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Le 16 mai 1956, Marilyn Monroe tourne la scène de chant "That Old Black Magic" du film "Arrêt d'Autobus" dans les studios d'Hollywood. Les photographes Zinn Arthur et Milton H. Greene immortalisent Marilyn.
In May, 16, 1956, Marilyn Monroe shoots the scene singing "That Old Black Magic" for the movie "Bus Stop", in the Hollywood studios. Photographers Zinn Arthur and Milton H. Greene are presents.
> voir les photographies de la scène de That Old Black Magic

> voir les photographies sur le tournage de 'That Old Black Magic'   

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Arrêt d'Autobus
   Photos scène 3

Au Blue Dragon Café, Cherie (Marilyn Monroe) monte sur scène pour chanter « That old black magic » dans une cohue indescriptible. En effet, les autres clients du bar, majoritairement masculins, font beaucoup de bruits et n'écoutent pas Cherie. 

 Bo (Don Murray) et Virgil (Arthur O'Connell) sont dans la salle. C'est alors que Bo, qui voit Cherie pour la première fois, est totalement séduit par la chanteuse. Il se lève et siffle à plusieurs reprises pour faire taire la salle. Cherie, surprise et contente, reprend sa chanson.

 > Photographies de Zinn Arthur
 Photographs by Zinn Arthur 

 > Photographies de Milton Greene
Photographs of Milton Greene

> en couverture de magazine
 

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copyright text by GinieLand.   

  
The photographer who knew her best tell the stories behind the iconic images
Milton H. Greene, Joshua Green

  Marilyn Monroe's looks and allure made her a desirable subject for photographers around the world, and several photographers built their careers by documenting hers. The only thing more fascinating than the unforgettable images of Marilyn they captured are the memories many of them took home when the sessions were over. For the first time in one place, the photographers responsible for some of Marilyn's most beloved pictures pick their personal favorites.

The Black Sitting - Milton Greene

When Milton first met Marilyn, she said, "You're just a boy." He famously replied, "Well, you're just a girl." Thus began a friendship that grew into a business partnership through Marilyn Monroe Productions. Milton's son and the steward of his archives, Joshua Greene, describes the photos he believes best exhibit his father's work:

To me, the most powerful, important pictures of their collaboration are the Black Sitting. It was never done for publication; it was done completely for their own self-serving needs. Milton was one of those guys who would shoot a roll or two. He didn't overshoot. The thing about the Black Sitting that was so amazing is, it lasted four hours and he shot 28 rolls... 12 frames per roll.

Milton, Joe Eula - my father's friend who was there as a stylist - and Marilyn drank a bunch of red wine, listened to some great music and did this fantastic, amazing series of pictures using essentially a black velvet background over a daybed. The photos are very personal, and they show the sense of humor and sensibility that they shared and enjoyed together. It was just a bunch of kids playing in a playpen.

Also, you don't see any nudity. Nowhere in the photos were there ever straight naked photos. He just didn't do that. Milton did that on purpose so Marilyn wouldn't feel betrayed or inappropriate, and this is a woman who liked being naked and didn't mind shooting naked. But Milton was a classy guy, and it wasn't necessary. To him, it was more the suggestion of nudity than the nudity. And that's what makes them so sexy. This is a timeless picture of a woman looking beautiful, and that's why it holds up. -Joshua Greene

The Actor Photo - Zinn Arthur

A former big-band leader and celebrity in his own right, Arthur found a second career as a photographer to the stars and captured some of the most memorable images of Marilyn at work in Hollywood. He first photographed her on the set of 1956's Bus Stop. Arthur's friend Frank Whitney and Katherine Van Acker, curator of Arthur's archive at the Image Works, Inc., share their thoughts on his favorite photo:

As a collection, Zinn liked the Bus Stop shots because he (and Marilyn) considered it to be her best film, thanks to Joshua Logan's direction. Josh was Zinn's best friend, and Zinn was a great admirer of Josh and his talents as a director. Marilyn loved Josh and how he brought out the best in her, and because Zinn was Josh's friend, she loved Zinn by association. - Frank Whitney

When Zinn was going to show someone, he wanted to be sure it was flattering. He wasn't out to overly sensationalize them or to take an unflattering picture. Zinn genuinely liked Marilyn. He was an entertainer. He understood what it was to be an entertainer and liked shooting them at work. This is a real moment. Marilyn was talking to the director of photography, and Zinn snapped off a few pictures and captured her in a flattering, nice way. - Katherine Van Acker

The Bedsheet Photo - Douglas Kirkland

One of only a handful of living photographers to have shot Marilyn, Kirkland has worked on the sets of more than 100 motion pictures and has shot as many celebrities, from Elizabeth Taylor to Michael Jackson. He photographed Marilyn in 1961 for Look magazine.

