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.
Marriage proposal: Frank Sinatra and Marilyn Monroe
look at a photo from fellow actor Peter Lawford's new polaroid camera
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.
Wining and dining: Sinatra with Marilyn at a Hollywood function
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 :
Paul Newman / Robert Wagner / Peter Lawford
Porfirio Rubirosa / Dean Martin / Mickey Rooney
Jeanne Carmen / Eddie Fisher / Jim Dougherty
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.
Darryl F Zanuck (1946) / George Jessel (1948) / Joseph Schenck (1948)
Milton Berle (1948) / Natasha Lytess (1949) / Tony Curtis (1949-1950)
Milton Greene (1949) / Paul Sanders (1950) / Elia Kazan (1951)
Joe DiMaggio (1952-1954) / Robert Mitchum (1954) / Joan Crawford (1954)
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".
Arthur Miller / Marlon Brando (1955-1962) / Yul Brynner (1957)
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".
Franck Sinatra (1959-1961) / Yves Montand (1960)
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.
John F Kennedy (1961-1962) / Robert F Kennedy (1962)
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 Monroe au Chinese Theater de Los Angeles pour inscrire dans le marbre ses empreintes ur Hollywood boulevard.
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
> site officiel marilynmonroe-sammlung.de
> photographies sur flickr
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.
17 Years | Marilyn | The Making of a Legend
> plus d'infos sur Photo Iconix et sur Andrew Weiss Gallery
> le catalogue (ci-contre) à $45.00 en vente sur andrewweissgallery.com
Cette exposition internationale de photographies organisée par Andrew Weiss en 2014 a exposé sur trois continents le travail de sept photographes montrant la carrière de Marilyn de sa première à sa dernière séance photo. L'expo comprend aussi tous les types de photographes, de ceux de la presse, aux artistes professionnels, et aux simples amateurs. C'est une collection étonnante de photographies prises de 1945 jusqu'en 1962.
This international exhibition of photographs curated by Andrew Weiss in 2014 showcases on three continents the work of seven photographers spanning Marilyn’s career from her first to her last professional sittings. The exhibition also includes every type of photographer, from journeyman press shooters, to acclaimed international artists, to a rank amateur. It’s a stunning collection of photography from 1945 through 1962.
> Les photographes:
> photographies sur le blog Photo Iconix
Les débuts de Marilyn Monroe sous l'objectif
Publié le jeudi 25 juin 2015
en ligne sur parismatch.com
Vendredi (26 juin 2015) sera vendue aux enchères une série de clichés de Marilyn Monroe, réalisée lorsqu’elle avait 19 ans. La future star y pose souriante et visiblement détendue, vêtue d’un jean et d’une chemise à carreaux ou d'un maillot de bain. Même si elle n’est pas encore la bombe blonde platine aux lèvres rouges, Marilyn est reconnaissable sur cette plage, tirant à l’arc, regardant à travers un télescope, ou gardant entre ses mains un appareil photo. Le photographe Joseph Jasgur ne s’y est pas trompé: il a expliqué avoir su, à l’instant où il l’a rencontrée, qu’elle aurait un succès fou. Plongé dans ses yeux bleus, il disait avoir eu l’impression de «regarder dans un kaléidoscope».
Les photographies et objets liés à Marilyn Monroe s’arrachent dans les ventes aux enchères. En juin 2011, la «subway dress» de la célébrissime scène de la bouche de métro dans «Sept ans de réflexion» avait été vendue pour 4,6 millions de dollars à Beverly Hills. Elle appartenait à une vente de 600 costumes qui appartenaient à l’actrice Debbie Reynolds, au cours de laquelle s’était également vendue la robe rouge à sequins de «Les hommes préfèrent les blondes». Cette tenue inoubliable s’était elle vendue 1,2 million de dollars, après avoir été évaluée à un prix entre 200.000 et 300.000 dollars.
