23 février 2011

Septembre 1952 - Marilyn dans les studios de la Fox

Marilyn Monroe dans les studios de la 20th Century Fox
à Los Angeles, probablement vers septembre 1952
.

Marilyn Monroe in the studios of 20th Century Fox
in Los Angeles, probably circa September 1952.


Dans la loge Coiffure / Maquillage de la FOX
In the Hair Dress / Make Up Department of FOX

Marilyn se fait coiffer par Esperanza, une coiffeuse des studios.
Assise à côté de Marilyn, l'actrice Jean Peters, sa partenaire dans "Niagara",
film dont elles viennent de terminer le tournage.

Marilyn gets her hair dressed by Esperanza, a hairdresser from the studios.
Sitting next to Marilyn, actress Jean Peters, her partner in "Niagara",
the movie they have just finished filming.

1952-09-FOX_studios-01-dressing_room-1-hair_dresser_esperanza-jean_peters-1  1952-09-FOX_studios-01-dressing_room-1-hair_dresser_esperanza-jean_peters-2 
1952-09-FOX_studios-01-dressing_room-1-hair_dresser_esperanza-jean_peters-1b  

Marilyn se maquille.
Marilyn is putting on makeup.

1952-09-FOX_studios-01-dressing_room-2-make_up-1a 
1952-09-FOX_studios-01-dressing_room-2-make_up-1  1952-09-FOX_studios-01-dressing_room-2-make_up-3  1952-09-FOX_studios-01-dressing_room-2-make_up-2 
1952-09-FOX_studios-01-dressing_room-2-make_up-2a 


A la cantine des studios
In the Studios' Commissary

Marilyn mange une pastèque
Marilyn eats watermelon

1952-09-FOX_studios-02-commissary-010-1 
1952-09-FOX_studios-02-commissary-010-1b  1952-09-FOX_studios-02-commissary-011-1 

Dans l'article de Movie World (voir en fin de post)
il est indiqué que Marilyn mange ici :
du fromage blanc, du babeurre et du melon

In the article of Movie World (see at the end of this post)
it is indicate that Marilyn eats here:
cottage cheese, buttermilk and melon


En Coulisse
In Backstage

Marilyn fait une sieste et un peu d'exercice physique pour se détendre
Marilyn takes a nap and does some physical exercise to relax

1952-09-FOX_studios-04-backstage-010-1  1952-09-FOX_studios-04-backstage-012-1  
1952-09-FOX_studios-04-backstage-011-1 
1952-09-FOX_studios-04-backstage-020-1  1952-09-FOX_studios-04-backstage-021-1 
1952-09-FOX_studios-04-backstage-030-1  1952-09-FOX_studios-04-backstage-031-1 
1952-09-FOX_studios-04-backstage-042-1 
1952-09-FOX_studios-04-backstage-032-1 
1952_studio_025_by_halsman_2 1952-fox_studios-by_halsman-1 1952_studio_028_by_halsman_2 
1952-09-FOX_studios-04-backstage-043-1 
 1952-09-FOX_studios-04-backstage-051-1  1952-09-FOX_studios-04-backstage-050-1  1952-09-FOX_studios-04-backstage-051-1a 


A l'extérieur des studios
Outside the Studios

Marilyn lit le "Saturday Pictorial Los Angeles Evening Herald Express"
en titre: l'expulsion de Charlie Chaplin du territoire américain
(Charlie Chaplin est parti des USA le 18 septembre 1952)
et le discours de Richard Nixon du 23 septembre 1952

1952-09-FOX_studios-03-press-010-1 

Marilyn reads the "Saturday Pictorial Los Angeles Evening Herald Express"
the
titles: Charlie Chaplin's expulsion from American territory
(Charlie Chaplin left the USA on September 18, 1952)
and the Richard Nixon's speech of September 23, 1952

1952-09-FOX_studios-03-press-010-1a 


Marilyn quitte les studios en tenant plusieurs vêtements dans ses bras,
dont sa robe blanche de Ceil Chapman,
qu'elle a porté pour la séance photos pour le magazine Life
en janvier 1952 avec le photographe Philippe Halsman

Marilyn leaves the studios holding several clothes in her arms,
including her white Ceil Chapman dress,
that she wore for the photoshoot for Life magazine
in January 1952 with photographer Philippe Halsman

1952-09-FOX_studios-03-chapman_dress-010-1a 
1952-09-FOX_studios-03-chapman_dress-010-1  1952-09-FOX_studios-03-chapman_dress-011-1  1952-09-FOX_studios-03-chapman_dress-011-1a 


Il semble que Marilyn est devant sa Pontiac
It seems that Marilyn is in front of her Pontiac

1952-09-FOX_studios-03-chapman_dress-in_car_pontiac-1 


Dans une loge des studios
In the Studios' Dressing-Room

Marilyn s'habille avec une habilleuse:
s'agit-il d'une costumière de la Fox ?

1952-09-FOX_studios-05-photoshoot-backstage-1  

Marilyn get dress with a dresser:
Is a costume designer from the Fox Studios ?

