't feel that ruffles mean femininity. You can't put on womanliness; you have to be womanly. Part of being a woman is the desire to please a man, a very important part. That's nature, and you can't get away from it.''

In the 20th Century-Fox picture I am doing with Cary Grant , "Monkey business", I wear only two dresses . They're daytime dresses, somewhat on the tailored side. But they prove you don't have to be obvious to be feminine. Billy Travilla has designed them first, to follow natural body lines, and second, without any attempt to disguise the fact that there is a body underneath.

I have been criticized for wearing as little lingerie as possible. Yet, I have also been accused of appearing in the Twentieth Century-Fox commissary in lingerie. It happened while I was making "We're Not Married" - in which I wear a one piece black bathing suit. One day I went directly to lunch in that suit, with a robe worn over it. The shooting schedule called for me to wear the bathing suit all day, so I kept it on. The robe must have done a pretty good job of covering me, because the next day a column carried the report that I had lunched in bra and panties!

''The only people who have criticized my clothes so far are women. It all started when a columnist disliked a dress I wore to a party and said I would have looked better in hopsacking. The studio then released a picture of me as "the girl who looks good even in hopsacking". Later, still carrying the ball, a columnist criticized another party dress I wore, saying I should have worn a gunnysack.''

But I wore the very same dress for 10,000 Marines at Camp Pendleton, and they seemed to like it. At least, I heard no complains! This was a strapless beige lace dress that dipped, not too much in front and had a fishtail effect in back. How wrong can you go with simple beige lace?

''Men like simplicity in clothes, and so do I. There’s nothing so startling about that. Many famous women have followed the basic rules of selecting suitable, timeless clothes that they can wear for years. And in basic colors like black, white, grey and red. Red gets response! Busy prints or busy lines in a dress get tiring.''

Of course, it’s natural for women to respond to the freshness of fashion edicts; like this is a purple season, or the bouffant silhouette is it. There’s something feminine in that, too. Personally, I get the same satisfaction out of changing my hair. Since before “ The Asphalt Jungle”, when it was longer, I have kept it shorter, but I try to do different things with it.

So far as clothes are concerned, I’ll pass up the blandishments of writers, and stick to what’s suitable for me. In that I go from one extreme to the other. I like blue-jeans, slacks and suits or “everything” in dressing up. But you can be feminine even in jeans, but even my jeans fit! I buy boys’ jeans, because they are long waisted like me; and boys’ shirts to go with them.

I have two favorite suits. One is black Christian Dior; but instead of wearing a blouse or gilet, I wear fresh red roses at the plunged neckline. I like to wear flowers; I even have some artificial ones for times when fresh ones aren’t handy.

The other suit is a brown very fine-checked, with which I wear yellow roses at the neckline. This one is scooped out, so sometimes I substitute a white pique collar. Or I like to wind scarfs around and let one end fly over the shoulder; that leaves half scarf, half flesh in the neckline.

My love for dressy clothes might have a psychological implication. When I went to school, I had exactly two navy skirts and two white blouses. I washed one and wore the other. But because they looked so much alike, my school mates made fun of me because I had only one outfit.

But I am afraid I buy such things as dinner dresses because they’re beautiful and feminine, rather than because I need many of them, in my present way of life. I have yet to go to my first premiere. Someday I might, but not yet. I don’t care for nightclubs. I go out with a man because I want to see him, not be seen because it’s the thing to do. I don’t go out with anyone unless I like him, and if you like a man, there are many more things to do than go to a nightclub.

So in the meantime, I would just as soon stay home with Tolstoi or Thomas Wolfe - or even go for a walk alone. Three evenings a week my jeans-suit-and-slack wardrobe is much more suitable, anyway. One night I spend in a literature class at U.C.L.A. and two more studying with Lottie Goslar, the European pantomimist.

''To get back to why I dress for men, I think the big difference in the outlook of the sexes on fashion is that a woman will think of a dress for itself, but a man will think of it in relationship to the woman who is wearing it. So do I.''