This is my favorite photo of Marilyn because it was her favorite. When she saw this photo she said, "That girl is the kind of girl that any man would want to be in that bed with. Even a truck driver."

On the first night of the shoot, she said, "I want a bed and white silk sheet. I won't wear anything but that white silk sheet. And I want Dom Perignon champagne and Frank Sinatra records." You felt like it was the real Marilyn there. The person who was behind "Marilyn." And that was the person I found myself taking pictures with. It was very sensual.

We were flirting like crazy, that's what it really came down to. She asked that everybody leave the room because she "wanted to be alone" with me. The energy was extraordinary, and it went into those pictures. That's why the pictures have been as successful as they have been. She didn't hold back. She gave the camera everything. - Douglas Kirkland

The Misfits Photo - Elliott Erwitt

After serving as a photo assistant in the U.S. Army during the 1950s, Elliott Erwitt went on to become one of the premier photojournalists of his generation, capturing iconic images of

John F. Kennedy, Che Guevara and Marilyn Monroe, among others. He was on the set of The Misfits to take photos of Marilyn hard at work on what ended up being the actress's last film.

My favorite thing about shooting Marilyn was how friendly and cooperative she was. She didn't mind me hanging around and shooting her candidly, even in the more personal pictures I took.

This photograph is my favorite, because it was a monumental task assembling all of these incredibly busy people together for the picture. I was taking publicity stills on the set of The Misfits and wanted to gather all the principal players in one photo. Photographing Marilyn was always easy once she arrived for the shot. The trick was getting her to show up on time. She was always difficult to pin down, which only adds to my pride at gathering her with all these stars for this photo. Now it's a record of the combination of talents present at the time. There was never any secret to get a good picture of Marilyn: Just aim the camera, shoot and let Providence do the rest. - Elliott Erwitt

The Pool Photo - Lawrence Schiller

In 1962, Marilyn was in freefall. She wanted to prove her value to 20th Century Fox and keep her name in the magazines. Lawrence Schiller, a 25-year-old photojournalist whose star was on the rise, was hired by Paris Match magazine to shoot her latest film, which would turn into a stunt of Marilyn's design: In one scene from the film, while swimming, she decided to be photographed nude, and off came her bathing suit. It would be their last collaboration.

A photographer is either a witness to something or he is a collaborator at an event. In this instance, I was both. The exploitation of the pictures was the reason she decided to do the scene nude. She could have done the scene with a flesh-colored bathing suit on and it would have worked perfectly, but she went further because she needed to achieve something else.

This photo became one of my favorites of Marilyn because years later it became my 8-year-old daughter's favorite. I showed her my photos and asked, "What do you think? Which is your favorite?" She chose this one. I said, "Why?" She said, "Because that's a picture that says everything but shows nothing." - Lawrence Schiller

 
"Marilyn Monroe's Lost Scrapbook,"
a Newsweek special issue, is on sale at Walmart, Barnes & Noble
and on newsstands nationwide.

Le milliardaire
Captures

7ème partie des captures du film 

Arrêt d'Autobus
Sur le tournage - scène 3

 > Photographies de Arthur Zinn
Photographs of Arthur Zinn

 > Marilyn Monroe et Paula Strasberg sur le plateau
 

> Photographies de Milton Greene
Photographs of Milton Greene
   

> captures
     
     
     
     
     
     
     
< retouche maquillage de Whitey Snyder

> video

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.     

Arrêt d'Autobus
   Photos scène 4

Bo (Don Murray) attend Cherie (Marilyn Monroe) dans les coulisses. Puis ils vont dans une grange, et pour remercier Bo d'avoir calmer le public lors de sa prestation scénique, Cherie lui offre un baiser. Pour Bo, ce baiser est une preuve que Cherie l'aime et qu'elle est la femme de sa vie.

> Photographies de Milton Greene
Photographs of Milton Greene

Virgil Blessing (Arthur O'Connell) et Vera (Eileen Heckart)
 

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copyright text by GinieLand.   

Arrêt d'Autobus
Sur le tournage - scène 4

 > Photographies de Milton Greene
Photographs of Milton Greene

> Marilyn Monroe avec le réalisateur Joshua Logan
 
   

 > Marilyn Monroe
     

 > Marilyn Monroe avec Don Murray et Joshua Logan
   
   

 > Marilyn Monroe avec Don Murray
     
   

> planches contact  
 
 
 

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copyright text by GinieLand.   