1952-09-FOX_studios-05-photoshoot-backstage-1a 


La séance photos
The Photoshoot

Marilyn porte sa robe blanche Ceil Chapman
Marilyn wears her Ceil Chapman's white dress

1952-09-FOX_studios-05-photoshoot-010-1  
1952-09-FOX_studios-05-photoshoot-010-1b  1952-09-FOX_studios-05-photoshoot-011-1 


- Magazine -

Movie World, 03/1953 - USA

1952-09-FOX_studios-mag-1953-03-movie_world-cover  1952-09-FOX_studios-mag-1953-03-movie_world-sum 
1952-09-FOX_studios-mag-1953-03-movie_world-p1  1952-09-FOX_studios-mag-1953-03-movie_world-p2  1952-09-FOX_studios-mag-1953-03-movie_world-p3 

Pas de crédit photographique précis pour cette série de photos
Les photographes attitrés du magazine sont les frères Weissman (Art et Len)

No specific photo credit for this series of photos
The magazine's regular photographers are the Weissman brothers (Art and Len) 


- Bonus sur le blog -

> La robe blanche de Ceil Chapman
immortalisée lors de la séance pour LIFE de Philippe Halsman
> Ceil Chapman's white dress
immortalized during the shooting for LIFE by Philippe Halsman

article Les Robes Moulantes à fronces de Ceil Chapman

1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-005-1a  1952-04-07-LIFE-usa 


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

21 février 2011

01/1952, Beverly Carlton Hotel - Séance LIFE, Jour 1: En robe blanche par Halsman & Lloyd

Quand le photographe Philippe Halsman rencontre Marilyn Monroe (sans doute en fin d'année 1951), il remarque qu'elle a beaucoup changé depuis la dernière fois où il l'avait vu (il l'avait photographiée trois ans auparavant en 1949 pour le magazine Life - voir Life 1949 ); elle a pris de l'assurance, et Halsman la découvre sous un autre angle: il la trouve drôle, spirituelle, bienveillante, intelligente et très sexy. Par pure coïncidence, le journaliste de Life, Stanley Flink, le contacte trois semaines plus tard pour qu'Halsman se charge d'un reportage photographique en vue d'être publié dans le magazine et que Marilyn en fasse la couverture (voir Life 7 avril 1952 ). Après avoir contacté son agent, Marilyn sera disponible un jour et demie pour la séance et Halsman souhaite que cela se passe chez elle: la séance aura donc lieu dans son appartement au Beverly Carlton Hotel.
Pour son reportage photographique, Halsman scénarise la séance dont le but est de montrer au public la sensualité totale de Marilyn Monroe, à travers même ses gestes du quotidien (parler, marcher, s'allonger, manger) et donc à travers diverses situations et prises de vues. Philippe Halsman est accompagné de son assistant John Baird et de Stanley Flink, envoyé par Life pour superviser le shooting. 
Pour le premier jour de séance, le photographe Harold Lloyd, qu'Halsman avait rencontré la veille chez Lloyd et qu'il a convié à participer à la séance avec Marilyn après avoir été impressionné par ses photographies couleur en 3 dimensions, est présent. Il est venu avec son appareil photo et va ainsi photographier les coulisses de cette séance en prenant des photos en couleur et même en 3D.

When photographer Philippe Halsman meets Marilyn Monroe (probably at the end of 1951), he notices that she has changed a lot since the last time he saw her (he had photographed her three years earlier in 1949 for Life magazine - see Life 1949 ); she has gained confidence, and Halsman sees her from a different perspective: he finds her funny, witty, benevolent, intelligent and very sexy. By pure coincidence, Life journalist Stanley Flink contacts him three weeks later so that Halsman could take charge of a photographic report to being published in the magazine and that Marilyn would be in cover (see Life 7 avril 1952 ). After contacting her agent, Marilyn will be available for a day and a half for the session and Halsman wants it to happen at her home: the session will so take place in her apartment at the Beverly Carlton Hotel.
For her photographic report, Halsman scripts the session whose goal is to show to the public the total sensuality of Marilyn Monroe, even through her everyday gestures (talking, walking, lying down, eating) and therefore through various situations and shootings. Philippe Halsman is accompanied by his assistant John Baird and Stanley Flink, sent by Life to supervise the shootings.
For the first day of the session, the photographer Harold Lloyd, whom Halsman has met at Lloyd's home the day before and whom he invited to participate in the session with Marilyn after being impressed by his 3-dimensional color photographs, is present. He comes with his camera and take pictures behind the scenes of this session, taking photos in color and even in 3D.


- Séance de la robe moulante blanche -
The White Tight Dress Sitting

Le premier jour de la séance photos en janvier 1952, Philippe Halsman, John Baird, Stanley Flink (et on imagine Harold Lloyd), attendent devant le Beverly Carlton Hotel de Marilyn Monroe. Absente, elle arrive en retard au volant de son cabriolet Pontiac, vêtue d'un blue jeans.
Halsman découvre l'intérieur modeste de sa chambre: un appartement de taille moyenne, avec une grande pièce où se trouve un grand lit ressemblant à un canapé, des étagères contenant beaucoup de livres et de disques, et du matériel de gymnastique à l'entrée (l'une des citations célèbres de Marilyn provient d'une remarque du photographe: quand Halsman lui demande pourquoi elle a des haltères, Marilyn lui répond en soupirant: "Je combats la gravité !").

