Lundi 7 décembre 2015 - 20h55 - France 3
- à revoir en replay pendant 7 jours -
Rediffusion: Lundi 21 décembre 2015 à 23h20
Documentaire - Destins secrets d'étoiles
Grace, Jackie, Liz, Marilyn...
Lundi 7 décembre 2015 - 20h55 - France 3
- à revoir en replay pendant 7 jours -
Rediffusion: Lundi 21 décembre 2015 à 23h20
Documentaire - Destins secrets d'étoiles
Grace, Jackie, Liz, Marilyn...
Durée: 110 minutes
Réalisation et commentaire: Henry-Jean Servat
Brigitte Bardot, Greta Garbo, Audrey Hepburn, Grace Kelly, Marilyn Monroe, Liz Taylor, Gina Lollobrigida, Jackie Kennedy, Maria Callas...
Elles furent et elles restent les reines du monde. Celles qui n’en finissent pas de régner sur les inconscients collectifs. Nées dans un mouchoir de poche en dentelle, elles ont toutes vécu à la même époque, des deux côtés de l'Atlantique. Dans les mêmes lieux, de Hollywood à Venise en passant par Monaco et Cinecitta, en compagnie des mêmes hommes parfois, elles ont vécu des aventures de toutes sortes qui leur firent traverser le cours de l’histoire, la petite et la grande. Illustré de documents rares et inédits, et révélant des moments inconnus, ce documentaire raconte les vrais destins, mêlés et entremêlés, de ces créatures de légende.
Mardi 24 novembre 2015 - 17h35 - Arte- à revoir en replay pendant 7 jours -
Rediffusion: 01/12/15 à 11h10 - 08/12/15 à 06h05
Documentaire - Mystères d'archives
1954, Marilyn Monroe en Corée
Durée: 26 minutes
Réalisation: Serge Viallet,
Julien Gaurichon, ALexandre Auque.
Le 15 février 1954, Marilyn interrompt son voyage de noces au Japon avec le joueur de base-ball Joe DiMaggio pour aller chanter en Corée auprès des GI. Cette tournée dans les montagnes situées à la frontière entre la Corée du Sud et celle du Nord durera quatre jours. Que racontent les images tournées par les cameramen de l'armée américaine?
How Norma Jeane, filing cabinet model, became Marilyn Monroe
Published on November, 21, 2015
By Michelle Morgan and Astrid Franse
One day, while shopping for vintage items for their shop, Bennies Fifties in the Netherlands, Astrid and Ben Franse bought a box of old Marilyn Monroe memorabilia from a dealer in Los Angeles. They didn’t know what they really had: a treasure trove. In the box were letters and never-before-seen photos from Miss Emmeline Snively, who had run the Blue Book Modeling Agency — the agent who had signed a young Norma Jeane Dougherty. In the new book “Before Marilyn,” Astrid Franse and co-author Michelle Morgan reveal for the first time this archive and how Snively helped turn Norma Jeane into Marilyn Monroe.
In early August 1945, a photographer friend took Norma Jeane Dougherty from her home in West Los Angeles to be introduced to Miss Emmeline Snively, owner of the Blue Book Modeling Agency.
Norma Jeane was married, bored — and beautiful. Raised an orphan, she wed at 16 to escape a series of foster homes. But her husband shipped off with the Merchant Marines, and she worked an exhausting shift at the local defense plant.
Her face was her escape. She was noticed by propaganda photographers in the factory and after the war went looking for a job at Blue Book.
Snively, who had seen every kind of girl the profession had to offer, did not think there was anything too out-of-the-ordinary about the girl standing in her office at the Ambassador Hotel. She noted in her file: “Norma Jeane had been brought to the hotel by photographer Potter Hueth, wearing a simple white dress and armed with her modeling portfolio, which offered no more than a few choice snaps . . . You wouldn’t necessarily wear a white dress to a modeling job, and it was as clean and white and ironed and shining as she was.”
Norma Jean, then 19, was staring at the magazine covers and publicity photos gracing the walls.
