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20 février 2022

19/01/1955, The Australian Women's Weekly: "This is my story" (part 2)

The Australian Women's Weekly

country: Australia
date: 1955, January, 19
content: 3 pages article on Marilyn Monroe
part 2 of a series of articles in 4 parts - "This is my story"

1955-01-19-The_Australian_Women_s_Weekly-cover 

pays: USA
date: 19 janvier 1955
contenu: article de 3 pages sur Marilyn Monroe
partie 2 sur une série d'articles en 4 parties - "This is my story"

1955-01-19-The_Australian_Women_s_Weekly-p13  1955-01-19-The_Australian_Women_s_Weekly-p14  1955-01-19-The_Australian_Women_s_Weekly-p15 


Article: "This is my story - by Marilyn Monroe"
Second fascinating instalment
We've never read anything abouth the Hollywood I knew in those first years. No hint of it is ever in the fan magazines. If there are any books on the subject I must have skipped them, along with the few million other books I haven't read.

THE Hollywood I knew was the Hollywood of failure. Nearly everybody I met suffered from malnutrition or suicide impulses. It was like the line in the poem, "Water, water everywhere, nor any drop to drink." Fame, fame everywhere, but not a hello for us.
We ate at drugstore counters. We sat in waiting room. We were the prettiest tribe of panhandlers that ever overran a town. And there were so many of us ! Beauty contest winners, flashy college girls, home-grown sirens from every State in the Union. From cities and farms. From factories, vaudeville circuits, dramatic schools, and one from an orphan asylum.
And around us were the wolves. Not the big wolves inside the studio gates, but the little ones - talent agents without offices, Press agents without clients, contact men without contacts, and managers. The drugstores and cheap cafes were full of managers ready to put you over if you enrolled under their banner. Their banner was usually a bed sheet.
I met them all. Phoniness and failure were all over them. Some were vicious and crooked. But they were as near to the movies as you could get. So you sat with them, listening to their lies and schemes. And you saw Hollywood with their lewd eyes.
Among the phonies and failures were also a set of Has Beens. These were mostly actors and actresses who had been dropped by the movies - nobody knew why, least of all themselves.
They had played "big parts." They had scrapbooks full of "stills" and write-ups. And they were full of anecdotes about the big bosses with the magic names who ran the studios - Goldwyn, Zanuck, Mayer, Selznick, Schneck, Warner, Cohen. They had rubbed shoulders with them and exchanged conversations with them.
Sitting in the cheap cafe nursing a glass of beer for an hour, they talked about the great ones, calling them by their first names. "Sam said to me," and "I told LB," and "I'll never forget Darryl's excitement when he saw the rushes."

When I remember this desperate, lie-telling, dime-hunting Hollywood I knew only a few years ago I get a little homesick. It was a more human place than the paradise I dreamed of and found. The people in it, the phonies and failures, were more colorful than the great men and successfull artists I was to know soon.
Even the crooks who threw me curves and set traps for me seem pleasant, mellow characters. There was Harry, the photographer, who kept photographing me when he had enough money to buy plates for his view camera.

"I know a real hot agent," said Harry, "who's crazy about you. He saw one of your stills and blew his top. And he's no alley-runner. He used to be a big man in Budapest."
"What kind of a big man, Harry ?"
"A producer. You've heard of Reinhardt ?"
"Oh, yes."
"Well, he was next in line to Reinhardt," said Harry. "You'll like him. He thinks big."
The three of us sat in a cheap cafe the next evening. The proprietor knew better than to send the waiter over to see if we wanted anything. Harry and I had been there before. The third at our table, Mr. Lazlo, didn't look any more promising as a customer.
Mr. Lazlo was fat, unshaved, bald-headed, bleary-eyed, and his shirt collar was a little frayed. But he was a fine conversationalist. He spoke with a fascinating accent. It was hard to imagine that so cultured a man could be a bum. But I knew he was, or what would he be doing with Harry and me ?
"So you have ambition to be a great actress ?" said Mr. Lazlo.
I nodded.
"Wonderful !" said Mr. Lazlo.
"How would you like not only to be a big star, but also to own your own movie studio and make only the finest movies. No Hollywood junk. But art - real art."
"I'd like that," I said.
"Good !" said Mr. Lazlo, "Now I know where you stand."
"Wait till you hear his ideas," said Harry. "I told you he thinks big."
"In Budapest," said Mr. Lazlo, "if I wanted a few hundred thousand dollars I have only to telephone the bank and they send over a waggon with the money." He patted my hand, "You are very beautiful. I would like to buy you the kind of dinner I used to have every night - in Budapest."
"I've already eaten," I said.
"You are lucky," Mr Lazlo sighed.
"But first, before I go on - you are definitely interested in the project, may I ask ?"
"I havent' heard it yet."
"Are you willing to become a wife ?" Mr. Lazlo asked.
"Whose ?" I asked back.
"The wife of a milionaire," said Mr. Lazlo. "He has authorised me to ask you this question."
"Does he know me ?"
"He has studied your photographs," said Mr. Lazlo, "and he has picked you out from fifty other girls."
'I didn't know I was in any contest," I said.
"No cracks," said Harry. "This is high finance."
"The gentleman who whishes to marry you," said Mr. Lazlo, "is seventy-one years of age. He has high blood-pressure - and no living relatives. He is alone in the world."
"He doesn't sound very enticing," I said.
"My dear child," Mr Lazlo took my hand. His own was trembling with excitement. "You will inherit everything in six months. Maybe less."
"You mean he'll die if I marry him ?" I asked.
"I guarantee it," said Mr. Lazlo.
"That's like murder," I said to Harry.
"In six months you will be a widow with two million dollars," said Mr. Lazlo. "You will keep the first million. Harry and I will split equally the second."
I lay in bed unable to sleep that night. I would never marry or even see Mr. Lazlo's dying millionaire, but it was exciting to think about it. I went around for a week imagining myself living in a castle on a hill - with a swimming pool and a hundred bathing suits.

In Hollywood a girl's virtue is much less important than her hair-do. You're judged by how you look, not by what you are. Hollywood's a place where they'll pay you a thousand dollars for a kiss, and fifty cents for your soul. I know, because I turned down the first offer often enough, and held out for the fifity cents.
It wasn't because I had moral ideas. Nor because I saw what happened to girls who took money from men and let men support them as their sweeties. Nothing happened to such girls that wouldn't have happened to them, anyway.
Sometimes they got ditched and had to hook up with new lovers; or they got their names in the movie columns for being seen in the smart places, and this landed tham jobs in the studios. Or, after going from love nest to love nest for a few years, they met someone who fell in love with them and got married and had children. A few of them even became famous.
It may be different in other places, but in Hollywood "being virtuous" is a juvenile-sounding phrase like "having the mumps".

I was young, blond, and curvaceous, and I had learned to talk huskily like Marlene Dietrich and to walk a little wantonly, and to bring emotion into my eyes when I wanted to. And though these achivements landed me no job they brought a lot of wolves whistling at my heels. They weren't just little wolves with big schemes and frayed cuffs. There were bona fide cheque-signers, also.
I rode with them in their limousines and sat in swanky cafes with them, when I usually ate like a horse to make up for a week of skimpy drugstore counter meals.
And I went to the big Beverly Hills homes with them and sat by while they played gin rummy or poker. I was never at ease in these homes or in the swanky cafes. For one thing, my clothes became cheap and shabby-looking in swell surrounding. I had to sit with my legs in such a position that the runs or the mends in my stockings wouldn't show. And I had to keep my elbows out of sight for the same reason.
The men liked to show off to each other and to the kibitzers by gambling for high stakes. When I saw them hand hundred and even thousand dollar bills to each other I felt something bitter in my heart. I remembered how much twenty-five cents and even nickels meant to the people I had known, how happy ten dollars would have made them, how hundred dollars would have changed their whole lives.
When the men laughed and pocketed the thousand of dollars of winnings as if they were wads of tissue paper, I remembered how my Aunt Grace and I had waited in line at the Holmes Bakery to buy a sackful of stale bread for a quarter to live on a whole week. And I rememebered how she had gone with one of her lenses missing from her glasses for three months because she couldn't afford the fifty cents to buy it replacement.
I remembered all the sounds and smells of poverty, the fright in people's eyes when they lost jobs, and the way they skimped and drudged in order to get through the week. And I saw the blue dress and white blouse walking the two miles to school again, rain or shine, because a nickel was too big a sum to raise for bus fare.
I didn't dislike the men for being rich or beign indifferent to money. But something hurt me in my heart when I saw their easy-come, easy-go thousand-dollar bills.

One evening a rich man said to me: "I'll buy you a couple of real outfits, fur coats and all. And I'll pay your rent in a nice apartment and give you an eating allowance. And you don't even have to go to bed with me. All I ask is to take you out to cafes and parties and for you to act as if you were my girl. And I'll say good-night to you outside your door and never ask you to let me in. It'll just be a make-believe affair. What do you say ?"
I answered him, "I don't like men with fancy schemes like yours. I like straight-forward wolves better. I know how to get along with them. But I'm always nervous with liars."
"What makes you think I'm lying ?" he asked
"Because if you didn't want me you wouldn't try to buy me," I said.

I didn't take their money and they couldn't get by my front door but I kept riding in their limousines and sitting beside them in the swanky places. There was always a chance a job, and not another wolf, might come your way. Besides, there was the matter of food. I never felt squeamish about eating my head off. Food wasn't part of any purchase price.
My chief problem next to eating, stockings, and rent, was my automobile. I had made a down payment on a small, second-hand car. But the hundred and fifty I still owned on it was Sweepstake money.
The second month I received a letter saying if I didn't make the fifty-dollar monthly payment the company would have to repossess the car. I inquired of a girl I knew at Central Casting what the word meant and she told me.
The third month a man knocked on my door, showed me a document, and repossessed my car.
"On the receipt of fifty dollars," the man said, "the company will be glad to restore the car to your custody."
A movie job-hunter without a car in Hollywood was like a fireman without a fire engine. There were at least a dozen studios and agent's offices you had to visit every day. And they were in a dozen different districts, miles away from each other.
Nothing came of these visits.

YOU sat in a waiting-room of the Casting Department. An assistant came out of a door, looked over the assembled group, and said, "There's nothing today. Leave your names and phone numbers." That was almost a break - the second sentence. "Leave your names and phone numbers." Usually they utered only the first sentence.
In the agency offices it was a little more complicated. Because the agents weren't as sincere as the Casting Departments.
There were inclined to string you along, utter a few wolf calls, make promises and try out a wrestling hold or two. Nothing came of it, but you had to keep coming back. Agents sometimes had "ins" and jobs.
Ring Lardner wrote a story once about a couple of girls who saved up their money and went to Palm Beach, Florida, to mingle with the social elite of that famous resort. He said they stopped at a swell hotel and every evening "They romped out on the verandah to enjoy a few snubs." That's the way it was with me. Except without an automobile I could do very little romping.
I did everything possible to get the car back. I spent days tracking down the Marshal and the Sheriff of Los Angeles. I visited the company that had done the repossessing. I even contemplated calling up a few millionaires I knew. But I couldn't. When I started to dial one of their numbers a hot, angry feeling filled me and I had to hang up.
I realised this wasn't quite normal but all I could do was throw myself on the bed and start crying. I would cry and yell and beat the wall with my fists as if I were trying to break out of some placce. Then I would lie still for a day or two and go without food and wish I were dead - as if I were Norma Jean again looking out of the orphanage window.

The phone rang. It was a photographer. I knew named Tom Kelley. He and his wife, Natalie, had been nice to me. I had posed for some beer ads for Tom.
'Come on over, I've got a job for you," he said.
"This is a little different from the other jobs," Tom said when I got to his place. "But there's fifity dollars in it for you, if you want to do it."
I told Tom and Natalie about the repossessing of my car.
"For fifty dollars I am ready to jump off a roof," I said.
"These pictures are for a calendar," said Tom, "and they will have to be in the nude."
"You mean completely nude ?" I asked.
"That's it," said Tom, "except they will not be vulgar. You're ideal for the job not only because you have a fine shape but because you're unknown. Nobody'll recognise you."
"I'm sure unknown," I said.
"It would be different if you were a starlet or some such thing," said Natalie. "Then somebody might recognise you on the calendar."
"With you there'll be no such trouble possible," said Tom. "It'll just be a picture of a beautiful nobody."

I spent the afternoon posing. I was a little confused at first, and something kept nudging me in my head. But after a few poses the depression left me. I liked my body. I was glad I hadn't eaten much in the past few days.
The pictures would show a real washboard stomach. And what difference would it make - the nude of a "beautiful nobody ?"
People have curious attitudes about nudity, just as they have about sex. Nudity and sex are the most commonplace things in the world. Yet people often act as if they were things that existed only on Mars. I thought of such maters as I posed, but the nudging continued in my head.
What if I became an actress, some time ? A great star ? And somebody saw me on the calendar and recognised me ?
"What are you looking so serious about ?" Tom asked.
"I was just thinking something," I said.
"What ?"
"Nothing worth repeating," I said. "I'm just crazy. I get all kinds of crazy thoughts."
I had my car back the next day and was able to romp around from studio to studio and enjoy the usual quota of snubs.

I rushed to Aunt Grace with the big news. I had a job. I could enter a studio without being asked fifity questions. And I didn't have to sit in a waiting-room. I was on a payroll as an actress.
"It's the finest studio in the world," I said. "Twentieth Century-Fox."
Aunt Grace beamed, and went to the stove for coffee.
"The people are all wonderful," I said, "and I'm going to be in a movie. It'll be a small part. But once I'm on the screen."
I stopped and looked at Aunt Grace. She was still smiling at me. But she was standing still. Her face was pale and she looked tired as if life was something too heavy to carry much further.
I put my arms around her and helped her to the table.
"I'm all right," she said. "The coffee will fix me up fine."
"It'll be different now for all of us," I said. "I'll work hard."
We sat a long time and discussed a new name for me. The casting director had suggested I think up some more glamorous name than Norma Dougherty.
"I'd like to oblige him," I said. "Especially since Dougherty isn't my name anymore, anymay."
"Haven't you any idea for a name ?" Aunt Grace asked.
I didn't answer. I had a name, a real name that thrilled me whenever I thought of it. It belonged to the man with the slouch hat and the Gable moustache. His photograph was now in my possession.
I tried the name out in my mind, but kept silent. My aunt was smiling me. I felt she knew what I was thinking.
"The man at the studio suggested Marilyn," I said.
"That's a nice name," my aunt said. "And it fits with your mother's maiden name."
I didn't know what that name was.
"She was a Monroe," said Aunt Grace. "Her family goes way back. I have some papers and letters I'm keeping for your mother. They showed that she was related to President Monroe of the United States."
"You mean I'm related to a President of the United States ?" I asked.
"Directly descended," said Aunt Grace.
"It's a wonderful name," I said. "Marilyn Monroe. But I won't tell them about the President." I kissed Aunt Grace and said, "I'll try to make good on my own."

The assistant director said, "Now, just walk up to Miss June Haver, smile at her, say hello, wave your right hand, and walk on. Got that ?"
The bells rang. A hush fell over the set. The assistant director called, "Action !" I walked, smiled, waved my right hand, and spoke. I was in the movies ! I was one of those hundred-to-one shots - a "bit player."
There were a dozen of us on the set, bit players, with a gesture to make and a line or two to recite. Some of them were veteran bit players. After ten years in the movies they were still saying one line and walking ten feet towards nowhere. A few were young and had nice bosoms. But I knew they were different from me. They didn't have my illusions.

My illusions didn't have anything to do with being a fine actress. I knew how third-rate I was. I could actually feel my lack of talent, as if it were cheap clothes I was wearing inside. But how I wanted to learn ! I didn't want anything else.
Not men, not money, not love, but the ability to act. With the are lights on me and the camera pointed at me. I suddenly knew myself. How clumsy, empty, uncultured I was ! A sullen orphan with a goose egg for a head.
But I would change. I stood silent and staring. Men were smiling at me and trying to catch my eye. Not the actors nor the director and his assistants. They were important people, and important people try to catch the eye only of other important people.
But the grips and electricians and other healthy-looking workmen had grinning, friendly faces for me. I didn't return their grins. I was too busy being desperate. I had a new name - Marilyn Monroe. I had to get born. And this time better than before.