La séance photos prend place, tel qu'il le racontera (dans le magazine Photography de juin 1953 ): "J'ai décidé de commencer par essayer la photo de couverture. Je devais d'abord trouver la robe. Marilyn a ouvert son placard et j'ai découvert à ma grande surprise que l'une des raisons pour lesquelles Monroe était si peu vêtue était qu'elle avait si peu à porter. Elle dépensait manifestement plus d'argent en livres et disques qu'en robes. Il n'y avait pas de fourrures dans sa garde-robe et seulement quelques robes de soirée. J'ai choisi la robe moulante blanche, et Marilyn l'a mise [nb: cette robe blanche de crêpe est une création de la styliste américaine Ceil Chapman]. Il y avait un énorme arc sur la hanche gauche. J'expliquai à Marilyn que le nœud dépréciait la robe, qu'en règle générale les lignes simples d'une robe étaient plus élégantes. Marilyn, après m'avoir écouté avec la même attention qu'un élève écoutant l'explication de son professeur sur un nouveau théorème algébrique, prit ses ciseaux et coupa l'arc.
Alors qu'elle était dans la salle de bain en train de refaire son maquillage (j'insistais pour qu'elle ne porte pas plus que du rouge à lèvres et du mascara), je réfléchissais à la façon dont elle devrait poser (...) J'ai emmené Marilyn dans un coin et j'ai mis mon appareil photo devant elle (...) Il aurait été inutile de se concentrer sur le visage de Monroe, car elle utilise son corps (pour jouer) plus que toute autre actrice hollywoodienne.  (...) Flink s'est placé près de l'appareil et a commencé à complimenter et à taquiner Monroe. J'ai fait semblant d'être très jaloux de lui et nous avons eu une bataille verbale enflammée, tous deux se disputant sans vergogne les faveurs de Marilyn. Entourée de trois hommes admiratifs, elle souriait, flirtait, gloussait et se tortillait de plaisir. Pendant l'heure où je l'ai gardée coincée, elle s'est amusée royalement, et j'ai pris entre 40 et 50 photos - pas les expressions courantes qu'elle donne habituellement aux photographes.
Pourquoi ai-je pris autant de photos, au lieu de me contenter que de quatre ou cinq ? Je photographie lorsque l'expression semble significative, mais je ne sais jamais si le moment suivant ne produira pas une expression encore plus gratifiante. (...) le sujet néglige l'importance d'être photographié et crée parfois une immunisation complète contre le cliquetis constant de l'obturateur. (...)  J'ai été extrêmement heureux de voir plus tard que les éditeurs de Life avaient choisi comme couverture la photo prise à cet instant décisif."

On the first day of the photoshoot in January 1952, Philippe Halsman, John Baird, Stanley Flink (and we imagine Harold Lloyd), wait in front of Marilyn Monroe's Beverly Carlton Hotel. Absent, she arrives late at the wheel of her Pontiac convertible, dressed in blue jeans. Halsman discovers the modest interior of his room: a medium-sized apartment, with a large room with a large sofa-like bed, shelves with lots of books and records, and gym equipment at the entrance. (one of Marilyn's famous quotes comes from a remark by the photographer: when Halsman asks her why she has dumbbells, Marilyn responds with a sigh: "I'm fighting gravity !").
The photoshoot takes place, as he will tell (in magazine Photography from June 1953 )
: "I decided to begin by trying for a cover picture. First I had to find the dress. Marilyn opened her closet and I found to my surprised that one of the reasons why Monroe wore so little was that she had so little to wear. She obviously was spending more money on books and records than on dresses. There were no furs in her wardrobe and only a couple of evening gowns. I selected the white slinky one, and Marilyn put it on [nb: this white crepe gown is a creation of the american stylist Ceil Chapman]. It had an enormous bow on the left hip. I explained to Marilyn that the bow cheapened the gown, that as a rule simple lines in a dress were more elegant. Marilyn, after listening to me with the attention of a pupil listening to a teacher's explanation of a new algebra theorem, took her scissors and cut off the bow.
While she was in the bathroom overhauling her makeup (I insisted that she not to wear more than lipstick and mascara), I was thinking of the way she should pose. (...) I led Marilyn to a corner and put my camera in front of her. (...) It would have been wasteful to concentrate on Monroe's face, since she uses her body (for acting) more than any other Hollywood actress. (...) Flink placed himself near the camera and started to compliment and to tease Monroe. I pretended to be very jealous of him and we had a fiery verbal battle, both unabashedly competing for Marilyn's favor. Surronded by three admiring men, she smiled, flirted, giggled, and wriggled with delight. During the hour I kept her cornered she enjoyed herself royally, and I took between 40 and 50 pictures - not of the stock expressions she usually gives to the photographers.
Why did I take so many pictures, instead of being satisfied with four or five ? I shoot when the expression seems significant, but I never know whether the next moment might not produce and even more rewarding expression. (...)  the subject disregard the importance of being photographed, and creates sometimes a complete immunization against the constant clicking of the shutter. (...) I was extremely happy to see later that the Life editors had selected as the cover the picture made at that climactic instant."

1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-001-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-001-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-001-3 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-001-4-GF  
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-001-4  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-001-5 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-002-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-002-2 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-002-2a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-002-2b 1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-002-3a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-002-3  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-002-4  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-003-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-003-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-003-3  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-003-4 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-1a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-1-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-1-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-1-3 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-2a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-3a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-3a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-3b  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-3c 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-005-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-005-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-005-2a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-005-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-005-3  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-1a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-3 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-4  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-5-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-4a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-5-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-5-3 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-6  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-7a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-006-7 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-007-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-007-1a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-007-2 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-007-3  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-007-4  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-007-5 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-007-5a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-008-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-008-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-008-3 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-008-4  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-009-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-009-2 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-009-3  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-009-4a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-009-5 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-010-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-010-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-010-3 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-010-1a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-010-4b  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-010-3a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-010-4 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-011-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-011-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-011-2a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-2a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-2 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-3  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-4  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-5 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-6  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-7  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-012-8 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-013-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-013-2 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-020-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-020-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-020-2a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-020-3  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-020-4  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-020-4a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-020-4b 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-020-5  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-021-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-021-2 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-021-3  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-022-2a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-023-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-023-1a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-022-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-022-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-022-3  


- Planches Contact -
- Contact Sheet -

1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-010-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-011-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-012-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-013-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-014-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-014-2 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-015-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-016-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-016-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-020-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-021-1  
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-022-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-023-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-CS-024-1  


 1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_halsman-004-3f  Cette séance photo reste célèbre par l'un des clichés qui a fait la première couverture de Life consacrée à Marilyn Monroe. Les yeux mi-clos et la bouche entr'ouverte sacrèrent Marilyn, âgée de 26 ans, la star et déesse de l'érotisme.
Philippe Halsman: "Pour Marilyn, ce fut probablement l'histoire du magazine la plus importante de sa carrière (...) bien que l'effet n'ait pas été d'une immédiateté spectaculaire, cette histoire a convaincu la Twentieth Century-Fox qu'au lieu d'une simple starlette avec des possibilités, ils avaient en elle une étoile de première grandeur (...) Pour moi, ce n'était qu'une histoire de routine qui a abouti à ma 54ème couverture de Life."