“Those are the prettiest girls I’ve ever seen,” she muttered, almost to herself, before turning to Miss Snively. “Do you think I could ever get my picture on a magazine cover ?”
Snively looked her up and down. “Of course,” she smiled. “You’re a natural.”
Wiggle and quiver
Snively noted her statistics on an agency card: “Size 12, height 5.6, 36 bust, 24 waist, 34 hips. Blue eyes, perfect teeth and blonde, curly hair.” “Actually,” she later wrote, “her hair was dirty blonde. California blonde which means that it’s dark in the winter and light in the summer. I recall that it curled very close to her head, which was quite unmanageable. I knew at once it would have to be bleached and worked on.”
It cost $100 for a three-month modeling course, to teach her presentation, grooming and coordination — or how to sell yourself to the public. Snively noted that Norma Jeane was wonderful when it came to learning techniques such as makeup, hand positions and body posture, but she had concerns over other aspects. One problem was the way she walked, which went against everything a fashion model was trained to do. In short, she wiggled.
“When Marilyn walks, her knees lock,” Snively wrote. “She’s double-jointed in the knees, so she can’t relax and that is why her hips seem to sway when she walks into a room. Her walk is a result of that locking action every time she takes a step. This she turned into an asset.”
As Marilyn would later explain: “When you walk, always think UP in front and DOWN in back.”
Another “problem” was her smile, which the agency (and several magazine editors) felt made her nose look too long. This was easily rectified, as Snively later recalled. “She smiled too high, that’s what was wrong, and it made deep lines around her nose. We taught her how to bring her smile down and show her lowers.”
This resulted in the famous lip quiver that would often be seen in Marilyn’s film roles.
Norma Jeane’s first official assignment was as a hostess at an industry show being held at the Pan Pacific Auditorium. Described as “America’s annual tribute to the working man,” the Industry on Parade exhibition began on Labor Day weekend, 1945, with a motorcade traveling through downtown Los Angeles.
She found herself on a stand taken by Holga Steel Company, talking to visitors, giving out leaflets and showcasing one of the company’s items — a steel filing cabinet.
Described as “absolutely terrified” by Snively, Norma Jean traveled to the Pan Pacific Auditorium day after day. When she returned to the agency, Norma Jeane handed over all her earnings. “She gave me the whole $90,” Snively wrote. “Took nothing out for car fare or meals or clothes or anything. ‘This,’ she said, ‘will take care of most of my tuition.’ I knew at once she was a fair and honest and very fine girl, and I decided to get her as much work as I possibly could.”
Norma Jeane appeared in ads for Douglas Airlines and some magazine shoots. But when photographer Raphael Wolff hired her for a shampoo advertisement, it let Snively do what Norma Jeane had always resisted — change her hair.
“Look darling,” Snively told her, “if you really intend to go places in this business, you’ve just got to bleach and straighten your hair because now your face is a little too round and a hair job will lengthen it.”
Norma Jeane acquiesced, and Snively was thrilled with the results.
“She emerged a truly golden girl . . . From this point she went into her bathing-suit stage, and the demand for her was simply terrific. She averaged, I should say, $150 a week, and men began talking about getting her into the motion-picture game.”
One photographer paid to fix one bad front tooth. Another suggested Norma Jeane “eat more hamburgers.” But they didn’t need to teach her how to look sexy; she was a natural.
Later, Marilyn Monroe would reminisce about how most of the photos used of her were for “men’s” magazines.
“I was in See four or five months in a row,” she said. “Each time they changed my name. One month I was Norma Jeane Dougherty; the second month I was Jean Norman.”
Snively hustled to promote her. When Howard Hughes, who was recovering from a plane crash, called to ask who the girl was on the cover of Laff magazine, Snively promptly called columnist Hedda Hopper, who picked up the item and gave Norma Jeane her first coast-to-coast publicity.
The nude bomb
In July 1946, Norma Jeane got a screen test at 20th Century Fox, where she was signed to a starlet’s contract for a salary and training in the studio workshops.