© BNPS / VISUAL Press Agency
'There was no sultry sexiness about her. That came much later': The astonishing treasure trove of rare images show Marilyn Monroe as you've never seen her before
By Astrid And Ben Franse
Published: 21:01 GMT, 20 June 2015
online on dailymail.co.uk
They languished for decades in an old box, yet these extremely rare photographs, many never seen before, reveal the stunning transformation of a naive young model into the world’s biggest movie star... but only after she reluctantly agreed to break open the peroxide.
A brunette Norma Jeane in 1946, the year she changed her name to Marilyn Monroe
Twenty years ago, Astrid and Ben Franse, owners of a Fifties memorabilia store, were in a vintage shop in Los Angeles when the shopkeeper came over with a box, telling them: ‘It’s press clippings and pictures of Marilyn Monroe. I only got a quick look. It was take it or leave it.’
The couple bought the box and took it home to the Netherlands, where it was stored under a desk and promptly forgotten – until 2012 when a dealer telephoned from the U.S. about a client who was a big Marilyn fan.
Ben remembered the box and went to check what it contained. He was stunned. It was the archive of Blue Book, the modelling agency that launched Marilyn’s career.
There were negatives, letters, telegrams, photos and worksheets.
Using this treasure trove of unseen images, Astrid and Marilyn expert Michelle Morgan, author of ‘Marilyn Monroe: Private And Undisclosed’, have been able to tell the little-known story of Marilyn before she was famous...
In 1946, the year Marilyn signed her first film contract, with 20th Century Fox
Emmeline Snively appraised the girl in front of her in the office of her model agency.
She was ‘in a simple white dress and armed with her portfolio, which offered no more than a few snaps. You wouldn’t necessarily wear a white dress on a modelling job, and it was as clean and white and ironed and shining as she was.’
Snively noted the 19-year-old’s measurements on an agency card: ‘Size 12, height 5.6, 36 bust, 24 waist, 34 hips. Blue eyes, perfect teeth and blonde, curly hair.’
But she would later recall: ‘Actually her hair was dirty blonde. California blonde, which means that it is dark in the winter and light in the summer.
'It curled very close to her head, and was unmanageable. I knew it would have to be bleached and worked on.’
It was August 2, 1945 and this was the first meeting between Norma Jeane Dougherty – later known as Marilyn Monroe – and the mentor who launched her career.
This was taken approximately 1948. ‘She did have a pleasant personality; an all-American girl personality – cute, wholesome and respectable,' said Blue Book Model Agency's Emmeline Snively
Norma Jeane (she was christened Jeane with an ‘e’, but this was often misspelt) had been raised in foster homes – her father was unknown, her mother mentally ill. At 15, she met James Dougherty. He was good-looking and sporty.
She was looking for a way to avoid another stint in an orphanage so, after prompting by her foster mother and future mother-in-law, she agreed to marry Dougherty in 1942, weeks after her 16th birthday.
Two years later, her husband joined the navy and Norma Jeane moved in with her in-laws and took a job in the Radio Plane munitions factory.
She hated the job and living with her husband’s parents. So when a photographer organised a few modelling assignments for her, it seemed to offer a way out.
James initially approved of the work but made it clear that he would only tolerate it until he returned.
While she was at the factory the family trusted Norma Jeane completely, possibly because mother-in-law Ethel worked there too and could keep an eye on her.
But when she was crowned ‘Queen of the Radio Plane Picnic’ during a company outing, they saw that a normal life with a house and children was not on her mind.
Marilyn posing with ski sticks in a 1944 photo shoot (FROM THE COLLECTION OF KIM GOODWIN USED WITH PERMISSION FROM DAVID CONOVER JNR); On a swimwear shoot in 1946
Things came to a head one evening when Norma Jeane, driving home from a modelling job and, by her admission, ‘dreaming again’, crashed into another vehicle and wrote off her husband’s car.
That was the beginning of the end for Norma Jeane and the Doughertys. Soon after she moved in with former foster parent ‘Aunt’ Ana Lower.
The long-distance marriage limped on for another year – even surviving a fling Norma Jeane had with a photographer. But while modelling might have caused problems with her husband’s family, she was determined it would be her key to a better future.