This photo session remains famous as one of the shots was the first cover of Life dedicated to Marilyn Monroe. Half-closed eyes and opened mouth consecrated Marilyn, 26 years old, as the star and goddess of eroticism.
Philippe Halsman: "For Marilyn this was probably the most important magazine story in her carrer. (...) athough the effect was not of spectacular immediacy, this story did convince Twentieth Century-Fox that instead of a mere starlet with possibnilities, they had in her a star of the first magnitude. (...) For me it was only a routine story which resulted in my 54th Life cover."


En Coulisse
In Backstage

Le cinéaste et photographe amateur Harold Lloyd a été convié par Philippe Halsman à se joindre à la séance photos. Lloyd photographie ainsi les coulisses de la séance, où on y voit Halsman donnant à Marilyn les directives de poses à prendre, et l'assistant John Baird qui peaufine les réglages de l'objectif.
Filmmaker and amateur photographer Harold Lloyd was invited by Philippe Halsman to join the photoshoot. Lloyd thus photographs the backstage of the session, where Halsman is seen giving Marilyn the directives poses to be taken, and assistant John Baird who fine-tunes the lens settings.

 1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-010-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-011-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-011-1a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-011-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-011-2a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-012-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-012-2  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-013-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-012-2a 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-014-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-014-1a
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-015-1  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-015-1a  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-020-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-021-1 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-021-2  

- Photographies en 3D -
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-014-1-en_3D 
1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-020-1-en_3D  1952-01-Beverly_Carlton_hotel-day1-sit01-WD-by_HL-021-1-en_3D-a 


- Magazines -

Life, 07/04/1952 - USA
Muncher Illustrierte, 02/1953 - ALLEMAGNE
Woman, 06/08/1988 - UK

1952-04-07-LIFE-usa  1953-02-muncher  1988-08-06-woman-uk  


 - Bonus sur le blog -

Plus d'informations sur la robe:
More information about the dress:
article Les Robes Moulantes à fronces de Ceil Chapman


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

Enregistrer

Enregistrer

06 juin 2010

1953 Remise du trophée Studio League Championship

Marilyn Monroe participe à la remise du prix du Studio League ChampionShip d'un match de base-ball organisé par les techniciens de la Fox de Los Angeles. Marilyn pose avec les joueurs et avec leurs épouses. Marilyn porte la robe à pois de Ceil Chapman, et une chaîne avec un pendentif.

1952_pois 1953_hl 1953_baseball_1
1952_robe_pois  1952_crewlf 1952_girlslf 

>> La balle signée par toute l'équipe, mais aussi par
Joe DiMaggio et Marilyn Monroe 
1952_base_ball_signed_by_joe_kiss_by_marilyn_1  1952_base_ball_signed_by_joe_kiss_by_marilyn_2 1952_base_ball_signed_by_joe_kiss_by_marilyn_3
1952_base_ball_signed_by_joe_kiss_by_marilyn_4 1952_base_ball_signed_by_joe_kiss_by_marilyn_5 1952_base_ball_signed_by_joe_kiss_by_marilyn_6 


- Bonus sur le blog -
article Robe blanche à pois rouges de Ceil Chapman

Posté par ginieland à 18:36 - - Commentaires [0] - Permalien [#]
Tags : , , , ,

31 mai 2010

18/11/1957 Marilyn au théâtre

Le 18 novembre 1957, à New York, Marilyn Monroe et Arthur Miller assistent à la première représentation de la pièce de théâtre "Conversation Piece" dans laquelle jouait Joan Copeland, la soeur d'Arthur.

1957_theatre_mm1  

>> Marilyn et Arthur Miller (son mari)
1957_theatre_arthur_1

   
>> Marilyn et Joan Copeland (sa belle-soeur)
1957_marilyn_et_joan_copland_1

>> Marilyn et James Haspiel (fan)
1957_11_18_Marilyn_JamesHaspiel_010 


1957-11-18-conversation-collection_frieda_hull-246274_0a  1957-11-18-conversation-collection_frieda_hull-246274_0c  
1957-11-18-conversation-collection_frieda_hull-246274_0b  1957-11-18-conversation-collection_frieda_hull-with_monroe_six_gloria_milone-1 
Gloria Milone (des Monroe Six), Arthur & Marilyn
- de la collection de Frieda Hull, une fan des Monroe Six
-from the personal collection of Frieda Hull, one of the 'Monroe Six'


>> Fête au Barbizon Plaza Hotel
1957_POR_CHARLES_HAGEDORN 1957_Party  


- Bonus sur le blog -
article Les Robes de Cocktail brodées de Ceil Chapman


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

15 mai 2010

1950 Marilyn en robe noire par Bob Beerman

Poses en studio de Marilyn Monroe en 1950
Photographies de
Bob Beerman

ph_BobBeerman_1950 ph_bob_5587582 ph_BobBeerman_1950_3 


Marilyn porte une robe de Ceil Chapman
robe qu'elle porte pour la promotion du film
The Asphalt Jungle
photographiée ici chez
Johnny Hyde

img916 ph_edclar_tk218675_large 1950_Marilyn_00710_020_byEdClark_1
 1950_Marilyn_00710_010_byEdClark_1  1950-50  1950_Marilyn_00720_010_byEdClark_1 