That’s why I like to feel that I am right for my clothes, too. I don’t want to be bone thin, and I make it a point to stay the way I want to be. A breakfast of hot milk with two raw eggs means energy without fat. I like rare steaks and green salads and vegetables, too. Rather than wonder, should I eat dessert? I just go on an ice cream binge once a week (chocolate, please!). And, of course, if you don’t like girdles, you’re going to exercise. Working out with light weight dumbbells, and a slow, relaxed dog trot around the block are very good for toning muscles. You have to be friends with your clothes if you’re going to dress for men – no too tight zippers or unnecessary doodads to make you uncomfortable! Sometimes their acceptance is just in their response, but the response tells me I am right. Dressing for men is natural for a woman. After all, you can’t get away from basic fundamentals! – who wants to?

Source: MarilynMonroe.ca / Movie Land Magazine

--- What Marilyn Monroe said about the boyish figures in the fashion industry is right on the money - damn nothing changed a bit!

  • 940 days ago via site
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I've never fooled anyone. I've let people fool themselves. They didn't bother to find out who and what I was. Instead they would invent a character for me. I wouldn't argue with them. They were obviously loving somebody I wasn't.

  • 969 days ago via site
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Giant Christmas Trees: Perhaps the first thing guests will notice when entering the Grand Atrium are the two, 24-foot Christmas trees. The "Marilyn Tree" was inspired by the High Museum's "Picasso to Warhol" exhibit and features Warhol's famous image of Marilyn Monroe, as well as a garland of pink feather boas. The "Polar Bear" tree features more than 100 Coca-Cola Polar Bears, including two giant stuffed Coca-Cola Polar Bears, as ornaments.

- Nice to include Marilyn Monroe as one of the two trees in the city of ! #Atlanta

  • 1000 days ago via site
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Like this photo on a book.

  • 1082 days ago via site
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William Travilla is one of the best costume designers of all time and Marilyn Monroe his most famous client. Dressing Marilyn: How a Hollywood Icon Was Styled by William Travilla focuses on the striking dresses that Travilla designed for Marilyn from his early work on the thriller Don't Bother to Knock and the gorgeous pink dress in which Marilyn sang "Diamonds Are a Girl's Best Friend" to the legendary white dress from The Seven Year Itch.

  • 1082 days ago via site
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Available - November 2011

There have been many Marilyn Monroe photo books - but nothing like this.

Curator and photographic preservationist David Wills has amassed one of the world’s largest independent archives of original Marilyn Monroe photographs. Now, in Marilyn Monroe: Metamorphosis he has gathered spectacular museum-quality work from Marilyn’s key photographers—Richard Avedon, George Barris, Cecil Beaton, Bernard of Hollywood, Andre de Dienes, Elliott Erwitt, Milton Greene, Philippe Halsman, Tom Kelley, Douglas Kirkland, Willy Rizzo, Sam Shaw, and many others—to create this dazzling portfolio of images from every period of Marilyn Monroe’s adult life, from her wedding day in 1942 till just weeks before her death two decades later. Marilyn Monroe: Metamorphosis pays homage to her continually evolving style and extraordinary beauty.

Among the highlights:

Previously unseen Kodachrome, dye transfer, and Carbro prints of Norma Jeane from her modeling career.
Classic portraits and pinups in luscious full color, digitally restored from the original transparencies.
Never-before-seen photos from the sets of The Seven Year Itch, Some Like It Hot, The Misfits, and Something’s Got to Give.
Rare candids of Marilyn with Marlon Brando, Clark Gable, Humphrey Bogart, Lauren Bacall, Ronald and Nancy Reagan, Queen Elizabeth II, Joe DiMaggio, Arthur Miller, and others.
Previously unpublished photos by Richard Avedon, George Barris, Cecil Beaton, David Conover, Elliott Erwitt, John Florea, Tom Kelley, Richard C. Miller, Frank Powolny, Willy Rizzo, Zinn Arthur, and many others.
Pairing more than two hundred first-generation photos with reflections on Marilyn from her friends, work associates, and admirers—and including her last interview, in which she reflects on her life and fame—Marilyn Monroe: Metamorphosis is an unforgettable showcase of the actress’s transformation from an unknown factory worker to one of the most recognized faces in history.