My bit was cut out of the picture, "Scudda Hoo, Scudda Hay." I didn't mind when I heard about it. I would be better in the next picture. I'd been hired for six months. In six months I'd show them.
I spent my salary on dramatic lessons, on dancing lessons, and singing lessons. I bought books to read. I sneaked scripts off the set and sat up alone in my room reading them out loud in front of the mirror. And an odd thing happened to me. I fell in love with myself... not how I was but how I was going to be.
I used to say to myself, "What the devil have you got to be proud about Marilyn Monroe ?" and I'd answer, "Everything, everything." And I'd walk slowly as if I were a queen.

One night another bit player, a male, invited me out for dinner.
"I haven't any money," I warned him. "Have you ?"
"No," he said. "But I've received a sort of invitation to a party. And I would like to take you along. All the stars will be there."
We arrived at the Beverly Hills home at nine o'clock. It was a famous agent's house. I felt as frightened entering it as if I were breaking into a bank. My stockings had a few mends in them. I was wearing a ten-dollar dress. And my shoes ! I prayed nobody would look at my shoes. I said to myself, now's the time to feel like a queen, you dope - not when you're alone in the room with nobody looking.
But the queen feeling wouldn't come. The best I could manage was to walk stiff-legged into a large hall and stand staring like a frozen blonde at dinner jackets and evening gowns.
My escort whispered to me, "The food's in the other room. Come on." He went off without me. I remained in the hall, looking into a room full of wonderful furniture and wonderful people.
Jennifer Jones was sitting on a couch. Olivia de Havilland was standing near a little table. Gene Tierney was laughing next to her. There were so many others I couldn't focus on them. Vevening gowns and famous faces drifted around in the room laughing and chatting. Diamonds glittered. There were men, too, but I only looked at one.
Clark Gable stood by himself, holding a glass and smiling wistfully at the air. He looked so familiar that it made me feel dizzy. And then I knew why. It was almost as if my father had come to life. There he was, just as he had looked in the photograph I used to stare at when I was a little girl.
I SPENT the rest of the evening in the hallway looking in at Mr. Gable. It was a wonderful party.

I was to go to a number of fancy Hollywood parties and stand among the glamorous figures, dressed as well as any of them, and laugh as if I were overcome with joy, but I never felt any more at ease than I did the first time I watched Mr. Gable from the hallway.
The chief fun people get out of those parties comes the next day when they are able to spread the news of the famous people with whom they associated at So-and-So's house. Most parties are run on the Star system.
In Hollywood a star isn't only an actor or actress or movie executive. It can also be somebody who has recently been arrested for something, or beaten up, or exposed in a love triangle. If it was played up in the newspapers then this person is treated as a social star as long as his or her publicity continues.
I don't know if high society is different in other cities, but in Hollywood important people can't stand to be invited some place that isn't full of other important people. They don't mind a few unfamous people being present, because they make good listeners. But if a star or a studio chief or any of great movie personages find themselves sitting among a lot of nobodies, they get frightened as if somebody was trying to demote them.
I could never understand why important people are always so eager to dress up and come together to look at each other. Maybe three or four of them will have something to say to somebody, but the twenty or thirty others will just sit around like lumps on a log and stare at each other with false smiles.
The host usually bustles about trying to get the guests involved in some kind of a game or guessing contest. Or he tries to get somebody to make a speech about something so as to start a general argument.
But usually the guests fall to respond and the party just drags on with nothing happening tii the Sandman arrives. This is the signal for the guests to start leaving. Nearly everybody draws the line at falling asleep outright at a party.
The reason I went to parties of this sort was to advertise myself. There was always the possibility that someone might insult me or make a pass at me, which would be good publicity if it got into the movie columns as having been present at a movie society gathering is very good publicity.
Sometimes it is the only favorable mention the movie queens can get. There was also the consideration that if my studio bosses saw me standing among the regular movie stars they might get to thinking of me as a star also.
Going out socially in this fashion was the hardest part of my campaign to make good. But after a few months I learned how to reduce the boredom considerably. This was to arrive around two hours late at a party. You not only made a special entrance, which was good advertising, but nearly everybody was likely to be drunk by that time.
Important people are much more interesting when they are drunk and seem much more like human beings.
There is another side of a Hollywood party that is very important socially. It is a place where romances are made and unmade. Nearly everybody who attends an important party not only hopes favorably mentionned in the movie columns but also to fall in love or get started on a new seduction before the evening is over.
It is hard to explain how you can fall in love while you are being bored to death, but I know it's true, because it happened to me several times.
As soon as I could afford an evening gown I bought the loudest one I could find. It was a bright red, low-cut dress and my arrival in it usually infuriated half the women present. I was sorry in a way to do this, but I had a long way to go and I needed a lot of advertising to get there.

One evening Mr. Schenck invited me to his Beverly Hills mansion for dinner. Then he fell into the habit of inviting me two or three times a week.
I went to Mr. Schenck's mansion the first few times because he was one of the heads of my studio. After that I went because I liked him. Also the food was very good and there were always important people at the table. These weren't party figures, but were Mr. Schenck's personal friends.
I seldom spoke three words during dinner, but would sit at Mr. Schenck's elbow and listen like a sponge. Mr. Schenck never so much as laid a finger on my wrist, or tried to. He was interested in me because I was a good table ornament and because I was what he called an "off-beat" personality.
I liked sitting around the fireplace with Mr. Schenck and hearing him talk. He was full of wisdom, like some great explorer. I also liked to look at his face. It was as much the face of a town as of a man. The whole history of Hollywood was in it.
Perhaps the chief reason I was happy to have won Mr. Schenck's friendship was the great feeling of security it gave me. As a friend and protege of one of the heads of my own studio, what could go wrong for me ?
I got answer to that question one Monday morning. I was called into the casting department and informed that I was being dropped by the studio and that my presence would no longer be required. I couldn't talk. I sat listening and unable to move.
The casting official explained that I had been given several chances and that, while I had acquitted myself fairly well, it was the opinion of the studio that I wa snot photogenic. That was the reason, he said, that Mr. Zanuck had had me cut out of the pictures in which I had played bit parts.
"Mr. Zanuck feels that you may turn into an actress some time," said the official, "but that your looks are definitely against you."
I went to my room and lay down in bed and cried. I cried for a week. I didn't eat or talk or comb my hair. I kept crying as if I were at a funeral, burying Marilyn Monroe.
It wasn't only that I'd been fired. If they had dropped me because I couldn't act it would have been bad enough. But it wouldn't have been fatal. I could learn, improve, and become an actress. But how could I ever change my looks ? And I'd thought that was the part of me that couldn't miss!
And imagine how wrong my looks must be if even Mr. Schenck had to agree to fire me. I lay crying day after day. I hated myself for having been a fool and had illusions about how attractive I was. I got out of bed and looked in the mirror.
Something horrible had happened. I wasn't attractive. I saw a coarse, crude-looking blonde. I was looking at myself with Mr. Zanuck's eyes. And I saw what he had seen - a girl whose looks were too big handicap for a career in the movies.
The phone rang. Mr. Schenck's secretary invited me to dinner. I went. I sat through the evening feeling too ashamed to look into anyone's eyes. That's the way you feel when you've beaten inside. You don't felle angry at those who've beaten you. You just feel ashamed. I has tasted this shame early - when a family kick me out and send me back to the orphanage.
When we were sitting in the living-room, Mr. Schenck said to me, "How are things going at the studio ?"
I smiled at him because I was glad he hadn't had a hand in my being fired.
"I lost  my job there last week," I said.
Mr. Schenck looked at me and I saw a thousand stories in his face - stories of all the girls he had known who had lost jobs, of all the actresses he had heard boasting and giggling with success and then moaning and snobing with defeat. He didn't try to console me. He didn't take my hand or make any promises. The history of Hollywood looked out of this tired eyes at me and he said, "Keep going."
"I will," I said.
"Try X Studio," Mr. Schenck said. "There might be something there."
When I was leaving Mr. Schenck's house, I said to him, "I'd like to ask you a personal question. Do I look any different to you than I used to ?"
"You look the same as always," said Mr. Schenck. "Only get some sleep and quit crying."
"Thank you," I said.
I went home feeling I was finished before i'd begun.

WHEN you're failure in Hollywood - that's like starving to death outside a banquet hall with the smells of filet mignon driving you crazy. I lay in bed day after day, not eating, not combing my hair. There was going to be no luck in my life.
The dark star I was born under was going to get darker and darker.
I cried and mumbled to myself. I'd go out and get a job as a waitress or clerk. Millions of girls were happy to work at jobs like that. Or I could work in a factory again. I wasn't afraid of any kind of work. I'd scrubbed floors and washed dishes ever since I could remember.
But there was something wouldn't let me go back to the world of Norma Jean. It wasn't ambition or a wish to be rich and famous. I didn't feel any pent-up talent in me. I didn't even feel that I had looks or any sort of attractiveness.
But there was a thing in me like a craziness that wouldn't let up. It kept speaking to me, not in words but in colors - scarlet and gold and shining white, greens and blues. They were the colors I used to dream about in my childhood when I had tried to hide from the dull, unloving world in which the orphanage slavey, Norma Jean, existed.
I was still flying from that world and it was still around me.
It was while I lay on this ocean bottom, figuring never to see daylight again, that I fell in love for the first time. I'd not only never been in love but I hadn't ever dreamed of it. It was something that existed for other people - people who had families and homes.

To be continued


Traduction
"C'est mon histoire - par Marilyn Monroe"
Deuxième tome passionnant
Je nai jamais rien lu sur le Hollywood que j'ai connu durant ces premières années. Ni la moindre allusion dans les magazines de cinéma. S'il existe des livres sur ce sujet, j'ai du passer à côté, ainsi que les quelques millions d'autres livres que je n'ai pas lus.

 
LE Hollywood que je connaissais était le Hollywood de l'échec. Presque tous ceux que j'ai rencontrés souffraient de malnutrition ou de pulsions suicidaires. C'était comme le vers de ce poème : « De l'eau, de l'eau partout, mais aucune goutte à boire." La célébrité, la célébrité partout, mais pas un bonjour pour nous.
Nous mangions aux comptoirs des drugstores; attendions dans les salles d'attente. Nous étions la plus jolie tribu de mendiantes qui n'ait jamais envahi une ville. Et nous étions si nombreuses ! Lauréates des concours de beauté, étudiantes au physique spectaculaire, sirènes locales venant de tous les États de l'Union. En provenances de la ville et de la campagne. Des usines, des troupes de mucis-hall, des écoles d'art dramatique et l'une d'entre elles, d'un orphelinat. 
Et autour de nous, il y avait les loups. Pas les gros loups des studios, mais les petits - des agents sans bureaux, des attachés de presse sans clients, des hommes de contact sans contacts et des impresarios. Les drugstores et les cafés bon marché regorgeaient de gérants prêts à vous placer si vous vous inscriviez sous leur bannière. Leur bannière était généralement un drap de lit.
Je les ai tous rencontrés. La fausseté et l'échec les envahissaient. Certains étaient vicieux et tordus. Mais ils nous permettaient de nous rapprocher le plus possible du cinéma. Alors on s'asseoit avec eux, écoutant leurs mensonges et leurs stratagèmes. Et on voit Hollywood à travers leurs yeux lubriques.
Parmi ces arnaqueurs et ces paumés, figuraient également une flopée de "Has Been". La plupart étaient des acteurs et des actrices qui avaient été évincés du cinéma - personne ne savait pourquoi, encore moins eux-mêmes.
Ils avaient joué de "grands rôles". Ils avaient des albums remplis de "photos" d'eux et d'articles. Et ils foumillaient d'anecdotes sur les grands patrons aux noms magiques qui dirigeaient les studios - Goldwyn, Zanuck, Mayer, Selznick, Schneck, Warner, Cohen. Ils les avaient côtoyés et avaient échangé des conversations avec eux.
Assis dans le café bon marché en sirotant un verre de bière pendant une heure, ils parlaient des grands du cinéma, les appelant par leurs prénoms. "Sam m'a dit" et "je l'ai dit à LB" et "je n'oublierai jamais l'enthousiamsme de Darryl quand il a vu les rushes".

Quand je me rappelle de cet Hollywood désespéré, menteur et chasseur de sous que j'ai connu il y a seulement quelques années, j'ai un peu le mal du pays. C'était un endroit plus humain que le paradis dont j'avais rêvé et trouvé. Les gens qui y figuraient, les imposteurs et les ratés, étaient plus colorés que les grands hommes et les artistes célèbres que je devais bientôt connaître.
Même les escrocs qui m'ont jeté des courbes et m'ont tendu des pièges me semblent être des personnages agréables et doux. Il y avait Harry, le photographe, qui n'arrêtait pas de me photographier quand il avait assez d'argent pour s'acheter des plaques pour son appareil.
"Je connais un agent sensationnel", dit Harry, "qui est fou de toi. Il a vu une de tes photos et il est tombé à la renverse. Et ce n'est pas un minable. C'était un homme important à Budapest."
"Quel genre d'homme important, Harry ?"
"Un producteur. Tu as entendu parler de Reinhardt ?"
"Oh oui."
"Eh bien, il est juste après Reinhardt," dit Harry. "Tu vas l'aimer. Il voit grand."
Nous étions assis tous les trois dans un café bon marché le lendemain soir. Le patron savait bien que c'était inutile d'envoyer le serveur pour voir si nous voulions commander quelque chose. Harry et moi étions déjà venus là. Le troisième à notre table, M. Lazlo, n'avait pas l'air plus prometteur comme client.
M. Lazlo était gros, pas rasé, chauve, les yeux troubles, et le col de sa chemise était un peu effiloché. Mais c'était un fin causeur. Il parlait avec un accent fascinant. Il était difficile d'imaginer qu'un homme aussi cultivé puisse être un clochard. Mais je savais qu'il en était un, sinon qu'aurait-il fait avec Harry et moi ?
"Alors tu as l'ambition d'être une grande actrice ?" dit M. Lazlo.
J'ai hoché la tête.
"Formidable !" dit M. Lazlo.
"Comment aimeriez-vous non seulement être une grande star, mais aussi posséder votre propre studio de cinéma et ne faire que les meilleurs films. Pas de bric-à-brac hollywoodien. Mais de l'art - du vrai art."
"J'aimerais ça," dis-je.
"Bien !" dit M. Lazlo, "Maintenant je sais où vous en êtes."
"Attends d'entendre ses idées", dit Harry. "Je t'ai dit qu'il voyait grand."
"A Budapest", a déclaré M. Lazlo, "si je voulais quelques centaines de milliers de dollars, je n'avais qu'à téléphoner à la banque et ils envoyaient un chariot avec l'argent." Il m'a tapoté la main, "Tu es très belle. Je voudrais t'offrir le genre de dîner que j'avais l'habitude de prendre tous les soirs - à Budapest."
"J'ai déjà mangé," dis-je.
" Vous avez de la chance", soupira M. Lazlo.
"Mais d'abord, avant que je continue - êtes-vous vraiment intéressée par le projet, puis-je savoir ?"
"Je ne sais encore de quoi il s'agit."
"Êtes-vous prête à vous marier ?" a demandé M. Lazlo.
"Avec qui ?" j'ai répliqué.
"La femme d'un millionnaire", a déclaré M. Lazlo. "Il m'a autorisé à vous poser cette question."
" Est-ce qu'il me connaît ?"
"Il a étudié vos photographies", a déclaré M. Lazlo, "et il vous a choisi parmi cinquante autres filles."
"Je ne savais pas que j'étais dans un concours," dis-je.
"Pas de plaisanteries", dit Harry. "C'est de la haute finance."
"Le monsieur qui souhaite vous épouser", a déclaré M. Lazlo, "a soixante et onze ans. Il souffre d'hypertension - et n'a pas de famille. Il est seul au monde."
"Il n'a pas l'air très séduisant," dis-je.
"Ma chère enfant," M. Lazlo me prit la main. La sienne tremblait d'excitation. "Vous hériterez de tout dans six mois. Peut-être moins."
"Vous voulez dire qu'il va mourir si je l'épouse ?" j'ai demandé.
"Je le garantis", a déclaré M. Lazlo.
"C'est comme un meurtre," dis-je à Harry.
"Dans six mois, vous serez veuve avec deux millions de dollars", a déclaré M. Lazlo. "Vous garderez le premier million. Harry et moi partagerons équitablement le second."
Je restai au lit incapable de dormir cette nuit-là. Je ne me marierai jamais ni même ne rencontrerai le millionnaire mourant de M. Lazlo, mais c'était excitant d'y penser. Je me suis imaginée pendant une semaine à vivre dans un château sur une colline - avec une piscine et une centaine de maillots de bain.