 - Bonus sur le blog -

Plus d'informations sur la robe:
More information about the dress:
article Robes de cocktail noires de Ceil Chapman 

Posté par ginieland à 18:23 - - Commentaires [0] - Permalien [#]
Tags : , , ,

24 juin 2009

Février 1953 Soirée RedBook Magazine Award

Marilyn Monroe, dans une robe de Ceil Chapman, à une réception donnée par les Redbook Awards en février 1953.
Marilyn a reçu le prix Redbook de "
La meilleure jeune personnalité du Box Office)" le 24 février 1953.
Marilyn Monroe, in a Ceil Chapman dress, at a reception given by the Redbook Awards in February 1953.
Marilyn was awarded the Redbook Prize for "The Best Young Personality in the Box Office" on February 24, 1953.

1953_party_1 1953_party_2 
 mm-1953-245058_0  1953-02-Redbook_Awards_party-snap-04 
mm-1953-245059_0 1953-02-Redbook_Awards_party-snap-01-1a 1953-02-Redbook_Awards_party-snap-02 

> Marilyn et Sidney Skolsky
mm-1953-245060_0 

- La réception -
1960_party010_dinner_010_010_1 Redbook_Awards__1953d 1953_party_3
1953_party_4 

> Marilyn et Sidney Skolsky
1960_party010_dinner_010_030_b 53ECLBSG001_1_ 1960_party010_dinner_010_030 
zzParty 

> Marilyn et le juge H.Palmer du "Hollywood Citizen News"
 1953_MM_and_Judge_Palmer01 1960_party010_dinner_011_010 1961_Party_ 
1960_party011_dance_010_010 1953_party_5 

> Marilyn et Terry Moore 
1953-redbook-with_terry_moore 

 


 

1953-02-Redbook_Awards_party-collection_frieda_hull-1 

- de la collection de Frieda Hull, une fan des Monroe Six
-from the personal collection of Frieda Hull, one of the 'Monroe Six'


> dans la presse
1953-03-09-citizen_news 
1953_august-Filmland 


- Bonus sur le blog -

> Les robes blanches et noires de Ceil Chapman
> Ceil Chapman's white and black dresses

article Les Robes Moulantes à fronces de Ceil Chapman


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

Enregistrer

Enregistrer

Enregistrer

06 septembre 2008

24/02/1953 Marilyn reçoit le prix Redbook

1953_02_24_TvShow_RedBookAward_award_1Le 24 février 1953, Marilyn Monroe participe à l'émission "The Martin and Lewis Show" (un show TV américain avec Dean Martin et Jerry Lewis) où elle joue dans un sketch;
puis elle reçoit le "
Red Book Award" (prix décerné par le magazine 'Redbook') de la catégorie "Best Young Box Office Personality" (La meilleure jeune personnalité du Box Office) de l'année 1952, prix remis par Wade H. Nichols, l'éditeur du magazine.

In February 24, 1953, Marilyn Monroe participates in the radio show "The Martin and Lewis Show" (an American TV show with Dean Martin and Jerry Lewis) where she plays in a sketch;
then, she receives the "Red Book Award", by 'Redbook' magazine, for the category "Best Young Box Office Personality" of the year 1952; Wade H. Nichols, the editor of the magazine, gives her the award.


> The Martin and Lewis Show
1953_02_24_TvShowMartin_Lewis_00110a 
1953_02_24_TvShowMartin_Lewis_00110_1 1953_02_24_TvShowMartin_Lewis_00120_1 1953_02_24_TvShowMartin_Lewis_00100_1 aw_redbook_56410
1953  1953_02_24_TvShowMartin_Lewis_00210_1  1953 
1954_deanjerry  1953-04-28-MONROE__MARILYN_-_1953_REBOOK_SILVER_CUP_MOVIE_AWARDS631  1953_02_24_TvShowMartin_Lewis_00200 
aw_redbook_56151210 
1953_02_24_TvShow_RedBookAward_00300_010_1 1953-filmsinreview 1953_117279018 

> dans les coulisses
aw_mm_et_deanmartin 

The Martin and Lewis Show
With Guest Star: Marilyn Monroe
The following transcript appeared in MARILYN: then & now Vol. 2 No. 5
On February 24th, 1953 Marilyn was awarded the Red Book magazine award for ‘Best Young Box Office Personality.’ The presentation was made at the end of Dean Martin and Jerry Lewis’s radio show. Not only did Marilyn accept her award, but she guest starred. What follows is a transcript of Monroe’s portion of the program. Martin opened the show by singing “You’d Be Surprised” in tribute to Monroe.

> Radio Show

Martin: And now folks comes the real special part of our program. The happy time when we introduce our guest star. Course, tonight it’s especially happy because we have Marilyn Monroe, and, as I told you, Jerry doesn’t know about it. So it’s going to be a complete surprise. And . . . ah . . . Shhh . . . Here comes Jerry.

Lewis: Dean, who is it? Dean? Who? Our guest? Dean, who . . . is . . . it? Yes, ah . . . Who?

Martin: Well, I’ll give you a hint. If I was an artist, I’d like to do her in oil.

Lewis: You’d like to do her in oil? (laughter)

Martin: Yeah. Now, who’s our guest star?

Lewis: A sardine? (laughter)

Martin: Ah, shut up! Look, you take the most beautiful legs in the world, the most beautiful figure in the world, and the most beautiful face in the world, and put them all together, what do you get?

Lewis: The ugliest woman in the world!

Martin: How come?