  • 1082 days ago via site
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''One of the greatest gifts that I ever received was to know Marilyn Monroe and I knew her well. In fact I did her clothes for 11 .. (8) different films in Hollywood. This girl was so beautiful...so terribly beautiful not even any woman has been able to copy her. Marilyn was a combination of a baby and a grown sensuous woman..and that's what made people fall in love with her.

I was doing Gentlemen Prefer Blondes-there's the big musical number called ''Diamonds are a Girl's Best Friend'' and the idea then was the studio was to make the sexiest-most exciting-almost naked lady on the screen..so i started off and I did a costume for Marilyn..that wardrobe still...and the costume was fish-net hose over her nude body. The breast and the hip line was covered with diamonds put together by a jeweler and as we were ready to shoot the number..good lord the thing goes wrong... Marilyn Monroe's nude calendar hits the market! the studio went wild ... then i got a call...throw the costume out we've got to dress her. We might lose all the box office film...so i made a very covered dress...very famous pink dress with a big bow in the back.''

- William Travilla

  • 1359 days ago via site
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Marilyn's Routine-Her Famous Leisurely Lateness-Why others go too Fast-and being a Perfectionist in her Work:

''I get up early in the morning..I jump into my clothes..get my belongings together.. get in the car..and i have a driver who brings me to the studio..then i have somebody here who makes me my breakfast..then they start with the hair and the makeup and I eat while they are doing my hair-then they leave it that way while the makeup man does the makeup and they comb out the hair later-and then they put on the body makeup and the clothes.

I don't like to rush this process.....because i find if i rush...im very tired, by the time I have to do a scene, I'm all worn out from rushing through the hair, the makeup, and the clothes, so i like to do it leisurely, I like to dress when I go out in the evening..I love to dress leisurely, I like to soak in the tub then leisurely...i like music.. ::giggle::

I think that we're rushing too much nowadays, that's why people get nervous.

Well i dont think I'm late all the time, but maybe it is because I can't go as fast as other people. You know people that get into automobiles, they run into each other, because they never stop, they're going like that--and I don't think that man-kind it is intended for them to go like that, they're not supposed to be like machines.

I think you get more done the other way by doing it more sensibly.....more leisurely.

Mr. Cukor has been very wonderful to me, he lets me come in an hour later than I usually would, it helps because im fresher at the end of the day, he said, he does it for my work and I think it's so. I think actors in movies work too long hours, the hours are too long, sometimes I feel a doom set over me as I'm walking on the stage, I don't know why, but I get over it, sometimes it lasts all day! I want to do the best that I could do in that moment, when the camera starts until it stops, that moment I want to be perfect, as perfect as I could make it.''

-MM

  • 1375 days ago via site
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How To Feel Blonde All Over

''Despite it's great vogue in California - I don't think sun-tanned skin is anymore attractive than white skin...or any healthier for that matter. Im personally opposed to a deep tan because I like to feel blonde all over.''

- Pageant Magazine / 1952

  • 1391 days ago via site
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New York City - 1957

''She gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it. There is no such person as Marilyn Monroe. Marilyn Monroe was an invention of hers. A genius invention that she created like an author creates a character. So when Marilyn Monroe put on a sequin dress and danced in the studio. I mean, for hours she danced, and sang, and flirted, and did this thing. There is no describing what she did. She did Marilyn Monroe. And then there was the inevitable drop because she was someone who went very high up and went way, way down. And when that night was over she sat in the corner like a child with everything gone. But I wouldn't photograph her without her knowledge of it. And as I came with the camera, I saw that she was not saying, 'No'...''

- Photographer RICHARD AVEDON

  • 1396 days ago via site
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New book out this Month - ''Fragments'' by Farrar, Straus & Giroux - Marilyn's Poems, Intimate Notes, Letters ...

Musings about life, literature and other rarely seen writings by Marilyn Monroe, including ex husbands, notes about acting and thoughts on the roles she was working on.

"I think the book will show that she was a really thoughtful person with a real interior life," editor Courtney Hodell said. "She was a great reader and someone with real writing flair. There are fragments of poetry that are really quite beautiful, lines that stop you in your tracks. There's stuff about all of her relationships.''