Executive Ben Lyon took an interest, choosing the name Marilyn for her. “When he asked her if there was a last name she particularly liked, she said yes — her grandmother’s name had been Monroe,” the studio’s archives read.
“Mmmmarilyn Mmmmonroe, yes I like the way that sounds,” Marilyn said.
But Fox eventually dropped her, as did Columbia, after only a few background roles. By May 1949, she had returned to convention modeling, showing off antiques at the Pan Pacific Auditorium.
Marilyn was broke. One day, a man called to offer money and other luxuries in exchange for certain favors.
“For a dizzy moment, I had visions of being able to pay my rent,” she later recalled, “but as he went on giving the details of what I would be expected to do, my visions vanished. He was brutally frank, and all I could think of to say was that he shouldn’t talk that way over a public telephone. I didn’t realize how silly that sounded until I hung up, and then I started to laugh.”
At the time of the call, she was late with her rent at the Hollywood Studio Club and threatened with eviction. Something had to be done.
She called photographer Tom Kelley, who had used her in the past for a beer ad. He had asked her several times to pose nude and she always refused, but this time her home was on the line and she felt she may not have much choice. Marilyn did have a particular requirement — she would only take her clothes off for him if accompanied by his wife, Natalie.
In May 1949, she posed nude on a blanket of red velvet. “I decided I’d be safer with [Kelley] than with some rich old guy who might catch me in a weak moment when I was hungry and didn’t have enough to buy a square meal,” Marilyn explained. “Kelley told me he’d camouflage my face, but it turned out everybody recognized me.”
When later asked what it felt like to be photographed in such a way, she answered, “It was drafty.”
Kelley later told biographer Maurice Zolotow that he paid Marilyn $50 for her services and then sold the rights to a calendar maker for $500. It would be years before the calendar maker’s secretary realized who the girl was. “He made a fortune on it,” Kelley said. “Sold close to 8,000,000 calendars.”
Marilyn got some promising film roles in a Marx Brothers movie (“Love Happy”) and “The Asphalt Jungle.” But like the Kim Kardashian of her day, it was the nude photographs surfacing in 1952 that made her a star. Instead of destroying her career, as the studio thought it would, the scandal won the actress much sympathy after she announced that the reason she had posed in the first place was because without the money she would have been evicted.
In the next year, she would make “Gentlemen Prefer Blondes” and “How to Marry a Millionaire.” The transformation from Norma Jeane to Marilyn was complete.
How to make it…
Marilyn was famous, but her insecurity never went away. In 1954, Snively learned Marilyn was making “There’s No Business Like Show Business.” She called the studio to see if Marilyn would pose for some publicity photos for Blue Book Models. Marilyn quickly agreed.
The pictures taken on the set that day show Marilyn in costume to perform a song and dance number called “Heat Wave.” The actress wasn’t a huge fan of the song, and her new husband, baseball star Joe DiMaggio, wasn’t an admirer of the outfit, considering it too revealing for his wife to wear. However, neither seemed to bother Snively, and photos show there is no doubt that Marilyn enjoyed meeting up with her old mentor once again.
Snively later recalled having a private word with Marilyn off set.
“She didn’t feel she was a qualified actress, [but] how could she have felt any different ?” Snively later wrote. “She’d signed her first contract before she had her first acting lesson.
“God I wanted to cry for her then. This can be the loneliest town in the world, and it’s even lonelier for you if you’re on top of the heap.”
Excerpted from “Before Marilyn: The Blue Book Modeling Years” by Astrid Franse and Michelle Morgan. Out now from St. Martin’s Press.
Samedi 14 novembre 2015 à 17h50 - TF1
Rediffusion: Dimanche 15 novembre 2015 à 03h55
Magazine - 50 mn inside
Présentation: Sandrine Quétier, Nikos Aliagas
Infos: "Une Star, Une Histoire": un sujet consacré à la relation "Marilyn Monroe - Yves Montand: liaison interdite"
voir l'émission >> vidéo dispo sur videos.tf1.fr
Marilyn Monroe rejected Frank Sinatra's marriage proposal a year before her death, new book claims
Article published on 18 oct 2015
A new biography of the singer claims the Hollywood beauty turned him down because she was secretly back with estranged husband Joe DiMaggio.