A Hollywood, la vertu d'une fille est beaucoup moins importante que sa coiffure. On vous juge sur votre apparence, et pas par ce que vous êtes. Hollywood est un endroit où on vous paie mille dollars pour un baiser et cinquante cents pour votre âme. Je le sais, parce que j'ai refusé la première offre assez souvent et que j'ai tenu bon pour les cinquante cents.
Ce n'était pas parce que j'avais des idées morales. Ni parce que j'ai vu ce qui arrivait aux filles qui prenaient de l'argent aux hommes et se laissaient entretenir par eux. Rien n'est arrivé à ces filles qui ne leur serait pas arrivé, de toute façon.
Parfois, elles ont été larguées et devaient se trouver de nouveaux amants; ou elles avaient leurs noms dans les pages de magazines de cinéma pour avoir été aperçues dans les endroits chics, et leur permettait d'obtenir un emploi dans les studios. Ou, après être passées de nid d'amour en nid d'amour pendant quelques années, elles rencontraient un gars qui tombait amoureux d'elles, se mariaient et avaient des enfants. Certaines d'entre elles sont même devenues célèbres.
C'est peut-être différent ailleurs, mais à Hollywood, "être vertueuse" est une expression à consonance juvénile comme "avoir les oreillons".

J'étais jeune, blonde et bien roulée, et j'avais appris à parler d'une voix rauque comme Marlene Dietrich, à marcher en ondulant, et à mettre de l'émotion dans mon regard quand je le voulais. Et bien que ces performances ne m'aient pas valu d'emploi, elles ont amené beaucoup de loups sifflant sur mes talons. Ce n'étaient pas que des petits loups avec de grands projets et des poignets effilochés. Il y avait aussi de véritables signataires de chèques au compte bancaire bien garni.
Je montais avec eux dans leurs limousines et m'asseyais avec eux dans des cafés chics, en mangeant en général comme un ogre pour compenser une semaine de maigres repas au comptoir des drugstores.
Et je les accompagnais dans les grandes demeures de Beverly Hills où j'étais assise pendant qu'ils jouaient au gin rami ou au poker. Je n'étais jamais à l'aise dans ces maisons ou dans les cafés huppés. D'une part, mes vêtements bons marchés faisaient minables dans ce décor. Je devais croiser les jambes pour dissimuler mes collants effilés et raccommodés. Et je gardais mes coudes hors de vue pour la même raison.
Les hommes aimaient s'en mettre plein la vue entre eux et épater la gallerie en misant gros. Quand je les voyais se donner des billets de cent, voire de mille dollars, je ressentais de l'amertume dans mon cœur. Je me souvenais de ce que vingt-cinq cents et même de cinq cents signifiaient pour les gens que j'avais connus, à quel point dix dollars les auraient rendus heureux, à quel point cent dollars auraient changé leur vie entière.
Lorsque les hommes se marraient et empochaient les milliers de dollars de gains comme s'il s'agissait de liasses de papier de soie, je me souvenais que ma tante Grace et moi faisions la queue à la boulangerie Holmes pour acheter un sac de pain rassis à 25 cents pour subsister une semaine entière. Et je me souvenais aussi qu'elle était restée trois mois avec un verre manquant à ses lunettes parce qu'elle n'avait pas les moyens de payer les cinquante cents pour le remplacer.
Je me souvenais de tous les bruits et odeurs de la pauvreté, de la peur dans les yeux des gens quand ils perdaient leur emploi, et de la façon dont ils peinaient à se serrer la ceinture pour passer la semaine. Et j'ai revu la robe bleue et le chemisier blanc parcourir à nouveau les trois kilomètres pour se rendre à l'école, qu'il pleuve ou qu'il fasse beau, car un centime était une somme trop importante pour prendre un ticket de bus.
Je n'en voulais pas aux hommes d'être riches ou indifférents à l'argent. Mais cela me faisait mal au cœur quand je voyais la facilité avec laquelle ils gagnaient ou perdaient par billets de mille dollars.

Un soir, un homme riche m'a dit : "Je t'achèterai de beaux vêtements, des manteaux de fourrure et tout. Et je paierai ton loyer dans un bel appartement et je te donnerai une indemnité de repas. Et tu n'auras même pas besoin de coucher avec moi. Tout ce que je te demande, c'est de pouvoir t'emmener dans les cafés et les soirées et que tu agisses comme si tu étais ma copine. Et je te dirai bonne nuit devant ta porte et ne te demanderai jamais de me laisser entrer. Ce ne sera qu'une histoire d'apparence. Qu'en dis-tu ?"
Je lui ai répondu: "Je n'aime pas les hommes avec des projets fantaisistes comme les vôtres. J'aime mieux les loups dragueurs qui jouent cartes sur table. Je sais à quoi m'attendre avec eux. Mais je suis toujours nerveuse avec les menteurs."
"Qu'est-ce qui te fait penser que je mens ?" Il a demandé
"Parce que si tu ne voulais pas de moi, tu n'essaierais pas de m'acheter," dis-je.

Je n'ai pas pris leur argent et ils ne pouvaient pas passer par ma porte d'entrée mais j'ai continué à monter dans leurs limousines et à m'asseoir à côté d'eux dans les endroits chics. Il y avait toujours une chance qu'un travail, et pas un autre loup, ne se présente à vous. En plus, il y avait la question de la nourriture. Je n'ai jamais eu le scrupule de dévorer. Il n'était pas question de m'acheter ni même pour de la nourriture. 
Mon principal problème, après l'alimentation, les bas et le loyer, était mon automobile. J'avais versé un acompte sur une petite voiture d'occasion. Mais les cent cinquante que je possédais encore étaient de l'argent d'une loterie.
Le deuxième mois, j'ai reçu une lettre disant que si je ne faisais pas le paiement mensuel de cinquante dollars, l'entreprise devrait reprendre possession de la voiture. J'ai demandé à une fille que je connaissais des castings ce que cela signifiait et elle me l'a expliqué.
Le troisième mois, un homme a frappé à ma porte, m'a montré un document et a repris possession de ma voiture.
"Contre un reçu de cinquante dollars", dit l'homme, "l'entreprise se fera un plaisir de vous restituer la voiture."
Une chercheuse d'emploi dans le cinéma sans voiture à Hollywood était comme un pompier sans camion de pompiers. Il y avait au moins une douzaine de studios et de bureaux d'agents qu'il fallait visiter chaque jour. Et ils se trouvaient dans une douzaine de quartiers différents, à des kilomètres l'un de l'autre.
Et ces visites n'aboutissaient à rien.

VOUS étiez assise dans une salle d'attente du département de casting. Un assistant sort par une porte, regarde le groupe rassemblé et dit: "Il n'y a rien aujourd'hui. Laissez vos noms et numéros de téléphone." C'était presque une chance quand il disait "Laissez vos noms et numéros de téléphone." Habituellement, il ne disait que la première phrase.
Dans les bureaux de l'agence, c'était un peu plus compliqué. Parce que les agents n'étaient pas aussi sincères que les services de casting.
Ils étaient enclins à vous ballader, à lancer quelques cris de loup, à faire des promesses et à essayer de vous tripoter. Cela n'aboutissait à rien, mais il fallait continuer à revenir. Les agents avaient parfois des "relations" et des emplois.
Ring Lardner a écrit une fois une histoire sur un duo de filles qui ont économisé leur argent et se sont rendues à Palm Beach, en Floride, pour se mêler à l'élite sociale de cette célèbre station balnéaire. Il raconte qu'elles s'étaient arrêtés dans un hôtel chic et que tous les soirs "elles s'amusaient dans la véranda pour profiter de quelques rebuffades". C'était comme ça avec moi. Sauf que sans automobile, je ne pouvais pas faire grand-chose.

J'ai tout fait pour récupérer la voiture. J'ai passé des jours à pourchasser le commissaire et le shérif de Los Angeles. J'ai visité l'entreprise qui avait repris la voiture. J'ai même envisagé d'appeler quelques millionnaires que je connaissais. Mais je ne pouvais pas. Lorsque je commençais à composer l'un de leurs numéros, un sentiment de colère m'envahissait et je raccrochais.
Je réalisais que ce n'était pas tout à fait normal mais tout ce que je pouvais faire était de me jeter sur le lit et de commencer à pleurer. Je pleurais, criais et frappais le mur avec mes poings comme si j'essayais de sortir d'un endroit. Ensuite, je restais immobile pendant un jour ou deux, sans manger, et je souhaitais être morte - comme si j'étais à nouveau Norma Jean regardant par la fenêtre de l'orphelinat.

Le téléphone a sonné. C'était un photographe que je connaissais, Tom Kelley. Lui et sa femme, Natalie, avaient été gentils avec moi. J'avais posé pour des pubs de bière pour Tom.
"Viens, j'ai un travail pour toi", a-t-il dit.
"C'est un peu différent des autres boulots," dit Tom quand je suis arrivé chez lui. "Mais il y a cinquante dollars pour toi, si tu veux le faire."
J'ai raconté à Tom et Natalie pour ma voiture.
"Pour cinquante dollars, je suis prête à sauter d'un toit", dis-je.
"Ces photos sont pour un calendrier", a déclaré Tom, "et ce sont des nus."
"Tu veux dire complètement nue ?", j'ai demandé.
"C'est ça," dit Tom, "sauf que ce ne sera pas vulgaires. Tu es idéale pour ce travail non seulement parce que tu es bien faite mais aussi parce que tu es inconnue. Personne ne te reconnaîtra."
"Pour sûr que je suis une inconnue", dis-je.
"Ce serait différent si tu étais une starlette ou quelque chose comme ça", a déclaré Natalie. "Quelqu'un pourrait te reconnaître sur le calendrier."
"Avec toi, il n'y aura pas ce genre de problème", a déclaré Tom. "Ce sera juste une photo d'une belle inconnue."
J'ai passé l'après-midi à poser. J'étais un peu confuse au début, et quelque chose n'arrêtait pas de trotter dans ma tête. Mais après quelques poses, la déprime s'en alla. J'aimais mon corps. J'étais contente de ne pas avoir beaucoup mangé ces derniers jours.
Les photos montreraient un ventre bien plat. Et qu'est-ce que ça changerait - le nu d'une "belle inconnue ?"
Les gens ont des attitudes curieuses à propos de la nudité, tout comme ils en ont à propos du sexe. La nudité et le sexe sont les choses les plus banales au monde. Pourtant, les gens agissent souvent comme si c'était des choses qui n'existaient que sur Mars. J'ai pensé à tout ça quand je posais, mais une idée continuait à me tracasser.
Et si je devenais actrice, un jour ? Une grande vedette ? Et que quelqu'un me verrait sur le calendrier et me reconnaîtrait ?
"Pourquoi deviens-tu si sérieuse d'un coup ?" a demandé Tom.
"Je pensais juste à quelque chose," dis-je.
"Quoi ?"
"Cela ne vaut pas le coup que je le répète," dis-je. "Je suis juste folle. J'ai toutes sortes de pensées folles."
J'ai récupéré ma voiture le lendemain et j'ai pu me promener d'un studio à l'autre et profiter du quota habituel de rebuffades.

Je me suis précipitée chez tante Grace pour lui annoncer grande nouvelle. J'avais un travail. Je pouvais entrer dans un studio sans qu'on me pose cinquante questions. Et je n'avais pas à m'asseoir dans une salle d'attente. J'étais salariée en tant qu'actrice.
"C'est le meilleur studio du monde", dis-je. "La Twentieth Century-Fox."
Tante Grace rayonna et se dirigea vers la cuisinière pour faire du café.
"Les gens sont tous merveilleux," lui dis-je, "et je vais être dans un film. Ce sera un petit rôle. Mais pour une fois, je serai à l'écran."
Je m'arrêtai et regardai tante Grace. Elle me souriait toujours. Mais elle se tenait immobile. Son visage était pâle et elle avait l'air fatiguée comme si la vie était devenue quelque chose de trop lourd à porter.
Je l'enlaçai en passant mes bras autour d'elle et l'aidai à s'asseoir.
"Je vais bien," dit-elle. "Le café va me rebooster."
"Ce sera différent maintenant pour nous tous," dis-je. "Je vais travailler dur."
On est restée longtemps assise pour discuter d'un nouveau nom pour moi. Le directeur de casting m'avait suggéré de trouver un nom plus glamour que Norma Dougherty.
"J'aimerais lui rendre service," dis-je. "Surtout que Dougherty n'est même plus mon nom, de toute façon."
"Tu n'aurai pas une idée de nom ?" demanda tante Grace.
Je n'ai pas répondu. J'avais un nom, un vrai nom qui me faisait vibrer dès que j'y pensais. Il appartenait à l'homme au chapeau mou et à la moustache de Gable. Sa photographie était maintenant en ma possession.
Je prononçais le nom dans ma tête, mais j'ai gardé le silence. Ma tante me souriait. Je sentais qu'elle savait ce que je pensais.
"L'homme du studio a suggéré Marilyn," dis-je.
"C'est un joli prénom," dit ma tante. "Et ça sonne bien avec le nom de jeune fille de ta mère."
Je ne savais pas quel était ce nom.
"C'était une Monroe", a déclaré tante Grace. "Sa famille remonte loin. J'ai des papiers et des lettres que je garde pour ta mère. Ils prouvent qu'elle est liée au président des Etats-Unis Monroe."
"Tu veux dire que je suis apparentée à un président des États-Unis ?", lui ai-je demandé.
"Une descendante directe", a déclaré tante Grace.
"C'est un nom merveilleux," dis-je. "Marilyn Monroe. Mais je ne leur parlerai pas du président." J'ai embrassé tante Grace et je lui ai dit: "J'essaierai de faire de mon mieux."

L'assistant réalisateur a dit : "Maintenant, approchez-vous de Miss June Haver, souriez-lui, dites-lui bonjour, faites-lui signe de la main droite et continuez. Compris ?"
Les cloches ont sonné. Un silence s'abattit sur le plateau. L'assistant réalisateur a crié "Action !" Je marchais, souriais, agitais ma main droite et parlais. J'étais au cinéma ! J'étais l'une parmi ces centaines de "petits rôles".
Nous étions une dizaine sur le plateau, les petits rôles, avec un geste à faire et une ou deux répliques à réciter. Certains d'entre eux étaient des  vétérans du genre. Après dix années à faire des films, ils en étaient toujours à ne dire qu'une ligne et marchaient dix pas vers nulle part. Quelques-unes étaient jeunes et avaient de belles poitrines. Mais je savais qu'elles étaient différents de moi. Elles n'avaient pas mes illusions.

Mes illusions n'avaient rien à voir avec le fait d'être une bonne actrice. Je savais à quel point j'étais au troisième rang. Je pouvais réellement sentir mon manque de talent, comme si c'était des vêtements bon marché que je portais à l'intérieur. Mais comme j'avais envie d'apprendre ! Je ne voulais rien d'autre.
Pas les hommes, pas l'argent, pas l'amour, mais la capacité d'interpréter. Avec les projecteurs et la caméra pointés sur moi. Je me suis soudain reconnue. Comme j'étais maladroite, vide, inculte ! Une orpheline maussade avec une cervelle d'oiseau.
Mais je changerais. Je restai silencieuse et fixai tout. Les hommes me souriaient et essayaient d'attirer mon regard. Pas les acteurs ni le réalisateur et ses assistants. C'étaient des gens importants, et les gens importants essaient d'attirer l'attention uniquement d'autres personnes importantes.
Mais les machinistes, les électriciens et autres ouvriers, des gars sains et robustes m'affichaient leurs visages souriants et amicaux. Je ne rendais pas leurs sourires. J'étais trop occupée à mon désespoir. J'avais un nouveau nom - Marilyn Monroe. Je devais naître. Et être cette fois meilleure qu'avant.

Mon rôle a été coupé à l'écran du film "Scudda Hoo, Scudda Hay." Ça ne m'a pas dérangé quand on me l'a dit. Je serais meilleure dans le prochain film. J'avais été embauchée pour six mois. Dans six mois, je leur montrerais.
Je dépensais mon salaire en cours de théâtre, en cours de danse et en cours de chant. J'ai acheté des livres à lire. J'emportai des scripts du plateau et je m'asseyais seule dans ma chambre en les lisant à haute voix devant le miroir. Et il m'est arrivée une chose étrange. Je suis tombée amoureuse de moi-même... non pas de celle que j'étais avant, mais celle que j'allais devenir.
Je me disais : "Qu'est-ce que tu as pour être fière de Marilyn Monroe ?" et je me répondais, "Tout, tout." Et je marcherais lentement comme si j'étais une reine.