You get the sense she’s quite aware of her image, she said. “But her sense of her true self is very different. That’s what comes through — she’s trying to arrive at the real Marilyn.”

The writings date from 1943, when Monroe was a teenager, to near the end of her life.

Description:

Marilyn Monroe’s image is so universal that we can’t help but believe that we know all there is to know of her. Every word and gesture made headlines and garnered controversy. Her serious gifts as an actor were sometimes eclipsed by her notoriety—and the way the camera fell helplessly in love with her.

But what of the other Marilyn? Beyond the headlines—and the too-familiar stories of heartbreak and desolation—was a woman far more curious, searching, and hopeful than the one the world got to know. Even as Hollywood studios tried to mold and suppress her, Marilyn never lost her insight, her passion, and her humor. To confront the mounting difficulties of her life, she wrote.

Now, for the first time, we can meet this private Marilyn and get to know her in a way we never have before. Fragments is an unprecedented collection of written artifacts—notes to herself, letters, even poems—in Marilyn’s own handwriting, never before published, along with rarely seen intimate photos.

These bits of text—jotted in notebooks, typed on paper, or written on hotel letterhead—reveal a woman who loved deeply and strove to perfect her craft. They show a Marilyn Monroe unsparing in her analysis of her own life, but also playful, funny, and impossibly charming. The easy grace and deceptive lightness that made her performances so memorable emerge on the page, as does the simmering tragedy that made her last appearances so heartbreaking.

Fragments is an event—an unforgettable book that will redefine one of the greatest stars of the twentieth century and which, nearly fifty years after her death, will definitively reveal Marilyn Monroe’s humanity. -

The letters in the book were part of the estate that Lee Strasberg inherited after Monroe’s death in August 1962. Now at the hands of his widow, Anna.

  • 1447 days ago via site
  • 275

Blonde On Blonde - Marilyn And Judy Holliday

Written by Martha Weinman Lear
Photo by Howell Conant*
From "FAME" magazine November 1988

''When New York was a small town and fame a club for the chosen few, Marilyn Monroe and Judy Holliday found themselves in front of a mirror where myth and reality converged.

It seemed to happen in mirrors, faces peering into mirrors, fame peeking out, Peekabo!, amid the hot shadows of an Indian-summer afternoon in the Dakota apartments on Central Park West in New York. The Dakota, the venerable copperturreted heap where Rosemary's Baby would later be shot and John Lennon would still later be shot...a great deal of cultural history has been written at the Dakota.

Thirty blocks downtown, a billboard dominated Times Square. This was in 1956, a cave age, but you remember that billboard. Even if you weren't born yet you remember that billboard: Marilyn Monroe, starring in The Seven Year Itch, loomed twenty feet tall, legs straddling Broadway, calves popping, skirt billowing up toward a finger-lickin'-good smile, eyes beaming torporous promise, emanations of damp flesh roiling forth from that great big beautiful paper doll in what was, and remains, one of the most powerful images ever to come out of movie advertising.

A few blocks east, more peekaboo: Judy Holliday, the Funny Girl of her day, was transforming herself nightly into just that paper doll, and packing them into the Blue Angel supper club with her impersonation -- never mind the makeup, it was an act of brains and will, and it was brilliant -- of Marilyn Monroe.

It was my first job, at Collier's magazine, doing my own impersonation -- eager researcher playing cool reporter -- and yearning for some epiphanic professional moment. It came...

Leonard Lyons, gossip columnist for the old New York Post, was strolling down Fifth Avenue with Holliday one day, or so he reported, and they ran into Monroe. Reality and illusion head-to-head; how avidly the two must have eyed each other! Introductions were made. Someone said, "we ought to get together," and the women arranged to have tea at Judy's apartment in the Dakota, Collier's to record the event for some ravenous posterity. I was sent to take notes.