Marilyn Monroe turned down an offer of marriage from Frank Sinatra , a new biography of the singer claims.
Sinatra thought he alone could stop Monroe’s downward spiral that would lead to her death from a drugs overdose, aged 36, in 1962.
But he was rebuffed because the Hollywood icon was secretly back with her former husband, baseball player Joe DiMaggio .
In his book The Chairman, James Kaplan says Sinatra once took Monroe to his Cal-Neva resort in Lake Tahoe and looked after her when she was ill.
Sinatra supposedly believed he could save Monroe from the vultures he saw as leading her towards her doom.
By that time Sinatra had divorced second wife Ava Gardner but had not yet married his third wife Mia Farrow - while Monroe had divorced her third and final husband Arthur Miller.
Jilly Rizzo, Sinatra’s closest aide, told the author: “Yeah, Frank wanted to marry the broad.
"He asked her and she said no.”
The pair had met before 1961, but Kaplan claims that was the year Sinatra’s interest in her peaked.
DiMaggio and Sinatra became rivals and the enmity was so deep that the singer was turned away from Monroe’s funeral, even though he tried to force his way in with bodyguards.
Milt Ebbins, a talent manager, added: '"There was no doubt that Frank was in love with Marilyn."
What Sinatra didn't know at the time was that Monroe had agreed to give DiMaggio another chance, and was also seeing other lovers.
Le tableau de chasse de Marilyn Monroe
Publié le 05/04/2012,
en ligne sur puretrend.com
Profession : Actrice et chanteuse.
Pourquoi elle plaît ? Marilyn c'est Marilyn. Un mythe, une icône, l'idole des hommes, qui n'arrivaient jamais à lui résister. Sa bouche charnue et ses yeux bleu azur en ont séduit plus d'un. Ses formes généreuses et sa poitrine pulpeuse sont aujourd'hui encore objet de fantasme. Mais ce qui plaisait aussi chez Marilyn c'était son image de jeune femme avec une âme en perdition. Fragile, bouleversée, rongée par la détresse, Monroe aurait pu être sauvée par bon nombre d'hommes... Tous devenus fous face au caractère presque bipolaire de l'actrice.
Son style de proie ? Les hommes de pouvoir, les acteurs célèbres comme Paul Newman ou Marlon Brando. Mais aussi les écrivains, comme son troisième époux Arthur Miller ou les sportifs version italien : Joe Dimaggio. Marilyn Monroe aimait plaire aux hommes et voulait toujours être sensuelle, sexy et désirable à leurs yeux. Née sans connaitre son père, elle a longtemps chercher a retrouver celui-ci au travers des hommes qu'elle séduisait.
Ses conquêtes ? Beaucoup. Trop nombreuses, avec également bon nombres de rumeurs, on en a ici sélectionné 29. Et c'est déjà pas mal ! Des hommes comme Yves Montand ou Eddie Fisher en passant par des femmes, des belles. On pense surtout à Brigitte Bardot ou Joan Crawford.
Avec qui elle aurait pu roucouler ? Si le mythe Marilyn Monroe ne s'était pas terminé trop tôt, on aurait bien imaginé celle-ci flirter avec des hommes plus jeunes. Une sorte de cougar version icône glamour. L'actrice aurait dû avoir 86 ans cette année, elle aurait donc pu flirter avec un beau gosse d'une cinquantaine d'années, connu pour son image de Don Juan. George Clooney m'entends-tu ?
Le tableau de chasse de Marilyn Monroe :
De 1941 à 1946, Marilyn Monroe est mariée à James Dougherty, surnommé "James le veinard" suite à son mariage avec cette dernière. Mais Marilyn ayant beaucoup souffert de l'abandon plus jeune ne supporta pas quand son époux parti s'engager dans la Marine. Elle expliqua plus tard que "son mariage n'était ni heureux ni malheureux" et cette première séparation officielle ne fut qu'une simple formalité.