Un soir, un collègue, un des petits rôles figurants, m'a invité à dîner.
"Je n'ai pas d'argent", l'ai-je prévenu. "Et toi ?"
"Non," dit-il. "Mais j'ai reçu une sorte d'invitation à une fête. Et je voudrais t'emmener. Toutes les stars seront là."
Nous sommes arrivés à une maison de Beverly Hills à neuf heures. C'était la maison d'un agent célèbre. Je me sentais aussi effrayée d'y entrer que si je faisais irruption par effraction dans une banque. Mes bas étaient reprisés. Je portais une robe à dix dollars. Et mes chaussures ! J'ai prié pour que personne ne regarde mes chaussures. Je me suis dit, c'est le moment de se sentir comme une reine - et pas quand tu es seule dans ta chambre sans que personne ne te regarde.
Mais le sentiment de reine ne viendra pas. Le mieux que je réussis à faire fut de rentrer les jambes raides comme un piquet dans le grand hall et de rester là debout, à regarder comme une blonde gélifiée les smokings et les robes du soir.
Mon escort m'a chuchoté : "La nourriture est dans l'autre pièce. Viens." Il est parti sans moi. Je suis restée dans le hall, regardant la pièce emplie pleine de meubles merveilleux et de gens merveilleux.
Jennifer Jones était assise sur un canapé. Olivia de Havilland se tenait près d'une petite table. Gene Tierney riait à côté d'elle. Il y en avait tellement d'autres que je ne pouvais pas me concentrer. Des robes de soirée et des visages célèbres flottaient dans la pièce en riant et en bavardant. Les diamants scintillaient. Il y avait aussi des hommes, mais je n'en ai regardé qu'un.
Clark Gable se tenait seul, tenant un verre et souriant avec nostalgie en l'air. Il avait l'air si familier que j'en avais le vertige. Et puis j'ai su pourquoi. C'était presque comme si mon père était revenu à la vie. Il était là, comme il était sur la photo que je regardais quand j'étais petite fille.
J'ai passé le reste de la soirée dans le couloir à regarder M. Gable. C'était une fête merveilleuse.

Je devais par la suite assister à un certain nombre de soirées hollywoodiennes chics et me tenir parmi les personnages glamours, habillée aussi bien que n'importe lequel d'entre eux, et rire comme si j'étais submergée de joie, mais je ne me suis jamais sentie plus à l'aise que la première fois où j'avais M. Gable depuis le couloir.
Le principal plaisir que les gens retirent de ces fêtes, c'est de pouvoir énumérer le lendemain la liste des noms des personnes célèbres qu'ils ont approché chez Untel. La plupart des soirées fonctionnent sur le star system.
À Hollywood, une star n'est pas seulement un acteur, une actrice ou un producteur. Cela peut également être quelqu'un qui a récemment été arrêté pour quelque chose, qui a été battu ou encore exposé dans un ménage à trois. Si c'est diffusé dans les journaux, cette personne est traitée comme une vedette tant que perdure sa publicité.
Je ne sais pas si la haute société est différente dans d'autres villes, mais à Hollywood, les personnes importantes ne supportent pas d'être invitées dans un endroit qui n'est pas rempli d'autres personnes importantes. Cela ne les dérange pas que quelques personnes peu connues soient présentes, car ils font de bons auditeurs. Mais si une star ou un patron de studio ou l'un des grands personnages du cinéma se retrouve assis parmi un tas d'inconnus, ils sont effrayés comme si on essayait de les rétrograder.
Je ne pourrais jamais comprendre pourquoi les gens importants sont toujours si désireux de se déguiser et de se réunir pour se regarder. Peut-être que trois ou quatre d'entre eux auront quelque chose à dire à quelqu'un, mais les vingt ou trente autres resteront assis comme des morceaux sur une bûche et se regarderont avec de faux sourires.
L'hôte s'affaire généralement à essayer d'impliquer les invités dans une sorte de jeu ou de concours de devinettes. Ou il essaie d'amener quelqu'un à faire un discours sur quelque chose afin de lancer une discussion générale.
Mais généralement, les invités échouent pour répondre et la fête se prolonge sans que rien ne se passe jusqu'à l'arrivée du marchand de sable. C'est le signal pour les invités de commencer à partir. Presque tout le monde hésite à s'endormir lors d'une fête.
La raison pour laquelle je suis allée à des soirées de ce genre était de me faire de la publicité. Il y avait toujours la possibilité que quelqu'un puisse m'insulter ou me faire des avances, ce qui serait une bonne publicité si cela arrivait dans les rubriques de cinéma car avoir été simplement présente à une réception de gens de cinéma est une très bonne publicité.
Parfois, c'est la seule mention favorable que les reines du cinéma peuvent obtenir. Il y avait aussi la considération que si mes patrons de studio me voyaient parmi les stars de cinéma, ils pourraient aussi me considérer comme une star.
Assister à ce genre de sorties mondaines été la partie la plus difficile de ma campagne pour me faire connaître. Mais après quelques mois, j'ai appris à réduire considérablement l'ennui. In suffisait d'arriver avec environ deux heures de retard à une fête. Non seulement vous faite une entrée spéciale, ce qui était une bonne publicité, mais presque tout le monde était susceptible d'être ivre à ce moment-là.
Les personnes importantes sont beaucoup plus intéressantes lorsqu'elles sont ivres et paraissent beaucoup plus humains.
Il y a un autre aspect qui est socialement très important pour ces fêtes hollywoodiennes C'est un endroit où les idylles amoureuses se font et se défont. Presque tous ceux qui assistent à une soirée importante espèrent non seulement être mentionnés favorablement dans les rubriques de cinéma mais aussi éspèrent tomber amoureux ou de séduire quelqu'un avant la fin de la soirée.
Il est difficile d'expliquer comment on peut tomber amoureux alors qu'on s'ennuie à mourir, mais je sais que c'est vrai, car cela m'est arrivée plusieurs fois.
Dès que j'ai pu m'offrir une robe de soirée, j'ai acheté la plus voyante que j'aie pu trouver. C'était une robe rouge vif, décolletée, et mon arrivée dans celle-ci rendait généralement furieuse la moitié des femmes présentes. J'étais désolée d'une certaine manière de faire cela, mais j'avais un long chemin à parcourir et j'avais besoin de beaucoup de publicité pour y arriver.

Un soir, M. Schenck m'a invité à dîner dans son manoir de Beverly Hills. Puis il prit l'habitude de m'inviter deux ou trois fois par semaine.
Les premières fois, j'y allais car il était l'un des patrons de mon studio. Après ça, j'y suis allée parce que je l'aimais bien. De plus, la nourriture était très bonne et il y avait toujours des personnes importantes à sa table. Ce n'étaient pas les vedettes des fêtes, mais des amis personnels de M. Schenck.
Je parlais rarement, ne disant à peine que trois mots pendant le dîner, mais je m'appuyais au coude de M. Schenck et j'écoutais comme une éponge. M. Schenck n'a jamais même posé un doigt sur mon poignet, ou essayé de le faire. Il s'intéressait à moi parce que j'étais une belle décoration de table et parce que j'étais ce qu'il appelait une personnalité « décalée ».
J'aimais m'asseoir autour de la cheminée avec M. Schenck et l'entendre parler. Il était plein de sagesse, comme un grand explorateur. J'aimais aussi regarder son visage. C'était autant le visage d'une ville que celui d'un homme. Toute l'histoire d'Hollywood s'y trouvait.
Peut-être que la principale raison pour laquelle j'étais contente d'avoir gagné l'amitié de M. Schenck, était le grand sentiment de sécurité que cela me procurait. En tant qu'ami et protégé d'un des patrons de mon propre studio, qu'est-ce qui pourrait mal tourner pour moi ?
J'ai eu la réponse à cette question un lundi matin. J'ai été convoquée au service casting et informée que j'étais licensiée et que ma présence ne serait plus nécessaire. Je ne pouvais pas parler. Je me suis assise pour écouter en étant incapable de bouger.
Le responsable du casting m'a expliqué qu'on m'avait donné plusieurs fois ma chance et que, même si je m'en étais plutôt bien sortie, le studio pensait que je n'étais pas assez photogénique. C'était la raison pour laquelle, dit-il, que M. Zanuck avait fait couper les scènes des films dans lesquels j'avais joué de petits rôles.
"M. Zanuck pense que vous pourriez devenir actrice un jour", a déclaré le responsable, "mais que votre apparence est définitivement contre vous."
Je suis allée dans ma chambre et je me suis allongée dans mon lit et j'ai pleuré. J'ai pleuré pendant une semaine. Je n'ai ni mangé, ni parlé, ni coiffé mes cheveux. Je n'arrêtais pas de pleurer comme si j'étais à un enterrement, en train d'enterrer Marilyn Monroe.
Ce n'était pas seulement le fait que j'avais été virée. S'ils m'avaient laissé tomber parce que je ne pouvais pas jouer, cela aurait été déjà assez grave. Mais cela n'aurait pas été fatal. J'aurai pu apprendre, m'améliorer et devenir actrice. Mais comment pourrais-je changer à jamais mon apparence ? Et moi qui pensait au contraire que c'était cette partie de moi qu'on ne pouvait pas rater !
Et imaginez à quel point mon apparence doit être mauvaise si même M. Schenck devait accepter de me virer. Je pleurais jour après jour. Je me détestais d'avoir été si idiote à me faire des illusions en misant sur mon physique. Je suis sortie du lit et je me suis regarder dans le miroir.
Quelque chose d'horrible s'était produit. Je n'étais pas attirante. J'ai vu une blonde vulgaire aux traits grossiers. Je me regardais avec les yeux de M. Zanuck. Et j'ai vu ce qu'il avait vu - une fille dont l'apparence était un trop gros handicap pour une carrière au cinéma.
Le téléphone a sonné. La secrétaire de M. Schenck m'a invité à dîner. J'y suis allée. Je suis restée assise toute la soirée, trop honteuse pour regarder quelqu'un dans les yeux. C'est ce que vous ressentez lorsque vous vous sentez abattue. Vous ne vous fâchez pas contre ceux qui vous ont rabaissé. Vous avez juste honte. J'ai goûté à cette honte très tôt - quand une famille m'avait mise à la porte et m'avait renvoyée à l'orphelinat.
Alors que nous étions assis dans le salon, M. Schenck m'a dit : "Comment ça se passe au studio ?"
Je lui ai souri parce que j'étais contente qu'il n'ait pas joué un rôle dans mon renvoi.
"J'ai perdu mon travail là-bas la semaine dernière," dis-je.
M. Schenck m'a regardé et j'ai vu mille histoires sur son visage - ces histoires de toutes les filles qu'il avait connues et qui avaient perdu leur emploi, de toutes les actrices qu'il avait entendues se vanter et glousser de succès puis gémir et sangloter quand la défaite arrive. Il n'a pas essayé de me consoler. Il ne m'a pas pris la main ni fait de promesses. A travers ses yeux fatigués de ces histoires d'Hollywood, il m'a regardé et m'a dit : "Continuez."
"Je le ferai," lui dis-je.
"Essayez tel Studio", a déclaré M. Schenck. "Il pourrait y avoir quelque chose là-bas."
En quittant la maison de M. Schenck, je lui ai dit : "Je voudrais vous poser une question personnelle. Est-ce que je vous parais différente de ce que j'étais avant ?"
"Vous avez toujours la même apparence", a déclaré M. Schenck. « Dormez seulement un peu et arrêtez de pleurer."
"Merci," dis-je.
Je suis rentrée chez moi avec le sentiment d'avoir fini avant d'avoir commencé.

QUAND vous échouez à Hollywood - c'est comme mourir de faim devant une salle de banquet avec les odeurs de filet mignon qui vous rendent fou. Je restais au lit jour après jour, ne mangeant pas, ne me peignant pas les cheveux. Il n'allait pas y avoir de chance dans ma vie.
L'étoile noire sous laquelle je suis née allait devenir de plus en plus sombre.
Je pleurais et ruminais. Je sortirais et trouverais un emploi de serveuse ou de commis. Des millions de filles étaient heureuses de faire ce genre de travail. Ou je pourrais retravailler dans une usine. Aucun travail ne me faisait peur. J'avais récuré les sols et lavé la vaisselle aussi loin que je m'en souvienne.
Mais il y avait quelque chose qui ne me laissait pas retourner dans le monde de Norma Jean. Ce n'était pas de l'ambition ou un désir d'être riche et célèbre. Je ne sentais aucun talent sous jacent en moi. Je n'avais même pas l'impression d'attirer les regards ou d'être attirante.
Mais il y avait quelque chose en moi comme une folie qui ne s'arrêtait pas. Cela n'arrêtait pas de me hanter, non pas en mots mais en couleurs - écarlate et or et blanc brillant, verts et bleus. C'étaient les couleurs dont je rêvais dans mon enfance quand j'avais essayé de me cacher du monde terne et sans amour dans lequel vivait l'esclave de l'orphelinat, Norma Jean.
Je fuyais toujours ce monde et il était toujours autour de moi.
C'est pendant que j'étais allongée au fond de l'océan, pensant ne plus jamais revoir la lumière du jour, que je suis tombée amoureuse pour la première fois. Non seulement je n'avais jamais été amoureuse, mais je n'en avais jamais rêvée. C'était quelque chose qui existait pour d'autres personnes - des personnes qui avaient des familles et des maisons.

À suivre


pour info

Il s'agit ici de la publication dans la presse (et du vivant de Marilyn) de ce qui restera considéré comme son "autobiographie" débutée mais jamais achevée, le fruit d'une collaboration émaillée d'entretiens avec le journaliste Ben Hecht au début de l'année 1954 et publiée dans un livre intitulé (comme cet article) "My Story" en 1974 et publié en France en 2011 sous le titre de "Confession inachevée".

This is here the publication in the press (and during Marilyn's lifetime) of what will remain considered as her "autobiography" started but never completed, the result of a collaboration punctuated by several interviews with the journalist Ben Hecht at the early of the year 1954 and published in a book entitled (like this article) "My Story" in 1974 and published in France in 2011 under the title of "Confession inachevée".


- Blog: 12/01/1955, The Australian Women's Weekly: "This is my story" (part 1) -
- Blog: 19/01/1955, The Australian Women's Weekly: "This is my story" (part 3) -


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

01 novembre 2020

Making the Image: Eve Arnold’s Portrait of a Pensive Marilyn Monroe

LOGO_MAGNUM

 Making the Image: Eve Arnold’s Portrait of a Pensive Marilyn Monroe
 | en ligne sur magnumphotos.com

Arnold's grandson explores her writings on the making of the famed image, and shares previously unseen contact sheets from the Nevada set of The Misfits
Le petit-fils d'Arnold explore ses écrits sur la création de la célèbre image et partage des planches contacts inédites du tournage au Nevada de The Misfits

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Marilyn Monroe in the Nevada desert going over her lines for a difficult scene
she is about to play with Clarke Gable in the film 'The Misfits' by John Huston.
Nevada, USA. 1960.  © Eve Arnold | Magnum Photos

Contact sheets: direct prints of sequences of negatives were – in the pre-digital era – key for photographers to be able to see what they had captured on their rolls of film. They formed a central part of editing and indexing practices, and in themselves became revealing of photographers’ approaches: the subtle refinements of the frame, lighting and subject from photograph to photograph, tracing the image-maker’s progress toward the final composition that they ultimately saw as their best. There is a voyeuristic aspect to looking at a contact sheet also: one can retrace the photographer’s movements through time and space, tracking their eye’s smallest twitches from left to right as their attention is drawn. It is as if one were inside their head, offered a privileged view through their very eyes from the front row of their brain.
Planche Contact: l'impression directe de séquences de négatifs était - à l'ère pré-numérique - la clé pour que les photographes puissent voir ce qu'ils avaient capturé sur leurs pellicules. Ils formaient une partie centrale des pratiques d'édition et d'indexation, et devenaient en eux-mêmes révélateurs des approches des photographes: les raffinements subtils du cadre, de l'éclairage et du sujet de la photographie à la photographie, retraçant les progrès du créateur d'images vers la composition finale qu'ils ont finalement vue comme leur meilleur. Il y a aussi un aspect voyeuriste à regarder une planche contact: on peut retracer les mouvements du photographe à travers le temps et l’espace, en suivant les moindres contractions de son œil de gauche à droite au fur et à mesure que son attention est attirée. C'est comme si on était à l'intérieur de leur tête, offrait une vue privilégiée à travers leurs yeux mêmes du premier rang de leur cerveau.