So, to put her nascent career on a serious footing she had come to Snively’s Blue Book Model Agency, based in Los Angeles’s opulent Ambassador Hotel.
Many in modelling believed Blue Book was essentially an escort agency, providing girls for lonely businessmen staying at the hotel to take to dinner.
‘The LAPD kept a close watch,’ said a source who knew the agency at the time.
Snively admitted: ‘Many of my girls whose husbands were overseas dated on several nights of the week. But not Norma Jeane. She was interested only in legitimate assignments.’
The reception walls were covered in glossy photos of clients past and present, as was Snively’s office. There was a statue of the ancient Eygptian princess Nefertiti on her desk – ‘the most beautiful woman of her era,’ Snively believed.
The boss spoke in an English accent, though she was American. And she was picky about who she took on.
1/ Marilyn with her magazine covers in 1946
2/ As a Blue Book model in 1946
3/ Marilyn posing with a fellow Blue Book Model in 1946
‘Do you sing ?’ Snively asked.
‘Just a little,’ replied Norma Jeane.
‘Ambitions of becoming an actress ?’
‘No, none at all.’
‘Do you have your own wardrobe ?’
‘Not really,’ said Norma Jeane. ‘A few items but not many.’
Snively later recalled, ‘She had a white dress which looked terrific on her, although models usually shy away from white. It accentuated her bust and called attention to her figure. It was extremely tight across the front.’
The only other things she seemed to own were a bathing suit and a blue suit ‘that didn’t do a thing for her’, according to Snively.
‘She had a girl next door look. All right, you never saw a girl next door who looked like Marilyn but that’s how she looked the day she came in. For me that’s how she always looked.’
Norma Jeane’s looks, enthusiasm and naivity won over the agency owner. She signed her up and set about training her in grooming, presentation and coordination. There was ‘good solid work on my part to analyse and develop her best points (no pun intended)’.
A 1946 press release from Blue Book, revealing Marilyn’s vital statistics
She determined that Norma Jeane could do two types of modelling. She couldn’t enter beauty contests – a useful way of raising a model’s profile – because she was married, which disqualified her.
Nor could she do catwalk modelling. As Snively observed: ‘She did have a pleasant personality; an all-American girl personality – cute, wholesome and respectable.
'There was no sultry sexiness about her. That came much later, although I did realise immediately that Marilyn would never do as a fashion model. Most fashion models are tall, sophisticated-looking and slim-chested. Marilyn was none of these.’
And there was another problem – her walk. Her famous ‘wiggle walk’ went against everything a catwalk model was ever trained to do.
It has been claimed that she used to cut part of the heel from one shoe, causing her bottom to rock from side to side. Another suggestion was she had suffered from an illness as a child, resulting in a slight limp. Snively had a different theory.
1/ In 1945, the year she signed with the Blue Book modelling agency
2/ Marilyn posing outdoors in 1945
‘She’s double-jointed in the knees, so she can’t relax and that is why her hips seem to sway.
'She couldn’t stand with a relaxed knee like most models, because her knees would lock in a stiff-legged position. Her walk is a result of that locking action... This she turned into an asset.’
Another ‘problem’ was her smile, which the agency felt made her nose look too long.
‘She smiled too high, that’s what was wrong, and it made deep lines around her nose,’ Snively later recalled. ‘We taught her how to bring her smile down, and show her lowers.’
This resulted in the famous lip quiver which lookalikes emulate to this day.
Finally, there was the hair. ‘It was so curly, so frizzy.’
While Norma Jeane was eager to soak up any advice about her smile, she was less happy with what Snively suggested for her hair: bleach and straightening. There was no way the young model could afford the upkeep of such a style, and she had no wish to be made into a glamour girl.
‘She was a believer in naturalness,’ wrote Snively. ‘Any suggestions about lightening her hair or even styling it met with defeat.’