American Legends: The Life of Marilyn Monroe
Auteur: Charles River Editors

 Publication Date: 13 septembre 2013
Broché 44 pages
Language English
Editeur: CreateSpace Independent Publishing Platform
Dimensions: 22,2 x 14,8 x 0,4 cm
Prix éditeur: 5,68 Euros
ISBN-10: 149270573X
ISBN-13: 978-1492705734
Ou le commander ? sur amazon

Description: *Includes pictures of Marilyn and important people and scenes.
*Includes quotes about her life and career.
*Includes a bibliography for further reading.
“The truth is 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. When they found this out, they would blame me for disillusioning them and fooling them.” – Marilyn Monroe
A lot of ink has been spilled covering the lives of history’s most influential figures, but how much of the forest is lost for the trees? In Charles River Editors’ American Legends series, readers can get caught up to speed on the lives of America’s most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known.
Few actresses lived their lives in the public eye more than Marilyn Monroe, and yet her life remains shrouded in mystery to this day. While it is common knowledge that Marilyn’s life is a rags-to-riches story, her life is bookended by hazy details surrounding her early life and even more mysterious death.
Who was Norma Jean Baker? Who was Marilyn Monroe? The unknown has contributed to the mythology that has since become part of her legacy, and she nurtured it. Marilyn was adept at constructing a fanciful mystique about her early years, and it’s become all but impossible to disentangle the truth from the narrative that Marilyn helped establish. Fittingly, even though Marilyn is instantly recognizable and still one of film’s greatest icons, her films remain unfamiliar to the vast majority of the public.
Most people have some preconception of Marilyn’s film persona, seeing her as the “dumb blonde” without a brain who existed only in order to be gazed upon. However, one of the essential questions concerning Marilyn’s life involves the accuracy of the “Marilyn stereotype”; is the “dumb blonde” identity an accurate descriptor of her film roles, and how does it compare to Marilyn’s personality off of the movie set? Given how famous Marilyn Monroe was and continues to be, it’s remarkable that so many people know so little about her life and career.
What is known is that Marilyn Monroe was America’s ultimate sex symbol in the 20th century, in part because she came of age in the wake of World War II and became famous during the conservative era of the 1950s. She appeared in just two films in the 1960s, prior to her premature death in August 1962, and there is a wide gulf between the brevity of her career and the impact that she made on American culture throughout the 1950s. Marilyn’s death left everyone to speculate where her career would have gone in the 1960s, but it’s probably safe to guess she wouldn’t be the icon she remains today.
American Legends: The Life of Marilyn Monroe comprehensively examines the starlet’s life and films, exploring the controversies and the ways in which her life and works are mutually informative. Along with pictures of important people, places, and events, you will learn about Marilyn Monroe like you never have before, in no time at all. 

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Beige Dress
robe beige au gros noeud 

Cette robe beige a été conçue par le créateur et couturier de la 20th Century Fox, William "Billy" Travilla pour le film There's no business like show business (La Joyeuse Parade) tourné au printemps / été 1954. Marilyn Monroe fit les essais de test costumes pour cette robe le 26 juin 1954:

Dans le film, elle porte la tenue dans une courte séquence, avec une scène où elle est dans le bureau des dirigeants et dans l'autre, elle discute avec Donald O'Connor (sur le blog: voir les captures , les photos de la scène , du tournage):

C'est une robe en laine, avec un col cravate drapé, qui forme un gros noeud au niveau du court décolleté en V. La robe est accompagnée d'un fourreau en renard doublé à l'intérieur de soie, de couleur miel. C'est une tenue chic et plutôt sage pour Marilyn, de par la longueur de la robe (au niveau des mollet), et elle n'a pas de décolleté plongeant, et couvre l'ensemble du corps, sans trop mouler ce dernier, bien qu'elle se porte près du corps et souligne la silhouette.
La tenue est accessoirisée par des gants de même couleur, ce qui renforce l'aspect sobre et chic de la tenue.

Marilyn ne va porter cette tenue qu'une seule fois en public: le 9 septembre 1954, lors de son arrivée à New York pour les besoins du tournage de "Seven Year Itch" (Sept ans de rélfexion), où Marilyn, dans toute sa splendeur, va briller devant les journalistes très nombreux venus l'acceuillir, en envoyant une multitude de baisers à ses admirateurs présents sur le tarmac et en croisant et décroisant les jambes à de multiples reprises, afin d'accentuer son côté sexy et glamour:

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copyright text by GinieLand. 

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