As Kristen Lubben wrote in her introduction to the book, Magnum Contact Sheets, first published in 2011 by Thames and Hudson:
“Unique to each photographer’s approach, the contact is a record of how an image was constructed. Was it a set-up, or a serendipitous encounter? Did the photographer notice a scene with potential and diligently work it through to arrive at a successful image, or was the fabled ‘decisive moment’ at play? The contact sheet, now rendered obsolete by digital photography, embodies much of the appeal of photography itself: the sense of time unfolding, a durable trace of movement through space, an apparent authentication of photography’s claims to transparent representation of reality.”

Comme Kristen Lubben l'a écrit dans son introduction au livre, Magnum Contact Sheets, publié pour la première fois en 2011 par Thames et Hudson:
«Unique à l'approche de chaque photographe, le contact est un enregistrement de la façon dont une image a été construite. Était-ce une mise en place ou une rencontre fortuite? Le photographe a-t-il remarqué une scène avec du potentiel et l'a-t-il travaillé avec diligence pour arriver à une image réussie, ou le légendaire «moment décisif» était-il en jeu? La feuille de contact, maintenant rendue obsolète par la photographie numérique, incarne une grande partie de l'attrait de la photographie elle-même: le sens du temps qui se déroule, une trace durable de mouvement à travers l'espace, une authentification apparente des revendications de la photographie à une représentation transparente de la réalité."

Below, Michael Arnold – grandson of Eve Arnold, and a representative of the Eve Arnold Estate – writes about the making of the (above) famed image of a concerned Marilyn Monroe, seemingly isolated on the set of The Misfits. Offering personal insight and archival context on the star’s troubled time on set, he also shares previously unseen contact sheet images from the work Arnold made during the film’s production.
Ci-dessous, Michael Arnold - petit-fils d'Eve Arnold, et un représentant du domaine Eve Arnold - écrit sur la création de la célèbre image (ci-dessus) d'une Marilyn Monroe concernée, apparemment isolée sur le tournage de The Misfits. Offrant un aperçu personnel et un contexte d’archivage sur le temps troublé de la star sur le plateau, il partage également des images de planches de contact inédites du travail réalisé par Arnold pendant la production du film.

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As a photographer, Eve Arnold was known for getting beneath the surface of her subjects, for capturing something of the real person hidden behind the persona.
In this well-known picture, actress Marilyn Monroe is memorizing her lines on the set of the film The Misfits. Monroe found it very difficult to memorize her lines and felt insecure about this. Because of the close bond Eve gained from working with Marilyn over several years she was able to capture the fragility and vulnerability behind her usually confident, and instantly recognizable exterior.

En tant que photographe, Eve Arnold était connue pour se cacher sous la surface de ses sujets, pour capturer quelque chose de la personne réelle cachée derrière le personnage.
Dans cette image bien connue, l'actrice Marilyn Monroe mémorise ses lignes sur le tournage du film Les Misfits. Monroe a eu beaucoup de mal à mémoriser ses lignes et se sentait mal à l'aise à ce sujet. En raison du lien étroit qu'Eve a noué en travaillant avec Marilyn pendant plusieurs années, elle a pu capturer la fragilité et la vulnérabilité derrière son extérieur habituellement confiant et immédiatement reconnaissable.

Eve describes this fragility in her book, In Retrospect:
“My most poignant memory of Marilyn is of how distressed, troubled and still radiant she looked when I arrived in Nevada to work on The Misfits. She asked immediately how she looked, and she wanted and needed reassurance. It was four years since we had worked together, and she looked into my eyes for a long moment to make sure she could still trust me. Then she drew her breath, sighed and said, “I’m thirty-four years old. I’ve been dancing for six months [on Let’s Make Love]. I’ve had no rest, I’m exhausted. Where do I go from here ?” She was not asking me – she was asking herself. This was less than a year before she died. It occurred to me then that when she had lived with the fantasy of Marilyn that she had created, that fantasy had sustained her, but now the reality had caught up with her and she found it too much to bear.”

Eve décrit cette fragilité dans son livre, In Retrospect:
«Mon souvenir le plus émouvant de Marilyn est de voir à quel point elle avait l'air affligée, troublée et toujours radieuse quand je suis arrivée au Nevada pour travailler sur The Misfits. Elle a immédiatement demandé à quoi elle ressemblait et elle voulait et avait besoin d'être rassurée. Cela faisait quatre ans que nous avions travaillé ensemble, et elle m'a regardé dans les yeux pendant un long moment pour s'assurer qu'elle pouvait encore me faire confiance. Puis elle retint son souffle, soupira et dit: «J'ai trente-quatre ans. J'ai dancé pendant six mois [sur Let’s Make Love]. Je n'ai pas eu de repos, je suis épuisée. Où dois-je aller d'ici ? » Elle ne me demandait pas à moi - elle se posait la question. C'était moins d'un an avant sa mort. Il m'est alors venu à l'esprit que lorsqu'elle avait vécu avec le fantasme de Marilyn qu'elle avait créé, ce fantasme l'avait soutenue, mais maintenant la réalité l'avait rattrapée et elle trouvait cela trop difficile à supporter."

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Clark Gable, Marilyn Monroe, Montgomery Clift on the set of 'The Misfits'.
1960. Reno. Nevada. USA. © Eve Arnold | Magnum Photos

Eve spoke further about the filming of The Misfits in a BBC documentary, Eve and Marilyn:

“…When Arthur [Miller] met Marilyn he then rewrote the story. It then became the basis for the film called The Misfits. It had Clarke Gable in the lead. It had Marilyn as the female lead. It had Montgomery Clift, Ely Wallach. It was meant to be exquisitely made. It was meant to be a small statement but very serious. And it was meant to bring Marilyn forward as a very serious actress. And this was Miller’s valentine to Marilyn. The marriage was already over but what he had wanted to do with it was to give her a gift.
She adored all of it. She loved the attention and she loved these very handsome men. What she didn’t like was the fact that they were all such polished actors. When they kept changing lines they would just reel them off and they would be word-perfect. And she would have difficulty because a) she didn’t have the training, and b) because she was troubled and it was difficult to remember the lines when she was going through a trying time.
She was ill at the time and she was disturbed. She had twice taken an overdose of sleeping tablets. I’m sure by accident because her big enemy was that she couldn’t sleep. And so, nights she would take two pills and then two more pills and then forgetting, she’d wake up and be muzzy, and in the morning she could hardly find her way around.”

Eve a parlé plus en détail du tournage de The Misfits dans un documentaire de la BBC, Eve et Marilyn:

«… Quand Arthur [Miller] a rencontré Marilyn, il a ensuite réécrit l'histoire. C'est ensuite devenu la base du film intitulé The Misfits. Il avait Clarke Gable en tête. Il avait Marilyn comme femme principale. Il y avait Montgomery Clift, Ely Wallach. Il était censé être fait de manière exquise. C'était censé être une petite déclaration mais très sérieuse. Et cela visait à faire de Marilyn une actrice très sérieuse. Et c'était la Saint-Valentin de Miller à Marilyn. Le mariage était déjà terminé mais ce qu'il avait voulu en faire, c'était lui faire un cadeau.
Elle adorait tout cela. Elle a adoré l'attention et elle a adoré ces très beaux hommes. Ce qu’elle n’a pas aimé, c’était le fait qu’ils étaient tous des acteurs aussi raffinés. Quand ils continuaient à changer de lignes, ils les enroulaient simplement et ils étaient parfaits. Et elle aurait des difficultés parce que a) elle n’a pas eu la formation, et b) parce qu’elle était troublée et qu’il était difficile de se souvenir des répliques quand elle traversait une période difficile.
Elle était malade à l'époque et elle était perturbée. Elle avait pris deux fois une surdose de somnifères. J'en suis sûre par accident car son grand ennemi était qu'elle ne pouvait pas dormir. Et donc, les nuits où elle prenait deux pilules, puis deux autres pilules, puis en oubliant, elle se réveillait et était confuse, et le matin, elle pouvait à peine trouver son chemin. "

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Clark Gable, Marilyn Monroe and Montgomery Clift practice a scene during the filming of 'The Misfits'.
Nevada, USA. 1960. Contact sheet. © Eve Arnold | Magnum Photos

When I was 18, I worked with Eve for a summer as her assistant. By that time we had become very close. As we worked, Eve would lovingly introduce me to the world of photography and to different parts of her vast archive. I remember being particularly drawn to this image of Marilyn in the desert learning her lines. I didn’t know the backstory at the time but there was something mesmerizing about the way the picture was composed. The barren desert in the foreground, ethereal, textured clouds in the sky and this legendary Hollywood star standing under a boom microphone, looking like a little girl, lost in thought. It was no wonder to me that this was one of Eve’s most iconic images.
Quand j'avais 18 ans, j'ai travaillé avec Eve pendant un été en tant qu'assistant. À ce moment-là, nous étions devenus très proches. Pendant que nous travaillions, Eve me présentait avec amour le monde de la photographie et les différentes parties de ses vastes archives. Je me souviens avoir été particulièrement attiré par cette image de Marilyn dans le désert apprenant ses lignes. Je ne connaissais pas la trame de fond à l'époque, mais il y avait quelque chose de fascinant dans la façon dont l'image était composée. Le désert aride au premier plan, des nuages ​​éthérés et texturés dans le ciel et cette légendaire star hollywoodienne debout sous un microphone à perche, ressemblant à une petite fille, perdue dans ses pensées. Il n’était pas étonnant pour moi que ce soit l’une des images les plus emblématiques d’Eve.

A few years later I was looking through Eve’s contact sheets and saw the full contact sheet this image was taken from. I was quite taken aback. None of the other images on the sheet looked anything like this one. I had imagined that Eve had set the scene up knowing what she wanted and had taken quite a few images, waiting for the right light and expression on Marilyn’s face. But no, there were only three other images of the same scene, and all of them were in portrait format. Then suddenly, as shown by the contact sheet, Eve had turned her 35mm camera around to use landscape format, and in an instant, the whole composition came together, never to be repeated. In that instant something of the poignancy of Marilyn’s experience on The Misfits was caught on camera.
Quelques années plus tard, je regardais à travers les planches contact d'Eve et vis la planche complète à partir de laquelle cette image était prise. J'ai été assez surpris. Aucune des autres images de la feuille ne ressemblait à celle-ci. J'avais imaginé qu'Eve avait préparé la scène en sachant ce qu'elle voulait et avait pris pas mal d'images, en attendant la bonne lumière et l'expression sur le visage de Marilyn. Mais non, il n'y avait que trois autres images de la même scène, et toutes étaient au format portrait. Puis tout à coup, comme le montre la planche contact, Eve avait tourné son appareil photo 35 mm pour utiliser le format paysage, et en un instant, toute la composition s'est réunie, pour ne jamais être répétée. À cet instant, quelque chose de l’émotion de l’expérience de Marilyn sur The Misfits était saisie par l'objectif.

I recently got the chance to look through Eve’s contact sheets and transparencies from The Misfits again. They are currently housed at Yale University’s Beinecke Library and I was there exploring a digitization project which seeks to make more of Eve’s previously unseen images available. Within just a few minutes I found some wonderful images on contact sheets that I had never seen, marked in grease pencil with an “E”, by Eve herself.
J'ai récemment eu la chance de parcourir à nouveau les planches contact et les transparents d'Eve sur The Misfits. Ils sont actuellement stockés à la bibliothèque Beinecke de l’université de Yale et j’y étais pour explorer un projet de numérisation qui vise à rendre disponibles davantage d’images inédites d’Eve. En quelques minutes, j'ai trouvé de merveilleuses images sur des feuilles de contact que je n'avais jamais vues, marquées au crayon gras avec un «E», par Eve elle-même.

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Photograph of Eve Arnold contact sheet, by Michael Arnold

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plus de photos inédites sur evearnold.com/unseen-images


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

The Misfits: Story of a Shoot

LOGO_MAGNUM

 The Misfits: Story of a Shoot
 | en ligne sur magnumphotos.com

Arthur Miller and Inge Morath's recollections of an infamous cinematic production
Les souvenirs d'Arthur Miller et d'Inge Morath d'une production cinématographique tristement célèbre

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Set of "The Misfits". Marilyn Monroe and Arthur Miller in their suite in Reno’s Mapes Hotel after a day’s shooting.
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

John Huston’s 1961 movie, ‘The Misfits’, was to be the last completed production for two of its stars: Marilyn Monroe and Clark Gable. Gable died shortly after the film wrapped, while Monroe died in August 1962 having worked on the uncompleted movie ‘Something’s Got to Give’.
Le film de John Huston de 1961, «The Misfits», devait être la dernière production achevée pour deux de ses stars: Marilyn Monroe et Clark Gable. Gable est décédé peu de temps après la fin du film, tandis que Monroe est décédé en août 1962 après avoir travaillé sur le film inachevé «Something’s got to give».

Scripted by Arthur Miller, a raft of Magnum photographers were hired to photograph the making of the film – among them Inge Morath and Henri Cartier-Bresson, who were the first photographers to arrive on set.
Scénarisé par Arthur Miller, une série de photographes Magnum ont été embauchés pour photographier la réalisation du film - parmi lesquels Inge Morath et Henri Cartier-Bresson, qui ont été les premiers photographes à arriver sur le plateau.

As many of the images, and indeed Morath’s remembrances, attest – the photographers and the actors enjoyed a degree of camaraderie in spite of the film’s widely reported troubled production – one aspect of which was the deteriorating marriage between Miller and Monroe that came to an end that summer.
Comme de nombreuses images, et même les souvenirs de Morath, l'attestent - les photographes et les acteurs ont bénéficié d'une certaine camaraderie malgré la production troublée largement rapportée du film - dont l'un des aspects était la détérioration du mariage entre Miller et Monroe qui a pris fin cet été là.

In James Goode’s 1963 book, The Story of ‘The Misfits’ – a day-by-day account of the shoot – he hints at the friendly atmosphere the photographers and the actors shared in:
August 1 – Monday.  Still no shooting call.  To pass the time, Eli Wallach has gotten himself into character clothes and makeup as Sigmund Freud, to be photographed by Inge Morath.  The object is to paste the resulting photograph on an album cover as a birthday present for John Huston, whose next picture will be ‘Freud’.  Eli, Inge and Dick Rowan, a Magnum representative here on location, drove out to a nearby ranch and Eli posed next to a couch in the middle of a corral, with some interested horses looking on. Eli looked frighteningly authentic.
Dans le livre de James Goode de 1963, The Story of «The Misfits» - un récit quotidien du tournage - il fait allusion à l’atmosphère amicale que les photographes et les acteurs ont partagé:
1er août - lundi. Tournage toujours pas débuté. Pour passer le temps, Eli Wallach s'est habillé dans les vêtements du personnage et s'est maquillé  comme Sigmund Freud, pour être photographié par Inge Morath. L’objectif est de coller la photographie obtenue sur une couverture d’album comme cadeau d’anniversaire pour John Huston, dont la prochaine photo sera «Freud». Eli, Inge et Dick Rowan, un représentant de Magnum ici sur place, se sont rendus dans un ranch voisin et Eli a posé à côté d'un canapé au milieu d'un corral, avec quelques chevaux à l'allure intéressante. Eli avait l'air terriblement authentique.

Here, ahead of the 60th anniversary of last day of the film’s shooting on location in Nevada (October 18th), we share both Miller and Morath’s personal reflections upon the film’s production and its at times troubled, yet charming stars alongside little-seen images from the production, and archival materials.
Ici, avant le 60e anniversaire du dernier jour du tournage du film dans le Nevada (le 18 octobre), nous partageons les réflexions personnelles de Miller et Morath sur la production du film et ses stars parfois troublées mais charmantes aux côtés d'images peu vues de la production et les documents d'archives.

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Inge Morath's story list 1960. © Inge Morath.
Inge Morath Photographs and Papers Collection,
courtesy the Beinecke Rare Book and Manuscript Library, Yale University.  