1/ During 1948-49, as she waited for her film career to take off, Marilyn continued to take modelling jobs, occasionally doing nude work
2/ Magazine covers led to items in gossip columns which in turn led to a screen test at Twentieth Century Fox.A studio executive chose the name Marilyn, and she picked her grandmother’s surname, Monroe
3/ She won a contract and tiny roles in two minor films before being cast in the lead as a burlesque dancer in a film called Ladies Of The Chorus. It wasn’t a hit but Marilyn’s profile was raised
The agency boss tried desperately to change Norma Jeane’s mind. She made a compromise by blow-drying it straighter occasionally, but bleaching and permanently straightening? No.
Her first assignment was a ten-day industry show at LA’s Pan Pacific Auditorium. It wasn’t glamorous but it paid $90. She found herself on the Holga Steel stand, talking to visitors, giving out leaflets and demonstrating one of the company’s products – a filing cabinet. Holga sent Snively a glowing report.
Next she was in a series of photos for American Airlines – her first proper photo-modelling job.
The photographer was impressed by ‘her healthy good looks’ – there were photos of Norma Jeane applying make-up in the bathroom, in slippers and a robe.
Eventually, a job came up that required a model with blonde hair.
‘Look darling,’ Snively told her. ‘If you intend to go places in this business, you’ve got to bleach and straighten your hair; your face is a little too round and a hair job will lengthen it. Don’t worry about money, I’ll keep you working.’
She was hired for a shampoo ad on the understanding that she would sort out her hair. When the photographer offered to pay for the process, Norma Jeane finally agreed to go to the Frank and Joseph salon in Hollywood.
Snively loved it. ‘It was bleached to take it out of the obscurity of dishwater blonde,’ she wrote.
1/ In 1949, the year before her breakthrough role in The Asphalt Jungle
2/ A studio publicity shot from 1949
3/ In 1949, the year she appeared in the Marx Brothers film Love Happy. That paved the way for ever bigger parts and her iconic starring roles in the likes of Gentlemen Prefer Blondes and Some Like It Hot
‘Marilyn emerged a truly golden girl... She went into her bathing-suit stage, and the demand for her was terrific.
'She averaged $150 a week, and men began talking to her about going into motion pictures.’
It was the beginning of Norma Jeane’s transformation into Marilyn Monroe and from modelling to movies. Around this time Marilyn was walking down the street one day when a man pulled his Cadillac up next to her. He rolled down the window and told the young woman that she was so beautiful she should be in movies.
The man said he worked for the Goldwyn Studio and she should come for an audition.
Unfortunately, his studio turned out to be a rented suite, where the ‘executive’ persuaded her to pose in a variety of inappropriate positions, while reading a script.
‘All the poses were reclining, although the words I was reading didn’t seem to call for that position,’ Marilyn recalled.
‘Naive as I was, I soon figured this wasn’t the way to get a job in the movies. I manoeuvred toward the door and made a hasty exit.’
But magazine covers led to items in gossip columns which in turn led to a screen test at Twentieth Century Fox.
A studio executive chose the name Marilyn, and she picked her grandmother’s surname, Monroe. She won a contract and tiny roles in two minor films before being cast in the lead as a burlesque dancer in a film called Ladies Of The Chorus. It wasn’t a hit but Marilyn’s profile was raised.
Blue Book’s Emmeline Snively with Marilyn’s magazine covers in the late Fifties
Being measured by Snively in 1954
Her film career turned a corner when she was offered a part in the Marx Brothers movie Love Happy. That paved the way for ever bigger parts and her iconic starring roles in the likes of Gentlemen Prefer Blondes, The Seven Year Itch and Some Like It Hot.
Snively later recalled a chat with Marilyn, now married to baseball star Joe DiMaggio, the actress confessed that she felt inadequate in her career.
‘Before Marilyn: The Blue Book Modelling Years’ by Astrid Franse and Michelle Morgan is published by The History Press on July 14, priced £25.