Joe DiMaggio est le deuxième mari de Marilyn Monroe. Le couple se rencontre en 1953 et ils se marièrent en janvier 1954. Ce joueur de baseball professionnel a divorcer pour se mettre avec Marilyn... Un mariage qui finalement ne durera que 9 mois. Malgré un divorce à l'amiable, le tribunal accuse officiellement Monroe de "cruauté mentale".
De 1955 à 1961 Marilyn Monroe est avec son troisième et dernier mari: Arthur Miller. Une relation tumultueuse née alors, entre amour et infidélités. Finalement, l'écrivain dit les pires horreurs au sujet de sa femme: "C'est un monstre narcissique et méchant qui a pris mon énergie et m'a vidé de mon talent".
En 1960 Marilyn Monroe flirte avec Yves Montand, pendant le tournage du film "Le Milliardaire". Simone Signoret la compagne de celui-ci déclara "Si Marilyn est amoureuse de mon mari, c'est la preuve qu'elle a bon goût.". Montand se lassa finalement des sentiments de Monroe à son égard et retourna avec Signoret.
De 1961 à 1962, Marilyn Monroe créa le scandale en sortant avec le Président des USA : John F. Kennedy. Une relation très complexe qui selon certaines personnes est même à l'origine de la mort de l'actrice.
Vacations with Marilyn, Dinner with Picasso
At 99, George Braziller surveys his publishing empire in a new memoir
Published on August, 6, 2015
By Laura Marsh
The publishing industry loves nothing better than writing about itself. The last year or two has seen a clutch of books about great publishing impresarios and their lives, whether biography, fiction, or memoir. Boris Kachka's wonderfully juicy Hothouse revealed the inner workings of Farrar, Straus, and Giroux (and the sexual antics of its editors). Jonathan Galassi, the current publisher of FSG, has written a novel about an editor at an independent publishing house, titled Muse. The power agent Sterling Lord memorialized his successes in the not-bashfully named memoir, Lord of Publishing; Robert Calasso of the Italian house Adelphi Editions offers more measured reflections on the industry in his forthcoming The Art of the Publisher. Of all these, none is as powerful as a new memoir by George Braziller, who in 1955 founded an eponymous small press that did very big things. At 99 years old, his memoir Encounters: A Life in Publishing, is the first book he's written.
It begins with what is, for any editor, a striking admission: “I felt that I wasn’t a good writer, and writing came sporadically and painfully,” he writes. And perhaps more striking still: “I looked at every how-to book on writing.” The resulting memoir is written in a purposely plain style: Sentences feel as though misleading adjectives and clauses have been sheared from them, in an effort to keep memories in focus. It is, in other words, a self-taught style—which is especially fitting for a publisher, whose skill is to see the originality in others, and not to cultivate it in oneself. The book is structured as a series of vignettes (he took the idea from Walt Whitman’s Specimen Days) that trace his life from his family background to the wider family of writers he published. Taken together, they are a testament to his skill at recognizing great writers.
For a small publishing house, George Braziller, Inc. is notable for having published the first novel of Orhan Pamuk, who went on to win the Nobel Prize for literature, as well as books by Einstein and Jean-Paul Sartre. In the early years of his press, he went to Paris, and came back to America with works by Andre Malraux, Claude Simon, and Nathalie Sarraute, pioneers of the nouveau roman. Among the poets on his list is former U.S. Poet Laureate Charles Simic, whose poem “Elementary Cosmogony” is a veiled tribute to his publisher: “the invisible / came out for a walk / on a certain evening / casting the shadow of a man.”
(photo: A young George Braziller - Courtesy of George Braziller)
Unlike Galassi and Kachka’s books, Braziller’s encounters with the great writers and artists are not described as glamorous, but rather as awkward and humbling. In one scene, Braziller recalls meeting Marc Chagall at his studio in Paris, hoping to win Chagall’s approval to publish an English edition of Daphnis and Chloe in America. Awed and slightly intimidated, Braziller gets sidetracked into a long conversation with Chagall about poetry. As he’s leaving he realizes he hasn’t managed to seal the deal. Chagall saves him: "Suddenly, he took my arm, looked at me and said, 'You have my permission.'" Of meeting Picasso for supper, Braziller writes simply, “I was flabbergasted.”