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The first day of shooting "The Misfits." Clapperboard is marked scene 1 take 2.
Director John Huston and author Arthur Miller watching in the background.
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos


Arthur Miller

Frank Taylor, who was an old friend of mine, and who I inveigled into being the producer [of ‘The Misfits’], thought it would be a great idea to get Magnum to send over as many people as they could to photograph it. I didn’t know any photographers and I had no opinion about it; it was the last thing in the world I was worried about. Henri [Cartier-Bresson] and Inge [Morath] decided to do a motor trip across the country [on their way to the set in Reno]. Both of them were Europeans, of course, and they thought that, diving across the country, they would run into all kinds of wonderful, different cooking experiences as they would in Europe. When confronted with the inevitable hamburger everywhere, they were driven back to eating carrots and apples and tea.
Frank Taylor, qui était un vieil ami à moi, et que j’ai incité à devenir le producteur [de ‘The Misfits’], a pensé que ce serait une excellente idée que Magnum envoie autant de personnes que possible pour photographier. Je ne connaissais aucun photographe et je n’avais aucune opinion à ce sujet; c'était la dernière chose au monde qui m'inquiétait. Henri [Cartier-Bresson] et Inge [Morath] ont décidé de faire un voyage en voiture à travers le pays [en route vers le plateau de Reno]. Tous deux étaient européens, bien sûr, et ils pensaient qu'en plongeant à travers le pays, ils vivraient toutes sortes d'expériences culinaires merveilleuses et différentes comme ils le feraient en Europe. Lorsqu'ils ont été confrontés à l'inévitable hamburger partout, ils ont été ramenés à manger des carottes, des pommes et du thé.

Inge wrote a diary of this trip. It’s a brilliant description of 60s America. It’s a European’s wise and, at the same time, wide-eyed view of this crazy country. She caught all the insane contradictions that were here because they were very fresh to her..."
Inge a écrit un journal de ce voyage. C'est une brillante description de l'Amérique des années 60. C'est une vision européenne sage et, en même temps, les yeux écarquillés de ce pays fou. Elle a saisi toutes les contradictions insensées qui étaient ici parce que c'était très
frais pour elle ..."

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Goldfield, Nevada. USA. 1960. © Inge Morath | Magnum Photos

The 60s in America, of course, was the despair and the secret hope of a lot of European intellectuals. The freedom, the local inventiveness, the friendliness, charmed them. And Inge, I know, was pleasantly surprised by how dear the people were. Of course, most people were to her; she was very affectionate toward people, and they reacted in a similar way. However, it was a difficult trip because she couldn’t eat meat and Henri liked more delicate cooking. So they were driven half mad by the carrots and the apples and the tea. And they arrived in Reno half starved and ready to work.
Les années 60 en Amérique, bien sûr, étaient le désespoir et l'espoir secret de nombreux intellectuels européens. La liberté, l'inventivité locale, la convivialité les ont charmés. Et Inge, je le sais, a été agréablement surprise de voir à quel point les gens étaient adorables. Bien sûr, la plupart des gens l'étaient pour elle; elle était très affectueuse envers les gens, et ils ont réagi de la même manière. Cependant, ce fut un voyage difficile car elle ne pouvait pas manger de viande et Henri aimait une cuisine plus délicate. Alors ils ont été rendus à moitié fous par les carottes, les pommes et le thé. Et ils sont arrivés à Reno à moitié affamés et prêts à travailler.

Inge wrote a diary of this trip. It’s a brilliant description of 60s America. It’s a European’s wise and, at the same time, wide-eyed view of this crazy country. She caught all the insane contradictions that were here because they were very fresh to her; she was unprepared for them. You’ve got to remember that World War Two was still engraved on their minds. They had witnessed, and in Inge’s case she had suffered a great deal in Nazi Germany from the effects of the war. So this fresh country was overwhelming. At the same time, she had some odd experiences here. When she arrived she had to apply for a visa and one of the questions was “Your Color.” So she put down “pink.” It never dawned on her that any government would ask what color you were, and it was quite a shock. She didn’t know what to make of it.
Inge a écrit un journal de ce voyage. C’est une brillante description de l’Amérique des années 60. C’est une vision européenne sage et, en même temps, des yeux écarquillés de ce pays fou. Elle a saisi toutes les contradictions insensées qui étaient ici parce qu'elles étaient très fraîches pour elle; elle n'était pas préparée pour ça. Vous devez vous rappeler que la Seconde Guerre mondiale était toujours gravée dans leur esprit. Ils en avaient été témoins et, dans le cas d’Inge, elle avait beaucoup souffert en Allemagne nazie des effets de la guerre. Donc, ce pays frais était écrasant. En même temps, elle a eu des expériences étranges ici. À son arrivée, elle a dû demander un visa et l'une des questions était «Votre couleur». Alors elle a mis «rose». Il ne lui est jamais venu à l'esprit qu'un gouvernement vous demanderait de quelle couleur vous étiez, et ce fut un vrai choc. Elle ne savait pas quoi en penser.

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Small travel notebook. © Inge Morath.
Inge Morath Photographs and Papers Collection,
courtesy the Beinecke Rare Book and Manuscript Library, Yale University. 

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Set of "The Misfits". Rehearsal of Roslyn's dance in Guido's garden.
John Huston with Marilyn Monroe in the first frame.
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

- Arthur Miller:
"Inge took comparatively few pictures.
When she pointed the camera
she felt a certain responsibility for what it was looking at.
Her pictures of Marilyn are particularly empathetic
and touch as she caught Marilyn’s anguish beneath her celebrity..."

"Inge a pris relativement peu de photos.
Quand elle a pointé la caméra,
elle se sentait responsable face à ce qu'elle regardait.
Ses photos de Marilyn sont particulièrement empathiques
et touchantes alors qu'elle captait l'angoisse de Marilyn sous sa célébrité ..."

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Set of "The Misfits". Marilyn Monroe in the first frame. Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos

Inge, as an Austrian, had found herself in a defensive position in London and Paris, where she had been working and living [after the war]. Americans, in contrast, were far less ready to condemn her. Ironically, she felt uneasy here because we didn’t condemn fascism enough, nor did we see the signs of it in American culture. She was quick to notice whenever that smell came up of repression and racism.
Inge, en tant qu'Autrichienne, s'était retrouvée dans une position défensive à Londres et à Paris, où elle avait travaillé et vécu [après la guerre]. Les Américains, en revanche, étaient beaucoup moins disposés à la condamner. Ironiquement, elle s'est sentie mal à l'aise ici parce que nous n'avons pas assez condamné le fascisme, et nous n'en avons pas vu les signes dans la culture américaine. Elle a vite remarqué chaque fois cette odeur de répression et de racisme qui se dégageait.

Reno, initially, and ‘The Misfits’ in particular, was a circus for Inge; a rich mine of subjects. My first glimpse of her was in the Mapes Hotel coffee shop, where she was sitting at a table laughing with John Huston. She had worked on Huston’s film ‘Moulin Rouge’ some time earlier, and had earned his respect as an artist. Huston’s admiration and respect came in part from the work, of course, but it was also because of her bravery. As far as he was concerned, that was the major virtue of anyone.
Reno, au départ, et «The Misfits» en particulier, était un cirque pour Inge; une mine riche de sujets. La première fois que je l'ai vue, elle était dans le café de l'hôtel Mapes, assise à une table en train de rire avec John Huston. Elle avait travaillé sur le film de Huston «Moulin Rouge» quelque temps auparavant et avait gagné son respect en tant qu’artiste. L’admiration et le respect de Huston provenaient en partie du travail, bien sûr, mais c’était aussi à cause de sa bravoure. En ce qui le concernait, c'était la principale vertu de quiconque.

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Set of "The Misfits". Clark Gable and Marilyn Monroe.
The two are now lovers and Gay, who has been up early,
comes to wake her and surprise her with breakfast.
Roslyn sits up in bed slowly, delightedly.
Movie camera cuts shot of Roslyn’s back a little under her shoulders.
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

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1/"The Misfits." Marilyn Monroe and Arthur Miller. 
2/  Set of "The Misfits". John Huston and Arthur Miller wait and brood over the next scene.
This close cooperation of author and director often brought about last minute changes
that kept the work on the movie at an exhilarating pace.
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

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John Huston, Marilyn Monroe & Arthur Miller during the filming of "The Misfits".
Arthur & Marilyn were separated at the time.
Nevada. Reno. USA. 1960.
© Inge Morath | Magnum Photos

Inge believes that to photograph a place you had to know the language. So she studied Chinese for about seven years before she went to China, and she did, similarly, with Russian before she went to Russia. Travel with her was a privilege because I would never have been able to penetrate that way. She was unobtrusive and she simply took [her subjects’] side of the lens. People quickly caught on that she was a different kind of a person than they were expecting in a photographer. She had a great talent for drawing people in, even without the camera.
Inge pense que pour photographier un endroit, il fallait en connaître la langue. Elle a donc étudié le chinois pendant environ sept ans avant de se rendre en Chine, et elle a fait de même avec le russe avant de se rendre en Russie. Voyager avec elle était un privilège car je n'aurais jamais pu m'immerger de cette façon. Elle était discrète et elle a simplement pris le côté [de ses sujets] de l'objectif. Les gens ont vite compris qu'elle était une personne différente de celle à laquelle ils s'attendaient chez un photographe. Elle avait un grand talent pour attirer les gens, même sans caméra.

© Arthur Miller Literary and Dramatic Property Trust. Text excerpted from a discussion of Inge Morath’s photographs at the Howard Greenberg Gallery, New York, May 26, 2004. 

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Montgomery Clift on the set of "The Misfits." Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos


 Inge Morath

The coverage of ‘The Misfits’ was a very special thing. The producer had a unique idea of creating a document of the shooting of this movie, for which he hired Magnum photographers. We were paired up and I was going to photograph with Henri Cartier-Bresson. We planned to go across the country because America was a big adventure. I didn’t know much about America at all, so we rented a car and went a very complicated route; Blue Ridge Mountains and Mississippi and we saw all the literary sights.
Le reportage de "The Misfits" était une chose très spéciale. Le producteur a eu une idée unique de créer un document du tournage de ce film, pour lequel il a engagé des photographes Magnum. Nous étions jumelés et j'allais photographier avec Henri Cartier-Bresson. Nous avions prévu de parcourir le pays car l'Amérique était une grande aventure. Je ne savais pas grand-chose du tout de l'Amérique, alors nous avons loué une voiture et avons emprunté un chemin très compliqué; Blue Ridge Mountains et Mississippi et nous avons vu tous les sites littéraires.

Anyway we arrived in Reno, which is American and so western. It’s just marvelous to look at. The Mapes Hotel was where more or less everybody was lodged, and I was so intrigued because in the hotel room there was a machine and you could make your own coffee in the morning. I’d never seen such a thing. This was exotic. And naturally, such an American movie was also exotic to us. So we approached it from our very European point of view, which was fun. We started early, often waited for very long times, and finished quite late. And it got hotter and hotter.
Bref, nous sommes arrivés à Reno, qui est américaine et tellement western. C’est tout simplement merveilleux à regarder. L'hôtel Mapes était l'endroit où plus ou moins tout le monde était logé, et j'étais tellement intrigué parce que dans la chambre d'hôtel il y avait une machine et vous pouviez faire votre propre café le matin. Je n’avais jamais vu une chose pareille. C'était exotique. Et naturellement, un tel film américain était aussi exotique pour nous. Nous l'avons donc abordé de notre point de vue très européen, ce qui était amusant. Nous avons commencé tôt, avons souvent attendu très longtemps et avons terminé assez tard. Et il faisait de plus en plus chaud.

Henri and I had worked together before, so we were never in each other’s way. Because two photographers on one movie could be really falling over each other. But we had very different territories and interests, at least in the approach to something. I think everybody has a certain distance at which he or she is most comfortable. There is a certain way of seeing the same thing in a different composition, or from a very different angle. That’s the interesting part; everybody has their own was of attacking a subject. I’m one who always wanders around a lot, always looking. And so doe Henri, but boy is he fast. Wow.
Henri et moi avions déjà travaillé ensemble, donc nous ne nous sommes jamais opposés. Parce que deux photographes sur un même film pourraient vraiment tomber l'un sur l'autre. Mais nous avions des territoires et des intérêts très différents, du moins dans l'approche de quelque chose. Je pense que chacun a une certaine distance à laquelle il ou elle est le plus à l'aise. Il y a une certaine manière de voir la même chose dans une composition différente, ou sous un angle très différent. C’est la partie intéressante; chacun a sa manière propre d'attaquer un sujet. Je suis celle qui erre toujours beaucoup, toujours à la recherche. Et Henri aussi, mais garçon est rapide. Sensationnel.

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Henri Cartier-Bresson with actor Eli Wallach (right) during the production of "The Misfits."
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

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1/ Clark Gable and John Huston during the filming of The Misfits.
2/ Marilyn Monroe during the filming of The Misfits. USA. Reno, Nevada. 1960.
© Inge Morath | Magnum Photos

- Inge Morath:
"Eli and Marilyn were like buddies, and you can see it.
Monty and Marilyn were kindred souls.
They were both terribly vulnerable.
And Clark Gable was Clark Gable"
«Eli et Marilyn étaient comme des copains, et vous pouvez le voir.
Monty et Marilyn étaient des âmes apparentées.
Ils étaient tous les deux terriblement vulnérables.
Et Clark Gable était Clark Gable»

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Arthur Miller (foreground) and Marilyn Monroe during the filming of "The Misfits."
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

John Huston I’d worked with before. He was terrific to me. My very first movie job was with him in ‘Moulin Rouge.’ I had never been in a film studio, and I went up to him and I said, “Look, I’ve never been in a film studio so you’d better help me.” He thought that was very funny. So I worked with him several times later. Monty Clift was also a great friend of mine whom I adored. He was supposed to be so difficult and erratic but actually he shot the most difficult scene in one take. Thelma Ritter was marvelous because it was a part which was not very glamourous, but she anchored this very American thing. And Eli Wallach. Eli is a funny guy and a wonderful actor. Eli and Marilyn were like buddies, and you can see it. Monty and Marilyn were kindred souls. They were both terribly vulnerable. And Clark Gable was Clark Gable.
John Huston, j'avais déjà travaillé avec lui avant. Il a été formidable avec moi. Mon tout premier boulot au cinéma était avec lui au 'Moulin Rouge.' Je n'avais jamais été dans un studio de cinéma, et je suis allée vers lui et j'ai dit: “Écoutez, je n'ai jamais été dans un studio de cinéma alors vous feriez mieux de m'aider." Il a trouvé que c'était très drôle. J'ai donc travaillé avec lui plusieurs fois plus tard. Monty Clift était aussi un grand ami à moi que j'adorais. Il était censé être si difficile et erratique, mais en fait, il a tourné la scène la plus difficile en une seule prise. Thelma Ritter était merveilleuse car c'était un rôle qui n'était pas très glamour, mais elle a ancré ce truc très américain. Et Eli Wallach. Eli est un gars drôle et un acteur merveilleux. Eli et Marilyn étaient comme des copains, et vous pouvez le voir. Monty et Marilyn étaient des âmes apparentées. Ils étaient tous les deux terriblement vulnérables. Et Clark Gable était Clark Gable.

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Set of "The Misfits". Marilyn Monroe and Thelma Ritter during the scene in the bar of Harrah’s Club in Reno.
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

- Inge Morath
"They were all very interesting to watch.
Actually, Marilyn was fascinating to watch.
The way she moved, her expressions; she just was extraordinary.
There was such strength and energy combined with this fragility"
"Ils étaient tous très intéressants à regarder.
En fait, Marilyn était fascinante à regarder.
La façon dont elle bougeait, ses expressions; elle était juste extraordinaire.
Il y avait une telle force et énergie combinées à cette fragilité"

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1/ Marilyn Monroe in a casino during the production of "The Misfits."
2/ The Misfits." Clark Gable.
Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

But it was very professional. You see, these were not people who were start stuck of anything. I mean, you were just there and you did a job; you watched as photographers have to do. They were all very interesting to watch. Actually, Marilyn was fascinating to watch. The way she moved, her expressions; she just was extraordinary. There was such strength and energy combined with this fragility. It was vert interesting and quite unique. What I wanted to do was the unposed person. Marilyn knew all the tricks about how to pose, but when I watched her and saw that vulnerability, I figured to get something of her that is not posed, some inner side of her that can be revealed if possible with the camera. You might see in some of the close-ups, behind the smile there is a tragic undertone.
Mais c'était très professionnel. Vous voyez, ce n'étaient pas des gens qui étaient coincés dans quoi que ce soit. Je veux dire, vous étiez juste là et vous avez fait un travail; vous avez regardé comme les photographes doivent faire. Ils étaient tous très intéressants à regarder. En fait, Marilyn était fascinante à regarder. La façon dont elle bougeait, ses expressions; elle était juste extraordinaire. Il y avait une telle force et énergie combinées à cette fragilité. C'était très intéressant et assez unique. Ce que je voulais faire, c'était la personne sans pose. Marilyn connaissait toutes les astuces pour poser, mais quand je l'ai regardée et que j'ai vu cette vulnérabilité, j'ai pensé obtenir quelque chose d'elle qui n'est pas posé, un côté intérieur d'elle qui peut être révélé si possible avec la caméra. Vous pourriez voir dans certains des gros plans, derrière le sourire, il y a une nuance tragique.