Eager? My god. I arrived much too early and was shown to a bedroom where Holliday was systematically removing every dress from her closet, pulling it on, confronting herself wretchedly in the mirror, growling, "I look fat," and ripping it off. Oh, you funny girl. Her mother, who had come by subway on this sweltering day with two shopping bags of food, including hot chicken soup, sat on the bed reciting the requisite litany: "You're not fat, you're not fat." Judy's son, Jonathan, a golden cherub, then a preschooler, stood staring. Palpable in that room was the high anxiety of a humanoid about to face the camera with a goddess.

The photographer Howell Conant, was all set up in the living room. The appointed hour came, and no Marilyn. A half hour later, no Marilyn. Judy grew tenser. Finally, after an hour, a person arrived, and it appeared that this person was Marilyn Monroe.

Time has done nothing to dim the details: She wore a black cotton shirt, sleeveless, a brown cotton skirt and flats. There was a big grease stain on the front of the skirt. The belly protruded. The legs were covered with bumps and scabs, which she kept scratching. The platinum hair showed dark at the roots and, when she raised her arm, I saw a luxuriant dark undergrowth. This was before political statements; we were all shaving our armpits. She looked...tatty, a bit. Only the voice was unmistakable, pure sigh (was it afraid to be heard or demanding that we lean in to listen? I have never been sure). Only the skin, which was truly luminescent, would have stopped you in the street.

"We were getting worried about you!" Judy cried. Her voice shook, I think with wrath.

"I've got mosquito bites," the goddess whispered, and bent to scratch yet again. And though the sequitur escaped me, I instantly and utterly forgave her for being late.

She wanted to makeup her face. Then the two of them thought that it might be fun for Judy to put on her Marilyn face first, while Marilyn watched in the mirror. They began, and it was impossible. Marilyn guided graciously, with soft breathy urgings: "Mm, make the eyebrow a little pointier...Yes, that's right..." But Judy couldn't do it. She did it every night, but here, now, in the presence of the real thing...who did not herself look much like the real thing, which gave rise to problems of philosophic scope, because who or where was the real thing? Was it here, in this sweetly scruffy presence, or was this a mere mortal metaphor for the real thing, which was up there on the billboard? Judy fussed and fussed, and then tried getting it through gestures -- chin up, head tossed back with cosmic abandon -- but gestures didn't work.

"How do you do that?" she asked.

"Do what?" Marilyn said.

"Oh you know," Judy answered, tossing her head again.

"Well, uh..." Marilyn began, and giggled, craning her own head back gingerly, as though trying to ease a stiff neck. And that was when I finally saw, quick study that I was, that both women had the same problem: They were both straining to impersonate Marilyn Monroe.

So they tried it the other way. Marilyn would make up first. "Oh, I look awful," she said, but in the mirror she took on authority. She set to work with that total Teutonic dispassion of models, a touch of shadow here, a dab of highlight there, an extravagance of mascara, an artful swirling of hair around the roots. I waited, wild with curiosity -- Judy too -- for the transmutational touch, peekaboo! But Monroe was doing no magic tricks; she was simply spiffing up what she had, as we all do.

And then came this remarkable moment. The child, Jonathan, appeared in the doorway. Judy bent to him and took his hand. "Jonathan," she said, "do you remember that lady we saw in the movie, Marilyn Monroe?" The cherub nodded. "You want to meet her?" Again he nodded, wide-eyed. "Jonathan," she said, and her hand swept across the room -- flourish of trumpets, roll of drums -- "this is Marilyn Monroe."

Marilyn was standing. She had just hitched up her skirt to pull down the blouse from underneath. She looked at the little boy, and he at her, and in that instant it happened. She metamorphosed. The skirt stayed up. One scabrous leg came forward and pivoted on its toe. The calf muscle popped. The knee described small circles in the air, the pelvis gently following its delicate gyrations. And the head tilted easily back, the eyelids closed down, she licked her lips, became that myth and smiled full into the child's face and sighed, "Hi-iiii."

Conant shot hundreds of exposures that afternoon; not a single one of Marilyn was bad, and most were splendid. Ultimately, what one saw in the room did not matter. Her face, as they say of certain faces -- as they first said of Valentino's face -- made love to the camera.