Lewis: You got me so excited I put everything in the wrong place!

Martin: Well . . . This girl has everything in the right place. Jerry, every once in a while a meteor flashes through the skies and falls into the ocean. Fortunately for us, the ball of fire we have with us, as our guest, missed the ocean and landed at Twentieth Century-Fox. So, I give you the two most exciting words in the modern dictionary: Marilyn Monroe.

Monroe: Thanks Dean. That was a very flattering introduction.

Martin: Well, you deserve it Ms. MaRone . . . ah . . .

Monroe: Dean, look at your script. It’s Monroe.

Martin: I’m looking at you, and it’s Ma Rone! I’ll tell you. Right Jer?

Lewis: Zippy doo dah, Deany, darling! Get a load of the dress she’s wearing, Dean. Two arm holes, loosely tied together. Wow wee, what a dress! (laughter)

Monroe: Oh, it’s nothing much just (laughter) . . . just something I threw on.

Lewis: You almost missed, didn’t ya? (laughter)

Martin: Yeah!

Monroe: Gee, thanks boys. Do you really think this gown does something for me?

Martin: Yeah. Yeah. Yeah, but it does a lot more for us. What . . . what is it made of? Silk?

Monroe: As a matter of fact, it’s just plain cotton.

Lewis: Cotton? I’ve seen more cotton at tope of a bottle of Aspirin.

Monroe: I better talk to the wardrobe mistress about this dress. It’s so tight I nearly wore myself out putting it on.

Martin: Poor girl, are you all in? (laughter)

Monroe: Gosh! Gosh, I hope so! (laughter)

Lewis: Gee, Ms. Monroe, Dean and I saw your last picture, Niagara. It was a “Dar:” A positive “Dar!”

Monroe: What was the audience reaction to the picture in the theater?

Martin: After your first scene, they served the Hershey bars in Dixie cups! (laughter)

Lewis: Dean?

Martin: Yes?

Lewis: You better concentrate on the script.

Martin: It’s your turn! (laughter)

Lewis: Oh! (laughter) We had a cocktail party at my house with a bar tender and everything, and we showed home movies of your picture, Ms. Monroe.

Monroe: Now, you’re not going to tell me that when I came on the screen that the ice in the drinks melted?

Lewis: Oh no! That would be silly (Jerry laughs). The bartender melted!

Monroe: Oh, you fellas are just kidding.

Martin: Kidding? Remember the scene where you were kissing your boyfriend?

Monroe: Yes.

Lewis: Right in the middle, my canary threw himself to the cat! (laughter) Ah, Ms. Monroe, if you go out with me after the show I’ll buy you a bottle of perfume . . .

Martin: You’re wasting your time, Jer. Marilyn would rather go out with somebody like me.

Monroe: That’s right. I’m a blonde, and I like to go out with tall, dark, handsome men. You see, opposites attract.

Lewis: Then you’ll love me. I’m just the opposite. (laughter)

Monroe: Look Jerry, you’re a man, and I’m a woman.

Lewis: Now that we’ve chosen sides, let play. (laughter)

Martin: Won’t you give up, Jer. Marilyn prefers me. I’ve gone out with women that would not even look at you.

Lewis: So what? I’ve gone out with women who wouldn’t look at me either.
Monroe: Okay Jerry, supposing I do go out with you, what will we do?

Lewis: Well, we’ll get in my car and drive up Lookout Mountain, and when we get to the top . . .

Monroe: Yes?

Lewis: LOOK OUT! (laughter)

Monroe: No Jerry, if I went out with you it might get into the newspaper, and you know how some newspapers will do anything for a story.

Martin: Well, we do about that type of newspaper, Marilyn, but we can paint a better picture if we dramatize it. So Wallington start dramatizing.

Announcer: The Chesterfield – buy them by the carton players – presents Dean Martin, Jerry Lewis, and Marilyn Monroe in a dramatic newspaper yarn. It’s the story of a cold-blooded newspaper editor who has no friends, but who is loved by Marilyn Monroe entitled . . . So Who Needs Friends?

(phone rings)

Lewis (as Editor): Yello. This is the Morning Hangover. What? Just a minute. I’ll get the pressroom.

(buzzer heard)

Martin (as printer): Hello. Pressroom. What is it chief?

Lewis: Quick, tear out the front page.

Martin: Why?

Lewis: My mother just bought a new garbage pail, and she needs something to line it with.

Monroe: Hello chief. Tell me baby doll, what’s cooking.

Lewis: I am. Get off my lap!

Monroe: I’ve got a head line for ya, chief: Noted Doctor Advocates Fish Breeding for a Hobby.

Lewis: It’s too long. Cut it down.

Monroe: What will I say?

Lewis: Surgeon Urgin’ Sturgeon Mergin’. Come on baby, give us a kiss.

(kissing noises)

Martin (as publisher, opens door): Editor Lewis, I’m the publisher of this paper, and I’m not paying you to kiss our star reporter. Spending all your time kissing doesn’t increase our circulation.

Lewis: But it increases mine!

Monroe: I . . . I can explain Publisher Martin. I just came in to show him my wardrobe the I’m going to take along on my vacation. This is my hunting outfit.

Martin: Hunting outfit? But that’s a backless, strapless gown! You don’t know your clothes.

Monroe: You don’t know what I’m hunting.

Martin: I should have known better than to hire a woman reporter.

Monroe: Just a minute, sir. I’m a newspaperman. I’m not a woman.

Lewis: You’re not? I think we have a scoop.

Monroe: I mean, while I’m on this paper I don’t want to be thought of as a woman. I want to be though of as a man.

Martin: Okay, but I hope we get adjoining lockers at the “Y”.