MORATH-22 

The thing is that she was very unsecure about herself. Marilyn was nervous about many scenes and she would really try to have different takes on things. She went back to the script and sometimes that took up a considerable amount of time. So people were sitting in the heat, and it was very hot. I remember Clark Gable, with whom I got on very well, told me all his adventures in the movies. It was very funny. Clark was wonderful. He said, “I will inscribe your jacket for you,” you know, I never had the idea of asking for an autograph. So he wrote on the back of my collar, “Clark Gable, Reno, Nevada, July 21st, 1960.” And he said, “You’d better have somebody embroider this so it won’t wash out.” So I had it made in Paris, embroidered on the back of the collar.
Le fait est qu'elle n'était pas sûre d'elle-même. Marilyn était nerveuse à propos de nombreuses scènes et elle aurait essayé vraiment d'avoir des points de vue différents sur les choses. Elle revenait sur le scénario et parfois cela prenait un temps considérable. Les gens étaient donc assis dans la chaleur, et il faisait très chaud. Je me souviens que Clark Gable, avec qui je m'entendais très bien, m'a raconté toutes ses aventures au cinéma. C'était très drôle. Clark était merveilleux. Il a dit: «Je vais signer votre veste pour vous», vous savez, je n'ai jamais eu l'idée de demander un autographe. Il a donc écrit au dos de mon col: «Clark Gable, Reno, Nevada, 21 juillet 1960». Et il a dit: "Tu ferais mieux de faire broder ça par quelqu'un pour qu'il ne s'efface pas." Je l'ai donc fait fabriquer à Paris, brodée à l'arrière du col.

We wanted to be as invisible as possible as photographers. You have to be pretty much invisible because you are in the way most of the time. so we always were dressed in all drab stuff. And I think there’s something to it, to serving your subject by not putting yourself close too much. The thing was to find your way around. You knew more or less what scenes would come up but you didn’t know what was actually going to happen. The surprise elements were in how the actors created a scene, and John Huston kind of let them find their way. I mean, there was a general direction, but within this they found their own way.
Nous voulions être aussi invisibles que possible en tant que photographes. Vous devez être à peu près invisible parce que vous êtes gênant la plupart du temps. Donc nous étions toujours vêtus de couleur terne. Et je pense qu'il y a quelque chose à faire, à servir votre sujet en ne vous mettant pas trop près. Le truc était de trouver son chemin. Vous saviez plus ou moins quelles scènes allaient se produire mais vous ne saviez pas ce qui allait réellement se passer. Les éléments de surprise étaient dans la façon dont les acteurs ont créé une scène, et John Huston les a en quelque sorte laissés trouver leur chemin. Je veux dire, il y avait une direction générale, mais à l'intérieur de cela, ils ont trouvé leur propre chemin.

MORATH-23 
Shooting "The Misfits". 1960. The photographer Inge Morath and Clark Gable.
Nevada state. USA. © Henri Cartier-Bresson | Magnum Photos

MORATH-24  MORATH-25 
1/ Marilyn Monroe and Eli Wallach. Reno, Nevada. USA. 1960
2/ Set of "The Misfits". Clark Gable and Marilyn Monroe. Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

MORATH-26 
"The Misfits." Clark Gable and Eli Wallach in the car. Reno, Nevada. USA. 1960.
© Inge Morath | Magnum Photos

I had read the short story and I get a script. If you’re not used to reading movie scripts its quite something, because you don’t imagine everything. So it’s kind of a dry enterprise. But we knew more or less what the character were, which is really what you want to know; what makes these people tick ? I mean, what the author meant making tick. Naturally, I was kind of in awe of Arthur Miller because I’d seen ‘Salesman’ and ‘The Crucible’ and I though, oh God, this man will be very sad all the time. the first time I really met him, it was very hot. John Huston took Henri and me to where they were swimming and playing tennis. We didn’t go in the pool because we were busy photographing.
J'avais lu la nouvelle et je reçois un scénario. Si vous n’avez pas l’habitude de lire des scripts de films, c’est quelque chose, car vous n’imaginez pas tout. C’est donc une sorte d’entreprise sèche. Mais nous savions plus ou moins ce qu'était le personnage, ce que vous voulez vraiment savoir; qu'est-ce qui motive ces gens ? Je veux dire, ce que l'auteur voulait dire faisant tique. Naturellement, j'étais un peu impressionnée par Arthur Miller parce que j'avais vu "Salesman" et "The Crucible" et je pensais, oh mon Dieu, que cet homme serait très triste tout le temps. La première fois que je l'ai vraiment rencontré, il faisait très chaud. John Huston a emmené Henri et moi là où ils nageaient et jouaient au tennis. Nous ne sommes pas allés dans la piscine car nous étions occupés à photographier.

Arthur was swimming a backstroke, and he told a very funny story, swimming all the time. It was a short story which he wrote about a guy who was making shoulder pads. I never heard of anyone making shoulder pads; that was in itself exotic. But it was a very funny story, and very long. And then he finished the story and got out of the water, and I got a whole new idea about Arthur Miller being a funny fellow.
Arthur nageait sur le dos et il a raconté une histoire très drôle, nageant tout le temps. C'était une histoire courte qu'il a écrite sur un gars qui fabriquait des épaulettes. Je n'ai jamais entendu parler de quelqu'un qui fabriquait des épaulettes; c'était en soi exotique. Mais c'était une histoire très drôle et très longue. Et puis il a terminé l'histoire et est sorti de l'eau, et j'ai eu une toute nouvelle idée du fait qu'Arthur Miller était un garçon marrant.

[© Inge Morath. Text compiled from a conversation with Inge Morath by Gail Levin for the film ‘Making the Misfits’, Great Performances, Thirteen/WNET, 2001.]

Both Arthur Miller’s and Inge Morath’s texts appear in Inge Morath’s The Road to Reno, edited by John P. Jacob. Steidl: Germany, 2006.

MORATH-27 
Set of "The Misfits". Marilyn Monroe. Reno, Nevada. USA. 1960. © Inge Morath | Magnum Photos


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

Magnum on Set: The Misfits

LOGO_MAGNUM

 Magnum on Set: The Misfits
 | en ligne sur magnumphotos.com

Eve Arnold captured the troubled final cinematic outing for both Marilyn Monroe and co-star Clark Gable
Eve Arnold a capturé le dernier film troublant de Marilyn Monroe et de sa co-vedette Clark Gable

01-MM_arnold-1 
  US actress Marilyn Monroe on the Nevada desert during the filming of "The Misfits",
directed by John Huston. USA. 1960. © Eve Arnold | Magnum Photos

(...) Look at Eve Arnold’s coverage of the making of The Misfits, a film that failed at the box office, in spite of its deeply troubled all-star cast – two of whom would never make another film.
Regarder le reportage d'Eve Arnold sur la réalisation de The Misfits, un film qui a échoué au box-office, en dépit de son casting de stars profondément troublées - dont deux d'entre elles ne feront jamais un autre film.

Eve Arnold didn’t know it at the time, but what she photographed on the set of 1961’s The Misfits was to be the last movie completed by Marilyn Monroe and her co-star Clark Gable. The film, an elegiac tale of divorce and aging cowboys, is tainted with sadness as Monroe’s swansong. She died of an overdose just a year after the film’s release.
Eve Arnold ne le savait pas à l'époque, mais ce qu'elle a photographié sur le tournage de The Misfits en 1961 devait être le dernier film réalisé par Marilyn Monroe et sa co-star Clark Gable. Le film, un conte élégiaque de divorce et de cow-boys vieillissants, est teinté de tristesse comme le chant du cygne de Monroe. Elle est décédée d’une overdose juste un an après la sortie du film.

02-MM_arnold-1 
  US actress Marilyn Monroe on the Nevada desert going over her lines for a difficult scene
she is about to play with Clark Gable in the film "The Misfits" by John Huston.
Nevada. USA. 1960. © Eve Arnold | Magnum Photos

03-MM_arnold-1  04-MM_arnold-1 
USA. Nevada. Reno.
US actress Marilyn MONROE on the set of 'The Misfits' by John HUSTON. 1960.
© Eve Arnold | Magnum Photos

05-MM_arnold-1 
  US actress Marilyn Monroe. Los Angeles. California. USA. 1960.
© Eve Arnold | Magnum Photos

By all accounts, The Misfits was a troubled production. Directed by John Huston from a script by Arthur Miller, it was shot in the blistering 107-degree heat of the Nevada desert. There was the breakdown of Monroe and Miller’s marriage to contend with. There was Huston’s drinking and gambling. There was Monroe’s descent into alcohol and prescription drug use, not to mention the fact she rarely showed up on time, if at all. Huston, in a Rolling Stone interview, later said he was “absolutely certain that she was doomed” during the production. Filming even halted for two weeks while she was hospitalized, reportedly for detox.
Au dire de tous, The Misfits était une production en difficulté. Réalisé par John Huston à partir d'un scénario d'Arthur Miller, il a été tourné dans la chaleur fulgurante de 40 degrés dans le désert du Nevada. Il y avait la rupture du mariage de Monroe et Miller à affronter. Il y avait la boisson et le jeu de Huston. Il y a eu la descente de Monroe dans la consommation d'alcool et de médicaments sur ordonnance, sans parler du fait qu'elle se présentait rarement à l'heure, voire pas du tout. Huston, dans une interview à Rolling Stone, a déclaré plus tard qu'il était «absolument certain qu'elle était condamnée» pendant la production. Le tournage s'est même arrêté pendant deux semaines alors qu'elle était hospitalisée, apparemment pour une cure de désintoxication.

06-MM_arnold-1

07-MM_arnold-1 
 US actress Marilyn Monroe with Arthur Miller showing her some dance steps for a scene she has to play.
Miller was describing the way his father used to "Skip-to-my-lou", a rustic dance from middle America.
Reno. Nevada. USA. 1960. © Eve Arnold | Magnum Photos

08-MM_arnold-1  09-MM_arnold-1 
1/ Clarke Cable learing his lines during the the filming of the The Misfits. 
2/ John Huston, the director during the filming of The Misfits.
Reno. Nevada. USA. 1960. © Eve Arnold | Magnum Photos

In her photographs, Arnold captures Monroe and Miller sitting on the back of a truck, her staring pensively at the ground. In another, Miller is showing her some dance moves for a scene. The photographer captures Gable – who died 12 days after production wrapped – with his wife, dressed formally and standing under an orange tree. Arnold followed the production from Reno to Dayton, from the Nevada desert to LA. Sometimes she was a fly on the wall, revealing an unseen side of these cultural icons. Other times she asked them to pose for her camera in-between takes.
Dans ses photographies, Arnold capture Monroe et Miller assis à l'arrière d'un camion, fixant pensivement le sol. Dans un autre, Miller lui montre quelques mouvements de danse pour une scène. La photographe capture Gable - décédé 12 jours après la fin de la production - avec sa femme, habillée formellement et debout sous un oranger. Arnold a suivi la production de Reno à Dayton, du désert du Nevada à Los Angeles. Parfois, elle était comme une mouche sur un mur, révélant un côté invisible de ces icônes culturelles. D'autres fois, elle leur a demandé de poser pour sa caméra entre les prises.

10-Gable_arnold-1
Clarke Gable and his wife Encino. California. USA. 1960.
© Eve Arnold | Magnum Photos

11-MM_arnold-1 
US actress Marilyn Monroe rest between takes under the surveillance of Paula Strasberg,
Monroe's drama coach, on the set of the 'The Misfits' by John Huston.
Nevada. USA. 1960. © Eve Arnold | Magnum Photos

12-MM_arnold-1 
Marilyn Monroe on the set of the Misfits sleep during a lunchbreak.
Nevada. USA. 1960
© Eve Arnold | Magnum Photos

13-MM_arnold-1 

Though it was both Monroe and Gable’s final film, it tanked at the box office. Only in recent decades has it garnered acclaim as a moody, monochrome story of loneliness in the West, with the Guardian dubbing it a “melancholy drama that pulses with sadness and symbolism”. Like the mournful tone of the film, Arnold’s pictures carry an unintended emotional weight, the story behind the production – Monroe’s tortured soul – as intriguing and stirring as the film itself.
Bien qu’il s’agisse à la fois du dernier film de Monroe et de Gable, il a fait un flop au box-office. Ce n'est qu'au cours des dernières décennies qu'il a été acclamé comme une histoire sombre et monochrome de solitude en Occident, avec le Guardian le surnommant un «drame mélancolique qui vibre de tristesse et de symbolisme». Comme le ton triste du film, les images d'Arnold ont un poids émotionnel involontaire, l'histoire derrière la production - l'âme torturée de Monroe - aussi intrigante et émouvante que le film lui-même.

14-Gable_arnold-1 
Marilyn Monroe being given a neck massage by Arthur Miller,
to help relieve tension during location filming.
Nevada. USA. 1960. © Eve Arnold | Magnum Photos

15-MM_arnold-1 
Marilyn Monroe during the filming of The Misfits. Reno. Nevada. USA. 1960.
© Eve Arnold | Magnum Photos

16-MM_arnold-1 
Marilyn Monroe during the filming of 'The Misfits'. USA. 1960.
© Eve Arnold for AP © Eve Arnold


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

31 octobre 2018

Lots Entertainment & Music Memorabilia - Heritage Auctions - 11/2017

Lots sur Marilyn Monroe des enchères
'Entertainment & Music Memorabilia'

organisées le 11 novembre 2017
par Heritage Auctions
à Dallas aux Etats-Unis.


Lot 89001: A Marilyn Monroe Unusual Inscribed 'Frame Glass' to Arthur Miller, Circa 1960.
A black and white photograph of the star circa 1956, looking wistful, housed in a black wooden frame with the glass signed by her in red wax pencil "I know when / I am not there / for you -- !!!" with her added line marks below forming what look like "X's" or "M's" or both but hard to decipher; consigned directly by the daughters of Aaron Frosch [Monroe's attorney] who said that when their father was handling MM's divorce from Arthur Miller, she gave Frosch a number of items she didn't want anymore, including this photograph which she evidently inscribed to Miller as an apology; interestingly, MM wrote this note with a colored wax pencil, the same kind she used to cross out images of herself on contact sheets that she didn't like; also intriguing to speculate about the photograph itself: it was likely a favorite of hers or Miller's and it was probably hanging somewhere in the couple's home where MM knew Miller would see her message on it. (Please note the inscription has changed to an orangish color and it's faded due to age.)
Matted and framed: 14 1/2" x 12"

lot89001a  lot89001b 


Lot 89002: A Marilyn Monroe Signed Document, 1952.
Two pages, typed, first page is on Twentieth Century Fox letterhead, dated "June 5, 1952," an eight paragraph agreement outlining the tedious details of the star's payment schedule at the studio, signed by her on the second page in blue fountain pen ink "Marilyn Monroe;" matted and framed in a pretty display featuring a black and white image of MM above brass-like plaques relaying general information about her.
Document only: 10" x 8"; Overall piece: 24" x 34"

lot89002a  lot89002b  


Lot 89003: A Marilyn Monroe Signed Waiver, 1957.
One page, typed, dated "July 24, 1957," short document outlining how a meeting of Marilyn Monroe Productions was to be held at an office on Madison Avenue in NYC, signed by the star in blue foutain pen ink in the lower right corner "Marilyn Monroe" along with the signatures of two of her business associates; matted and framed next to three MM collectibles: a plastic "Marilyn Monroe Drawing Aid" (with its original backing), a piece of "Marilyn's Bedsheet!" with its original packaging, and a pocket knife featuring her 'Golden Dreams' nude image (but reversed); included with a LOA from JSA Authentication.
Document only: 10 1/2" x 8"; Whole display: 19" x 26 1/2"

lot89003a  lot89003b   


Lot 89004: A Marilyn Monroe (and Others) Signed Autograph Book Page, 1956.
Brownish-red leather cover, inside pastel pages inscribed in various colors of fountain pen or ballpoint ink (some to "Henry") by stars including Marilyn Monroe who signed in blue ballpoint ink and added "Warmest Regards" and (in alphabetical order): Ray Bolger, Bing Crosby, Xavier Cugat, Edward Duke of Windsor (who added "March 23rd 1956"), Hedda Hopper, President Herbert Hoover, Frank Sinatra, and President Harry Truman, among a few others who are illegible.
4 1/2" x 5" 