You can see in Braziller’s recollections of growing up in a tenement in Brownsville his affinity with some of the writers he published, particularly Charles Simic. His sense of humor recalls Simic’s prose poem “We were so poor I had to take the place of the cheese in the mousetrap.” Braziller was born in 1916; his parents had fled Russia in 1900, and, after his father’s early death, his mother sold used clothes and shoes from a cart to support their family of eight. To make extra money, the young George realized that he could exploit the fact that their building had only one toilet on each floor: “I knocked on the doors of the best tippers to alert them that they should take occupancy.” During the Great Depression, he made money working as a model for luxury camel coats, which involved being driven around New England in a black Buick by a shifty (and rakish) salesman named Nat Tepper.
(photo: George Braziller and his wife Marsha pose for a picture with Picasso. Courtesy of George Braziller)
The Great Depression also sparked Braziller’s first successful business venture. In the 1930s he found himself working for his brother in law, who owned a remaindered books warehouse. He saw an escape from daily drudgery in a brilliant scheme: Inspired by the Left Book Club in the United Kingdom, he founded a book club that would select and distribute affordable books to a working class audience. By the time he signed up to fight in World War II, the Book Find Club had 20,000 members; when he returned in 1946, membership had grown to over 50,000 under his wife’s leadership, and was commercially successful. By the McCarthy era, around five years later, it had become considered politically suspect for promoting “thoughtful, ‘liberal’, ‘left-wing’ books.” Thousands of club members, Braziller writes, "called into our office or arrived in person, begging that we destroy their membership cards, hysterical with fear that they would be accused of being communists." The Brazillers later sold the club to Time-Life, which inexplicably wound the whole enterprise down within two years.
The Book Find Club led to the Braziller family’s friendship with Arthur Miller and Marilyn Monroe. Braziller and his wife Marsha had selected Miller’s 1945 novel Focus as one of their monthly selections, and had started to spend vacations together on Long Island, a relationship that continued long after Death of a Salesman made Miller famous. One of the high points of the book is when Braziller recounts an evening the two families shared, “dancing and singing and it got quite late”:
Finally, we all went to bed. While in bed, I turned to Marsha and said, "Gee, I kissed Marilyn." "Big deal," she said. "Arthur kissed me."
Braziller’s memoir revisits moments like this in short, almost sparse entries. It’s impossible to appreciate their richness without also sensing the loneliness out of which they emerge. He started writing this book only when he retired, four years ago, at age 95 and began to see the world the world as newly bare. “A number of friends I had once partied and traveled with,” he realized, “were now deceased.”
At 95 too, he read War and Peace for the first time, reread Whitman, and thought about what it meant to be a writer. Ultimately it was a few lines by the literary critic Clifton Fadiman that helped him recover his past and his faith in literature. Fadiman’s comments “inspired me with such a joyous feeling that I started to write,” Braziller writes. “Perhaps I make starting sound easy.”
VIDEOS. Marilyn Monroe comme vous ne l'avez jamais vue
Publié le 30/07/2015
en ligne sur leparisien.fr
Marilyn est éternelle. Dans 5 jours, cela fera 53 ans que la plus emblématique des stars hollywoodiennes trouvait la mort dans la nuit du 4 au 5 août 1962. Suicide ou assassinat déguisé, les thèses vont bon train.
La blonde qui a hypnotisé le monde entier et un président des Etats-Unis, ne laisse personne indifférent, encore aujourd'hui. Pour les fans ou les profanes, l'agence AP et le site britannique Moviestone se sont associés pour déterrer des milliers d'archives vidéos datant de la période comprise entre 1929 et 1979.
Parmi celles-ci, des extraits de reportages télévisés sur l'incandescente actrice de «Certains l'aiment chaud». Il vous faudra moins de «7 ans de réflexion» pour vous plonger dans ces archives de l'actrice la plus admirée de l'histoire, véritable mythe. D'une remise de prix par le magazine Look à l'annonce officielle de sa mort, ces images de celle qui a épousé Arthur Miller, et Joe DiMaggio et été l'amante de deux Kennedy devraient vous replonger avec délectation dans l'incroyable Amérique des 50's.