(phone rings)

Lewis: Yello. Morning Hangover.

Announcer: Hello chief. Remember Detroit Danny?

Lewis: You mean the gangster who was almost beaten to death last week with a bag of wet chicken livers?

Announcer: Yeah. Well, he was shot to death, and I found the slug.

Lewis: I know how Detroit Danny got knocked off. He was trying to blackmail Eskimo Eddie.

Monroe: Chief, if you print that story Eddie will kill you, and I’ll be alone.

Martin: Wanna’ bet?!?

Monroe: Chief, darling, don’t do it. Kiss me, kiss me, kiss me.

Lewis: Ah . . . stop your naggin’! (laughter)

Monroe: I don’t want you to get killed. I’m a woman. I want loving arms around me.

Lewis: Don’t worry. If I’m killed, somebody will come along tomorrow.

Monroe: Yeah, but what am I going to do tonight? (laughter) I don’t want you murdered. Give up your job, and I’ll marry you.

Lewis: What other work could I get?
Martin: Well, don’t worry about it, kid. You’re young. You can always live on love.

Monroe: Yes. Give up your job, and we’ll have kisses for breakfast, kisses for lunch, kisses for supper.

Lewis: Gosh! Kisses for breakfast, kisses for lunch, kisses for supper. Okay, it’s a deal, baby, but I’m warning ya’ . . .

Monroe: About what?

Lewis: Don’t let me ever catch you having any meal.


> The RedBook Award

> Les lauréats du prix Redbook 1952 sont:
-Marilyn Monroe "Best Young Box-Office Personality"
-Julie Harris "Best Young Actress"
-Leslie Caron "Best Young Foreign Actress"
-Marge and Gower Champion "Best Young Dance Team"
-Dean Martin and Jerry Lewis "Best Young Comedians"

> ci-dessous: Leslie Caron, Dean Martin, Marilyn Monroe,
Wade H Nichols et Jerry Lewis.

1953-MONROE__MARILYN_-_1953_FEB_24_REDBOOK_SILVER_CUP_BEST_YOUN  1953_02_24_TvShow_RedBookAward_00100_1 1953_02_24_TvShow_RedBookAward_00110_1 

> La coupe
Redb14  Redb15  Redb16


 > captures
1953_02_24_red_book_award_cap_010_1 1953_02_24_red_book_award_cap_011_1 
1953-redbook-cap1-01  1953-redbook-cap1-02  1953-redbook-cap1-03 
1953-redbook-cap1-04  1953-redbook-cap1-05  1953-redbook-cap1-06 
1953-redbook-cap1-07  1953-redbook-cap1-08  1953-redbook-cap1-09 
1953-redbook-cap2-01  1953-redbook-cap2-02  1953-redbook-cap2-03 
1953-redbook-cap2-04  1953-redbook-cap2-05  1953-redbook-cap2-06 
1953-redbook-cap2-07  1953-redbook-cap2-08  1953-redbook-cap2-09 
1953-redbook-cap2-10  1953-redbook-cap2-11  1953-redbook-cap2-12 
1953-redbook-cap2-13  1953-redbook-cap2-14  1953-redbook-cap2-15 
1953-redbook-cap2-16  1953-redbook-cap2-17  1953-redbook-cap2-18 
1953-redbook-cap2-19  1953-redbook-cap2-20  1953-redbook-cap2-21 


>> Vidéo 1: la remise du prix (en entier)

>> Vidéo 2 : remise du prix (coupée)
 

>> Vidéo 3: Dean Martin, Jerry Lewis, Marilyn et Leslie Caron


- Bonus sur le blog -
article Les Robes de Cocktail brodées de Ceil Chapman


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

09 avril 2008

09/07/1958, Los Angeles - Fête chez Jimmy McHugh

Le 09 juillet 1958, une fête donnée en l'honneur du compositeur Jimmy McHugh est organisée chez lui à Los Angeles; parmi les invités: Marilyn Monroe, la chroniqueuse Louella Parsons, l'acteur George Montgomery.
Marilyn porte une robe de la créatrice Ceil Chapman.

On July 9, 1958, a party given in honor of the composer Jimmy McHugh is organized at his home in Los Angeles; with the guests: Marilyn Monroe, columnist Louella Parsons, actor George Montgomery.
Marilyn wears a dress from the fashion d esigner Ceil Chapman.

- Marilyn & Louella Parsons - 
1958-07-09-Jimmy_McHugh_party-010-1-with_louella_parsons-1 
1958-07-09-Jimmy_McHugh_party-011-1-with_louella_parsons-1a 
1958-07-09-Jimmy_McHugh_party-011-1-with_louella_parsons-1b 

- Louella Parsons, Jimmy McHugh, Marilyn -
1958-07-09-Jimmy_McHugh_party-020-1-with_parsons_McHugh-1 

- Marilyn & George Montgomery -
1958-07-09-Jimmy_McHugh_party-030-1-with_montgomery-1 


 - Bonus sur le blog -

Plus d'informations sur la robe:
More information about the dress:
article Robe de cocktail en soie noire de Ceil Chapman


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

13 janvier 2008

1950 The Asphalt Jungle par Ed Clark

 Quand la ville dort
Photos Studio

1950_Marilyn_005_Collage_010_byEdClark_1

Clichés publicitaires pour le film The Asphalt Jungle
Portraits de Marilyn Monroe
Photographies de Ed Clark

Publicity shots for the film The Asphalt Jungle
Portraits of Marilyn Monroe
Photographs by Ed Clark


> Session 1 - cheveux relevés , robe en velours
> Session 1 - hair up , velvet dress