Offer price £18.75 (25 per cent off), until July 12. Pre-order at mailbookshop.co.uk, with free p&p
Lundi 1er juin 2015 - sur Cherie 25
- à 20h50 -
Film - Sept ans de réflexion
Durée : 112 minutes
Année et origine : 1955, USA
Réalisateur: Billy Wilder
Acteurs: Marilyn Monroe, Tommy Ewell, Evelyn Keyes, Sonny Tufts, Robert Strauss, Oscar Homolka, Marguerite Chapman, Victor Moore...
L'histoire: Une fois femme et enfants envoyés en vacances, Richard Sherman a les mains libres pour séduire la jeune et jolie voisine qui vient de s’installer à l’étage du dessus. C’est sans compter sur sa mauvaise conscience et quelques trouble-fêtes imprévus. Le film où l’on peut admirer la robe blanche de Marilyn Monroe voler sous le coup de souffle d’une bouche d’aération.
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- à 22h55 -
Film Biopic: My week with Marilyn
Durée : 1h42min
Année et origine : 2011, USARéalisateur: Simon Curtis
Acteurs: Michelle Williams, Eddie Redmayne, Julia Ormond, Kenneth Branagh, Pip Torrens, Geraldine Somerville, Michael Kitchen, Miranda Raison, Karl Moffatt...
L'histoire: Au début de l'été 1956, Marilyn Monroe se rend en Angleterre pour la première fois. En pleine lune de miel avec le célèbre dramaturge Arthur Miller, elle est venue tourner LE PRINCE ET LA DANSEUSE, le film qui restera célèbre pour l'avoir réunie à l'écran avec Sir Laurence Olivier, véritable légende du théâtre et du cinéma britanniques, qui en est aussi le metteur en scène. Ce même été, Colin Clark, 23 ans, met pour la première fois le pied sur un plateau de cinéma. Tout juste diplômé d'Oxford, le jeune homme rêve de devenir cinéaste et a réussi à décrocher un job d'obscur assistant sur le plateau.
> Sur le blog: fiche du film My week with Marilyn
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- à 00h40 -
Documentaire: Eternellement Femmes
Marilyn Monroe, entre lumière et ténèbres
Durée : 52min
Année et origine : 2012
Réalisateur: Bertrand Tessier
Avec les témoignages de: Bernard Comment, Philippe Labro, Anne Plantagenet, Lois Banner, Larry Schiller, Adrien Gombaud, Agnès Michaud, François Forestier, John Gilmore, John Strasberg, Michel Shneider.
Résumé: D'un côté, l'image d'une réussite parfaite, celle de l'icône des icônes -une femme qui allie la beauté, le talent, le charisme, le succès. De l'autre, le désastre d'une vie qui s'achèvera de manière prématurée dans la nuit du 4 au 5 aout 1962 alors qu'elle n'avait que trente-six ans, comme si la gloire était le deuil éclatant du bonheur. Née Norma Jean Baker, Marilyn Monroe aura cherché toute sa vie à exorciser une enfance fracassée : elle n'a jamais connu son père et a grandi de familles d'accueil en orphelinat, loin de sa mère, atteinte de trouble mentaux. Taraudée par l'inquiétude et l'angoisse, elle parviendra à s'imposer comme la star la plus emblématique de sa génération avec des films comme Les hommes préfèrent les blondes ou Sept ans de réflexion. Mais la célébrité ne lui suffit pas : étouffant dans son personnage de blonde volcanique, elle s'enfuit à New York et s'inscrit aux cours de l'actor's studio comme une débutante. Plus que tout, elle cherche l'amour, mais ses mariages avec le joueur de base-ball Joe Di Maggio et le romancier Arthur Miller tournent court. Confrontée à ses démons, elle sombre lentement dans une dépression dont elle ne sortira jamais. De Los Angeles à New York, Bertrand Tessier suit Marilyn Monroe à la trace. Entre documents d'archives et témoignages -dont celui de Larry Schiller, son ami photographe, qui l'a vue le matin même de sa mort-, il mène une enquête intime sur la plus mythique des stars : Marilyn Monroe, dans toute sa complexité.