> rdv sur La chaîne BRITISH MOVIETONE sur youtube
Marilyn Monroe nue: bien avant Photoshop, cette célèbre photo a aussi été retouchée
Publié le 30/07/2015
en ligne sur huffingtonpost.fr
PHOTOS - Marilyn Monroe est l'icône glamour par excellence. Son nom est toujours associé à ses courbes généreuses et ses poses sexy.
Mais l'actrice a travaillé dur pour en arriver là. Lorsqu'elle est arrivée à Hollywood en 1949, elle n'était rien d'autre qu'une jeune fille qui essayait de se faire une place dans le monde du cinéma.
A la même époque, la légende voudrait qu'elle ait accepté de poser nue pour 50 $ afin de pouvoir payer son loyer. Cette histoire s'avère vraie, les photos de cette séance jamais sorties auparavant viennent d'être présentées au public.
Elles ont été prises par Tom Kelley, photographe connu pour avoir fait des clichés de nombreuses célébrités entre 1940 et 1950. On y voit la star sur un fond rouge en velours.
La photo originale est apparue en 1952 dans le célèbre calendrier Golden Dreams. Elle a aussi fait la couverture d'un numéro de Playboy en 1953. Ces événements ont contribué à faire de Marilyn Monroe, la star que l'on connaît.
Mais fait plus étonnant, ce sont les photos utilisées pour créer l'originale qui ont été révélées au public par Limited Runs, un site qui commercialise des photos vintages. Ces clichés font partie de l'exposition consacrée à la star "Marilyn Monroe: Red Velvet Collection" à Los Angeles qui prendra fin le 1er août.
Ces photos font découvrir au public comment étaient retouchées les images à l'époque. Exit Photoshop, chaque élément était modifié à la main, de la taille, à la couleur de cheveux en passant par les lèvres.
Cette exposition de la collection de Ted Stampfler est une reprise de l'expo de 2014 Private Marilyn qui avait eu lieu en Suisse. Il y est présenté cette fois-ci près de 400 objets personnels ayant appartenu à Marilyn Monroe au Liechtenstein (entre la Suisse et l'Autriche).
L’exposition se penche sur la question de l’émancipation de la femme dans les années 50 à l’exemple de la femme la plus photographiée du XXe siècle: l’actrice, chanteuse et icône de la mode Marilyn Monroe. Elle présente la forte personnalité de cette femme exceptionnelle qui, 53 ans après sa mort, n’a rien perdu de la fascination qu’elle suscite et dont l’influence sur la société est encore perceptible aujourd’hui.
Le Musée national du Liechtenstein présente 400 objets qui proviennent initialement de sa succession et font actuellement partie de la collection privée Ted Stampfer, la plus grande collection de ce genre regroupant des objets ayant appartenu à Marilyn Monroe.
On peut y voir des vêtements luxueux, des accessoires personnels, des produits de beauté et de coiffure, des accessoires de cinéma, des documents privés, des films et des photos dont la présentation, dans cette constellation, est une première mondiale. Des objets prêtés par des collectionneurs du monde entier viennent compléter cette collection.
Les visiteurs plongent dans le monde de Marilyn et traversent chronologiquement les stades les plus importants de son évolution et les périodes déterminantes de sa vie. Ils découvrent des objets uniques qui témoignent de la vie et de l’œuvre de cette femme exceptionnelle tout en révélant son identité de femme émancipée. Pour cela, l’exposition s’intéresse aussi bien à l’évolution physique de Marilyn et au rôle qu’elle fait jouer à son corps, qu’à la manière très personnelle dont elle se rebelle contre une industrie cinématographique dominée par les hommes. Grâce à sa hardiesse, elle obtiendra entre autres de meilleures conditions contractuelles et des droits de codécision, mais pourra aussi fonder sa propre société de production cinématographique, ce qui lui assurera une plus grande indépendance.