1950-by_ed_clark-velvet-1-01-1 1950-by_ed_clark-velvet-1-01-1a 1950-by_ed_clark-velvet-1-01-1b
1950-by_ed_clark-velvet-1-01-1c1  1950-by_ed_clark-velvet-1-01-1c2
1950-by_ed_clark-velvet-1-02-1 1950-by_ed_clark-velvet-1-02-1a 1950-by_ed_clark-velvet-1-03-1 
1950-by_ed_clark-velvet-1-04-1 1950-by_ed_clark-velvet-1-04-1a 1950-by_ed_clark-velvet-1-04-1b 
1950-by_ed_clark-velvet-1-05-1 1950-by_ed_clark-velvet-1-05-1a 1950-by_ed_clark-velvet-1-05-1b
1950-by_ed_clark-velvet-1-06-1 1950-by_ed_clark-velvet-1-06-1a
1950-by_ed_clark-velvet-1-07-1 1950-by_ed_clark-velvet-1-07-1a 1950-by_ed_clark-velvet-1-08-1
1950-by_ed_clark-velvet-1-01-1 1950-by_ed_clark-velvet-1-01-1a 1950-by_ed_clark-velvet-1-01-1b
1950-by_ed_clark-velvet-1-01-1c1  1950-by_ed_clark-velvet-1-01-1c2 
1950-by_ed_clark-velvet-1-02-1 1950-by_ed_clark-velvet-1-02-1a 1950-by_ed_clark-velvet-1-03-1
1950-by_ed_clark-velvet-1-04-1 1950-by_ed_clark-velvet-1-04-1a 1950-by_ed_clark-velvet-1-04-1b
1950-by_ed_clark-velvet-1-05-1 1950-by_ed_clark-velvet-1-05-1a 1950-by_ed_clark-velvet-1-05-1b
1950-by_ed_clark-velvet-1-06-1  1950-by_ed_clark-velvet-1-06-1a
1950-by_ed_clark-velvet-1-07-1 1950-by_ed_clark-velvet-1-07-1a
1950-by_ed_clark-velvet-1-08-11950-by_ed_clark-velvet-1-08-1a 1950-by_ed_clark-velvet-1-08-1b 
1950-by_ed_clark-black-1-04-1 1950-by_ed_clark-velvet-1-08-1c 1950-by_ed_clark-velvet-1-09-1
1950-by_ed_clark-velvet-1-10-1 1950-by_ed_clark-velvet-1-10-1a 1950-by_ed_clark-velvet-1-10-1b
1950-by_ed_clark-velvet-1-11-1 1950-by_ed_clark-velvet-1-11-1a 1950-by_ed_clark-velvet-1-11-1b
1950-by_ed_clark-velvet-1-11-2 1950-by_ed_clark-velvet-1-12-1 1950-by_ed_clark-velvet-1-12-1a


> Session 2 - cheveux relevés - robe ample en tissu
>
Session 2 - hair up , ample dress in fabric
1950-by_ed_clark-black-1-01-1 1950-by_ed_clark-black-1-01-1a 1950-by_ed_clark-black-1-03-1  
 1950-by_ed_clark-black-1-02-1 1950-by_ed_clark-black-1-01-2
1950-by_ed_clark-black-1-05-1 
 ph_edclark_92926014  1950_Marilyn_00600_010_byEdClark_1i 
1950_Marilyn_00540_010_byEdClark_1 ph_clark_Rare_One ph_edclark_black 
1950-by_ed_clark-black-2-01-1 1950-by_ed_clark-black-2-01-1a 1950-by_ed_clark-black-2-01-1b
1950-by_ed_clark-black-2-02-1 1950-by_ed_clark-black-2-02-1a 1950-by_ed_clark-black-2-02-1b 
1950-by_ed_clark-black-2-03-1  1950-by_ed_clark-black-2-04-1 
1950-by_ed_clark-black-2-05-1  1950-by_ed_clark-black-2-05-1a 

> En backstage, Marilyn et Ed Clark
1950_Marilyn_00110_010_byEdClark_1b


 > Session 3, cheveux lâchés - robe de Ceil Chapman
  1950_Marilyn_00701_010_byEdClark_1 1950-by_ed_clark-velvet-2-01 1950_Marilyn_00701_020_byEdClark_1 

Plus d'informations sur la robe:
More information about the dress:
article Robes de cocktail noires de Ceil Chapman


 > Session 4, cheveux lâchés - robe ample en tissu
1950_Marilyn_00700_010_byEdClark_01 1950-by_ed_clark-black-3-01-1 ph_edclark_cnorma2 


> Session 5 - robe velours, allongée
> Session 5 - velvet dress, lying 
1950_Marilyn_00800_010_byEdClark_1 1950_Marilyn_00810_010_byEdClark_1a scan0018 1950_Marilyn_00820_010_byEdClark_1


> couvertures de magazine:
ph_clark_MAG_JAPANESE_HOLLYWOOD1985_COVER_1 ph_clark_MAG_MOVIELAND_1953_JANUARY_COVER_1A ph_clark_MAG_ROTOMAG_THEPITTSBURGHPRESS_1951_07_01_COVER010


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

12 janvier 2008

1950 The Asphalt Jungle par Maier

  Quand la ville dort
Photos Studio

Clichés publicitaires pour le film The Asphalt Jungle
Portraits de Marilyn Monroe
Photographies de H. Maier 
 
1950_AsphaltJungle_studio_020_010_1 1950_AsphaltJungle_Studio_020_020_byH 1950_AsphaltJungle_Studio_020_020_byH 


Il semble que Marilyn porte la robe noire de Ceil Chapman
It seems Marilyn wears the black dress of Ceil Chapman

Plus d'informations sur la robe:
More information about the dress:
article Robes de cocktail noires de Ceil Chapman