The pictures were never published because Collier's, soon after, went out of business. The one shown here was taken as a souvenir for me, and I have never looked at it without remembering that moment of her transmutation, and wondering: What on earth she thought she was doing? And it must be that she simply had not thought at all, but had simply heard the bell and gone on automatic. If it was male it was her audience, her element, and she would play to it. This is a gift. It is not necessarily a gift that makes good actors, but it almost invariably makes great performers.''


Judy Holliday's ''Dumb Blonde'' impersonation of Marilyn Monroe.

http://www.wtv-zone.com/lumina/av/monroeimpression.mp3


Source: Search http://www.everlasting-star.net/

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Marilyn Monroe's make-up artist and close friend - Allan Whitey Snyder

He was her make up artist throughout her career on many of her films and some photo-shoots from her first screen test at Twentieth Century Fox in 1946 to her funeral makeup in 1962.

Allan Snyder commented that it was during preparation for one of her first break out roles in ''Niagara'', after much experimentation, that Monroe achieved her iconic look.
''We used that look for several pictures in a row'' ... the look...Her look....was established."

"During the filming of Gentlemen Prefer Blondes, Marilyn was in the hospital. When she was going to get out, naturally I went over there to make her up, so when she met the public or the press she'd look alright. At that time she says, 'Will you promise me that if something happens to me in this world, when I die or anything like that, promise me you'll do my make-up, so I look good when I leave?' and I said 'Sure, just bring back the body while it's warm.' Well, I still have this money clip she gave me at the end of Gentlemen Prefer Blondes that says, 'Whitey dear, While I'm still warm.'
It was a gag at the time. But when she died, Joe DiMaggio called me from New York and said 'Whitey, you promised', reminding Whitey of the promise he made to Marilyn after she had her appendectomy, they all knew about the money clip.
It didn't bother me making her up when she was laying down, because I did it so many times on location."

For the last time, Allan "Whitey" Snyder did her makeup, a flask of gin fortifying him enough to carry out a promise he had made in jest many years earlier, and of which Marilyn had reminded him with an inscription on a gold money clip she gave him, saying, "Whitey Dear, while I'm still warm, Marilyn." Mr. Snyder was also one of the pallbearers at her funeral.

''Joe DiMaggio may not have made a good husband for Marilyn, but no one cared more for her. He was always, before the divorce, and after the divorce, her best friend.'' - Allan ''Whitey'' Snyder

''This is a little kid who wants to be with the other little kids sucking lollipops and watching the rollercoaster, but she can't because they won't let her.
She's frightened to death of that public which thinks she is so sexy. My God, if they only knew.'' -
Allan "Whitey" Snyder

''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."

Snyder was twice nominated for Primetime Emmy awards, under the category of Outstanding Achievement in Make-Up.

Once and for all - How to do ''Whiteys'' Monroe Makeup
''Contrary to popular belief, Marilyn's eyeliner was rarely black. Most often, it was brown or dark brown''
http://getglamorous.blogspot.com/2007/07/how-to-do-marilyn-monroe-makeup-step-by.html

- One thing to remember in my opinion about Monroe's makeup is that it always looked more natural and soft and not too overly harsh, like say, Madonna doing her version of Marilyn.

  • 1477 days ago via site
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Ella Fitzgerald & Marilyn Monroe: The Story - Civil Rights


''Marilyn went to the owner of the most prestigious nightclub on the West Coast, Mocambo, and offered to sit front-row centre every night for five nights if the owner booked one of her favourite singers: Ella Fitzgerald. The owner agreed and the result exposure gave Ella’s career a huge boost, one from which she never looked back and which she always acknowledged. Fitzgerald became the first African-American to perform at the Mocambo, after Marilyn Monroe had lobbied the owner for that booking.

It has to be remembered that this happened in the mid 1950s, a time of racial segregation in the United States. Although Fitzgerald was arguably the greatest seller of jazz discs on Earth at the time, she could not perform at just any venue. Her manager had set up an entire touring organisation to save her from the humiliation of having the door slammed in her face by a racist club owner, although Fitzgerald very seldom showed her true feelings in public, this fact was something she knew prevented her from fully bringing her artistry to the world.