Un catalogue éponyme accompagnant l’exposition est en vente dans la boutique du musée au prix de 20.00 CHF, ainsi que différentes autres publications.
Directeur général: Directeur Prof. Dr. Rainer Vollkommer
Administrateur et collectionneur: Ted Stampfer
Liechtenstein National Museum
Städtle 43, P.O. Box1216
Principality of Liechtenstein
> article de l'expo sur PR Newswire :
The special exhibition presents the emancipation of women in the 1950s through the example of the most photographed woman of the 20th century -- the actress, singer and style icon, Marilyn Monroe.
The exhibition here focuses on the strength behind the exceptional phenomenon who, even 53 years after her death in 1962, has not lost her charm and influence, which in society and the women's movement to this day is palpable.
Presented are more than 400 selected pieces from the private collection of Ted Stampfer, the world's largest collection of Marilyn Monroe originals of its kind. Through his willingness to present his collection in exhibitions, the art collector and expert wants not only to remember the actress, who was intellectually underestimated during her lifetime and reduced by filmmakers and media to her visual appeal, but also to make exhibit attendees aware of the clever and ambitious businesswoman. Most of the pieces originate from her estate, of which the items were stored after Marilyn Monroe's death in August 1962, until 1999, until large portions of it were put up for auction with auction houses like Christie's and Julien's. The exhibition is rounded out by individual pieces from other international collectors.
Uniquely designed and seen for the first time worldwide, the National Museum in Liechtenstein thus enables its exhibition visitors to dive into Monroe's world. Visitors walk through the most important chronological development stages of her life, and can view special exhibits that not only give a glimpse into her life and the work of this extraordinary woman, but also highlight her emancipated side. These include: high-quality articles of clothing; accessories; beauty, skincare and styling products; personal and film company documents; film props; and extensive photo and film footage presented by means of electronic media.
The exhibition, however, is not just focused on presenting personal belongings from a late actress. Rather, it focuses more on the unknown private person -- the real face behind the Hollywood icon. Thus, it gives an intimate look at the real person behind the fictional persona Marilyn Monroe. Using examples, visitors learn about an ambitious woman of the 1940s and 1950s, who, despite the prevailing gender roles of her time, reached her own set goals gradually and with great confidence.
Adressed is on the one hand, the outward makeover of a natural brunette girl, who became with the conscious use of her body the most desirable woman in the world. This is, for example, demonstrated with the original false eyelashes, various containers of makeup, articles and accessories used as highlights for her hair styling, which were significantly involved in the transformation process. But also Marilyn's favorite clothing is presented, including her white and checkered capri pants, which she liked to combine with a black turtleneck sweater. She wore them both in her private life as well as in important photo shoots (for example in the famous shoots with photographer Alfred Eisenstaedt and Milton Greene). These iconic photographs today show us not only a timeless beauty, but a self-confident woman, who was well aware of her own charisma.
In addition, the exhibition also highlights the public person and reports about the strong side of a woman who had to compete in a man's world in the 1950s. There are character traits and self-confident behavior demonstrated, which culminated at the height of Monroe's career to rebel against the male-dominated film industry. This courageous behavior led to, among other things, better contract terms and the ability to have more say over her career, plus to establishing her own film production company -- another way she became more independent. The exhibition presents original costumes, film props and important documents on the films that were produced by Monroe herself.
Besides the interest in her own career and her personal advancement, Marilyn Monroe was also involved in helping the disadvantaged and minorities. This is illustrated with the example of Ella Fitzgerald, the famous African-American jazz singer, for whom Monroe actively campaigned to obtain engagements in a hip nightclub that was typically reserved for white artists. Fitzgerald later reported that Monroe's influence and active action were instrumental in her international success as a singer.
The exhibition offers in all its aspects a comprehensive view of the strong-willed character of a woman who was ahead of her time. And it also reveals to the visitor that Marilyn Monroe, by her behavior in different ways, exerted a formative influence on the emancipation of women, making her one of the most important cultural and historical figures of the 20th century.