Marilyn, at the time, had gone completely rogue, breaking away from her draconian studio contract that let 20th Century Fox make a fortune off her and left her borrowing clothes from the wardrobe department. It had refused to give her better parts, never acknowledging the sheer graft that she had put into acting right from the start. Marilyn always knew what she was worth, and she always knew when she was being used. Like Ella, Marilyn never suffered fools, and her quips and asides are legendary: when asked why she wanted to be a sex symbol, she replied that she would rather be a symbol of sex than a few other things she could think of.

Ella wanted to be seen as beautiful. She always said that what she wanted to do was “stop traffic”. Her singing career came into being because she did not have the self-confidence to compete with the tall, lithe, light-skinned showgirl types who came up against her at the legendary amateur nights at the Apollo Theatre in Harlem. So, she simply stood there and sang. She knew that her voice, her timing and her impeccable musical ear were quite simply a gift, and because of this her voice retained its exquisite girl-like quality all of her life.

Marilyn, who was billed simply as “The Girl” in arguably her second-most famous film, The Seven Year Itch, did not want to be fluffy and frivolous and dainty. And so their similar battle to be seen and accepted as how they saw and accepted themselves was exactly the same beneath the surface.

While listening to Ella, Monroe was a huge and expert fan of jazz, I imagine that Marilyn must have heard Ella’s voice that spoke to her own.''

- The Ella and Marilyn incident was turned into a play by Bonnie Greer in 2005.


Bonnie talks about her play and the civil rights Marilyn believed in, beautiful segments of Ella's singing.

http://www.youtube.com/watch?v=eZHBambTppc



''I owe Marilyn Monroe a real debt, Ella later said. It was because of her that i played the Mocambo, a very popular nightclub in the 50's. She personally called the owner of the Mocambo, and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him and it was true, due to Marilyn's superstar status that the press would go wild. The owner said yes, and Marilyn was there, front table, every night, The press went overboard. After that, i never had to play a small jazz club again.
She was an unusual woman - a little ahead of her times. And she didn't know it.'' - Ella Fitzgerald


''I am involved in a freedom ride protesting the loss of the minority rights belonging to the few remaining earthbound stars. All we demanded was our right to twinkle.'' - Marilyn Monroe

-Telegram, turning down a party invitation from Mr. and Mrs. Robert F. Kennedy (1962)

(''Freedom riders'', were Civil Rights activists, challenging segregation laws on interstate buses in the Southern United States in 1961, originally from the 1940's.)

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September 2, 1952 Marilyn served as Grand Marshall at the Miss America Pageant.
Playboy founder picked a photo from this parade as the cover of his first then undated December 1953 issue of the magazine.
The parade was held in Atlantic City, Marilyn was on publicity from the studio. A few months later she would garner her major success with filming ''Gentlemen Prefer Blondes''. Her risque calendar photos broke to the public earlier in '52, then bought by Hefner with a loan his mother gave him to start up the groundbreaking magazine. He entitled her the only ''Sweetheart of the Month''.

Trivia: The Miss America crowned that year 1952 Colleen Hutchins, died this past March.

The dress she wore was considered revealing as it was cut close to her navel.
The Playboy cover of MM is actually backwards, Marilyn parted her hair the opposite direction, i flipped the original photo.
- Coincidently Hefner was born the same year as Marilyn, as was the Miss America winner of that year.
- Oddly, there's still some people who think Marilyn ''posed'' for Playboy.
Hefner still credits her though, and will rest next to her for eternity at Westwood Memorial Park.


Marilyn got to play a pageant girl a bit herself in the movie ''We're Not Married'' released earlier the same year as this parade.

''A Justice of the Peace had performed weddings a few days before his license was valid. A few years later five couples learn they have never been legally married. Annabel Norris (Marilyn Monroe) already -Mrs.- Mississippi and ready to enter the -Mrs.- America contest, is now free to enter the -Miss- Mississippi contest.'' - Can you say Miss America!

Marilyn's scenes
http://www.youtube.com/watch?v=73Q3N3Doa6o

  • 1482 days ago via site
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