lot89004a 
lot89004b lot89004c lot89004d 
lot89004e  lot89004f    


Lot 89005: A Marilyn Monroe Signed Program from the 'April in Paris Ball,' 1957.
Oversized, 15 pages filled with great 'of the era' advertisements plus text about the gala that the star attended with her husband [Arthur Miller] as did JFK, Jackie, and the Duke and Duchess of Windsor among other luminaries; signed in pencil upside down on the front cover "Marilyn Monroe Miller;" included with an undated handwritten note from a "Beverly Heath" who writes in part "Mrs. Marilyn Monroe Miller / autographed the evening's program which / I also attended / ...At the time I was a 'Rockette' at Radio City Music Hall / ...As I recall, Marilyn was / wearing a quite revealing (for the time) / low cut black sequined dress;" further included is a LOA from PSA/DNA. (Please note MMM's signature is somewhat faded now as it was written in pencil and the program is somewhat dog-eared and creased.)
14" x 11"

lot89005a lot89005b lot89005c   


Lot 89006: A Marilyn Monroe Group of Business Documents, 1950s.
Five total including:
1) an invoice from 'Hearst Metrotone News,' addressed to "Marilyn Monroe Productions," dated "November 21, 1956," in the amount of "$257.50" for "Coverage of arrival of Marilyn Monroe and Arthur / Miller at Idlewild Airport;"
2) a paycheck stub from 'Twentieth Century Fox,' dated "12-12-59," for "services of Marilyn Monroe;"
3) an invoice from 'The Waldorf-Astoria,' addressed to "Monroe Miss Marilyn," dated "Apr 19-25, 1955," outlining charges to her hotel room totaling "$75.80,"
4) a paycheck stub from 'Marilyn Monroe Productions, Inc.,' noting the gross earnings of "$7,142.86,"
and 5) a bank statement from 'Colonial Trust Company,' addressed to "Marilyn Monroe Productions, Inc.," dated "Sept 1-27, 1957," showing the various balances for the month;
all originally from the star's personal files.
11" x 8 1/2" and smaller

lot89006  


Lot 89007: A Marilyn Monroe-Related Group of Documents, 1955-1956.
Three total including:
1) an invoice addressed to "Mlle. Marilyn Monroe / Hotel Waldorf-Astoria / Park Avenue / New York City" from 'Signorina Eugenia Inc.,' dated "June 29, 1955," in the amount of "$39.14 for special order shoes;"
2) a check from 'Marilyn Monroe Productions, Inc.,' dated "July 14, 1955," to the shoemaker, interestingly signed in black fountain pen ink in the lower right corner "Milton H. Greene" [her short-lived business partner in MMP, Inc.];
and 3) another check from MMP, Inc., dated "Feb 3, 1956," written out to MM in the amount of "$404.30," also signed by Greene in blue ballpoint ink. (Please note there is a small hole in the upper center of the invoice and its original fold marks are still evident.)
11" x 8 1/2"

lot89007   


Lot 89008: A Marilyn Monroe Group of Likely Never-Before-Seen Black and White Photographs from Korea, 1954.
Twenty total, all original prints with a glossy finish, all shot by one of the official Army photographers who had close access to the star; including: three that show MM wearing pants, a bomber jacket, and combat boots; seven that show MM in a black turtleneck, pants, and combat boots surrounded by others in the mess hall; three that show MM in a houndstooth-like print dress; six that show MM on stage wearing a sequined dress with spaghetti straps as she sings for the soldiers; and one that shows the outdoor stage and the audience before MM appears (so MM is not in this shot); though these images are all similar to many others we've seen before, these exact ones have never been viewed by the public before; consigned by the family of soldier who shot them 63 years ago.
5" x 4"

lot89008a 
lot89008b 


Lot 89009: A Marilyn Monroe Pair of Rare Black and White Photographs by Jean Howard, Circa 1952.
Both original prints with a semi-gloss finish, both on double-weight paper, both depicting the star in a sultry pose as she wears a spaghetti-strapped top with a dark-colored over-blouse, both stamped twice on the verso "Photograph / by / Jean Howard" -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note both negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
13" x 9"

lot89009  


Lot 89010: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, Circa 1952.
All original prints with a semi-gloss finish, all on double-weight paper, all depicting the star looking happy as she smiles (two are identical but printed differently), all stamped twice on the verso "Photograph / by / Jean Howard" -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note both negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
13" x 10"

lot89010a  


Lot 89011: A Marilyn Monroe Pair of Rare Black and White Photographs by Jean Howard, 1953.
Both original prints, both with a glossy finish, one depicting MM alone on the set of her 1953 20th Century Fox film, "How To Marry A Millionaire;" one showing her deep in discussion with director Jean Negulesco; both shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note both negatives, which are not included, appear to have been scratched or dusty when the photographs were printed; image with MM and JN has wrinkling in the lower left corner.)
10" x 8"

lot89011a   


Lot 89012: A Marilyn Monroe Pair of Rare Black and White Photographs by Jean Howard, 1953.
Both original prints with a glossy finish, both depicting MM and co-star Lauren Bacall on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," both shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece.
10" x 8"

lot89012a   


Lot 89013: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953.
Four total, all original prints with a glossy finish; three depicting MM and director Jean Negulesco on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire;" one showing just MM alone; all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note two negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"

lot89013a    


Lot 89014: A Marilyn Monroe Group of Sepia Photographs by Jean Howard, 1953.
Three total, all original prints with a matte finish, all on double weight paper, all depicting MM and co-stars Lauren Bacall and Betty Grable in outtake shots from the very well-known set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all stamped on the verso "Photograph by / Jean Howard," one further stamped "Photograph by / Jean Howard" and "Copyright / Jean Howard" in different ink -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece.
9 1/2" x 7 1/2"

lot89014a    


Lot 89015: A Marilyn Monroe Pair of Rare Black and White Photographs by Jean Howard, 1953.
Both original prints, one with a glossy finish, one with a semi-gloss finish, both depicting MM with her co-stars [Betty Grable, Lauren Bacall, and extras] from the 1953 20th Century Fox film, "How To Marry A Millionaire," both stamped twice on the verso "Photograph by / Jean Howard," one further stamped "Copyright / Jean Howard" -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note both show slight creases and dents in raking light; the horizontal image has further wrinkling on the upper right margin.)
13" x 10"

lot89015a  


Lot 89016: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953.
Five total, all original prints with a glossy finish, all depicting MM and co-star William Powell on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed; four have slight paper loss in the corners but main images are not affected.)
8" x 10"

lot89016a   


Lot 89017: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953.
Five total, all original prints with a glossy finish, all depicting MM and co-stars Lauren Bacall and William Powell on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"

lot89017a   


Lot 89018: A Marilyn Monroe Rare Group of Black and White Photographs by Jean Howard, 1953. Four total, all original prints with a glossy finish, all depicting MM, Lauren Bacall, and William Powell on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"

lot89018a  


Lot 89019: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953. Seven total, all original prints with a glossy finish, all depicting MM and co-stars William Powell and Lauren Bacall (with one also showing director Jean Negulesco) on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10" 

lot89019a  


Lot 89020: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953. Seven total, all original prints with a glossy finish, all depicting MM mainly with co-star Betty Grable but also with Lauren Bacall and William Powell (while director Jean Negulesco appears in four) on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"

lot89020a  


Lot 89021: A Marilyn Monroe Group of Rare Black and White Photographs by Jean Howard, 1953.
Four total, all original prints with a glossy finish, all depicting MM and co-stars Lauren Bacall, Rory Calhoun, and Betty Grable on the set of their 1953 20th Century Fox film, "How To Marry A Millionaire," all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10"

lot89021a   


Lot 89022: A Marilyn Monroe Playboy Magazine-Related Limited Edition Serigraph Initialed by Hugh Hefner, 1991.
Depicting the now-famous first cover of the magazine from December 1953, numbered in pencil in the lower left corner "771/950" and initialed in pencil in the lower right corner "HMH" [Hugh Marston Hefner]; issued by Special Editions Limited in August 1991; included with a Certificate of Documentation; a beautiful quality print in excellent condition displaying the oversized image of one of the most famous magazine covers of the 20th century!
36" x 26"

lot89022a  


Lot 89023: A Marilyn Monroe Black and White Photograph Signed by Milton H. Greene, 1956, 1979.
A later print with a glossy finish, depicting the star from her famous 'Black Sitting,' photographer's stamp on the verso as well as his black felt-tip ink signature reading "Milton H. Greene / 4-12-79." (Please note there is a 2" diagonal tear at the center top and a 1 1/4" diagonal tear near the center right edge.)
16" x 19 3/4"

lot89023a  lot89023b  


Lot 89725: A Marilyn Monroe and Clark Gable Black and White Photograph by Jean Howard, 1954, 1989.
A later reprint with a glossy finish, depicting a now well-known image of the star dancing with her childhood hero at a post-production party for "The Seven Year Itch" in 1954, verso has typed caption taped to the lower margin noting this detail as well as "copyright / 1989 Jean Howard" -- Howard being the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years as well as the producer of "TSYI;" directly from Howard's own files as consigned to this auction by her grand-niece. (Please note there are slight creases seen in raking light only and there is a 1" tear on the lower left margin.)
10" x 8"

lot89725a lot89725b   


Lot 89726: A Marilyn Monroe and Jean Negulesco Black and White Photograph by Jean Howard, 1953.
An original print with a matte finish, on double-weight paper, depicting the star and her director at the premiere party for "How To Marry a Millionaire" in November 1953, verso with typed press snipe glued to lower right corner reading "L to R: Marilyn Monroe, Director Jean Negulesco;" shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note there are slight creases along the lower margin.)
10" x 8"

lot89726a  lot89726b 


Lot 89727: A Group of Rare Black and White Photographs by Jean Howard from the Set of "How To Marry A Millionaire," 1953.
Fourteen total, all original prints with a glossy finish, mainly depicting stars Lauren Bacall and Betty Grable (none of Marilyn Monroe) on the set of the 1953 20th Century Fox film; all shot by Jean Howard -- the 1930s-era actress turned photographer who was married to the Hollywood power player Charles K. Feldman who was MM's agent for a number of years; Howard had access to the set of this now-classic film for a few days where she shot a number of still photographs in-between and during filming; directly from Howard's own files as consigned to this auction by her grand-niece. (Please note a few of the images have slight creasing and some of the negatives, which are not included, appear to have been scratched or dusty when the photographs were printed.)
8" x 10" 

lot89727 


Lot 89728: A Marilyn Monroe-Related Citation from "The Seven Year Itch," 1955.
An "Exhibitor / Laurel Awards / Official 1955 Nomination" [for 'Best Picture'] certificate for MM's most famous film, presented to producer Charles K. Feldman who was also MM's agent; consigned directly by Feldman's ex-wife's [actress turned photographer Jean Howard] grand-niece. (Please note the paper is brittle and wrinkled due to age and the gold seal is missing.)
14" x 10"

lot89728a  lot89728b 


Lot 89730: A Marilyn Monroe Group of Black and White Publicity Stills from "Let's Make Love."
20th Century Fox, 1960. Eighteen total, all original prints with a glossy finish, each depicting MM and co-stars in various scenes from this musical that she made with Yves Montand where they infamously lived out the film's title, each image has printed text on the lower margin noting the film's title and studio, etc.
10" x 8"

lot89730 


Lot 89731: A Marilyn Monroe Pair of Black and White Negatives.
One showing the screen icon from her film "Home Town Story," the other showing her wearing a potato sack 'dress;' both images shot in 1951 though it's not known if these negatives are from that era or are later ones; includes glossy printed image of both photos.
5" x 4"

lot89731a  lot89731b


Lot 89732: A Collection of Female Movie Star Memorabilia, Circa 1960s-1970s.
Ten pieces total from David Gest's massive memorabilia collection, including: a 4" metal plate and five playing cards featuring famed Tom Kelley images of a young, nude Marilyn Monroe; a 3" porcelain plate featuring a painted image of Audrey Hepburn, stamped "Mah Vigo / Santa Clara / Made in Spain" on the verso; s similar 3" porcelain plate featuring a painted image of Kim Novak, with the same stamp on the verso as the Hepburn plate; a 1.5" makeup compact, engraved "Mary Pickford" on the bottom; a vinyl record containing a Kathryn Grant interview for radio for her 1959 film The Big Circus, includes a typed transcription of the interview. Conditions: LP - VG-EX 6/ transcription - Very Good; all other pieces Fine to Excellent. From the David Gest Memorabilia Archive.

lot89732 


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

06 juin 2017

Doc - Le Cinéma dans l'oeil de Magnum

Le cinéma dans l'oeil de Magnum

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Année: 2017
Réalisation: Sophie Bassaler

Pays: France
Durée: 54 min

À l’occasion des 70 ans de Magnum, retour sur le lien noué entre les photographes de l'agence mythique et le monde du cinéma. Une plongée unique dans le regard des créateurs, parmi lesquels Robert Capa, Cartier-Bresson, ou Josef Koudelka.
L'agence Magnum, créée en 1947 par Robert Capa, est intimement liée au cinéma depuis soixante-dix ans. Ses photographes iconiques, Capa lui-même, Cartier-Bresson, ou plus tard Josef Koudelka ont accompagné des tournages, leurs réalisateurs et leurs vedettes. Ils ont ainsi documenté des scènes de vie quotidienne, de travail, ou choisi de s'écarter du cadre pour immortaliser leur propre vision artistique. Venant du reportage de guerre ou du documentaire, ces photographes du réel ont appliqué leurs méthodes de travail à ce monde d’illusions : appareil léger, lumière naturelle, photo sur le vif et sans retouches. Marilyn Monroe, James Dean, Kate Winslet, Michelangelo Antonioni ou Theo Angelopoulos sont passés sous l'œil de l'agence, instaurant un lien unique qui ne s'est pas défait en soixante-dix ans.
Fiction et réel
C’est par amour pour l’actrice Ingrid Bergman que Robert Capa prend la toute première photo de cinéma de Magnum sur le tournage des Enchaînés d’Alfred Hitchcock, inaugurant cette histoire entre l’agence et le cinéma. À partir de nombreux récits inédits, le documentaire retrace toute une vie d’histoires croisées entre deux mondes qu’a priori tout oppose : la fiction et le réel, comme cette rencontre en 1994 entre le réalisateur Theo Angelopoulos et le jeune photographe Josef Koudelka. Ils puiseront dans les Balkans, lieu de tournage du film Le regard d'Ulysse, des clichés et plans extraordinaires, tout en gardant chacun leur signature unique. Un témoignage passionnant sur le regard des créateurs, artistes de l'image, qu'ils soient derrière une caméra ou un appareil photo.

>> Diffusé en France sur arte le 31 mai 2017


Retranscription du passage lié à Marilyn Monroe:

(à 19min 30sec) - Peter Marlow (photographe): Quand on a ce genre de relations, cela rend les choses très différentes; ça permet d'atteindre ce niveau d'intimité.
David Hurn (photographe): L'exemple parfait, c'est Marilyn Monroe et Eve Arnold. Elles étaient très amies et totalement à l'aise ensemble.
Eve Arnold (photographe): Marilyn avait vu une série de photos que j'avais faite de Marlene Dietrich. C'était au début des années 50; ça devait être en 52. A cette époque, les photos étaient toutes retouchées. Tout était très mis en scène. Moi, je ne savais rien de tout ça, j'étais une photojournaliste. J'ai photographié Marlene comme elle était. Elle ne posait pas. Il n'y avait pas de décor ou d'éclairage, juste moi et elle qui chantait. Quelques temps plus tard, je suis allée à une fête donnée pour John Huston. C'est Sam Shaw, un ami commun, qui m'a présentée à Marilyn. Elle m'a regardée et m'a dit: "Vous avez fait du beau travail avec Marlene. Imaginez ce que vous pourriez faire avec moi." J'ai trouvé ça merveilleux. Il se dégageait d'elle une vraie naïveté, mais en même temps, elle avait le sens de son image et savait se vendre. Je suis sûre qu'elle a tout de suite sentie ce que nous pourrions faire ensemble. Un jour, une nuit plutôt, vers 4 heures du matin, elle m'a appelée pour savoir si j'acceptais de la rejoindre à 10 heures du matin à l'aéroport. J'aurai droit à un reportage exclusif, car elle voyageait seule avec son coiffeur.
Isabella Rossellini (actrice, réalisatrice): Eve avait sa délicatesse qui je pense, lui a permis de gagner la confiance d'autres actrices. Notamment, celle de Joan Crawford.

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(... à 21min 50sec) - Eve Arnold: C'était à Chicago durant une escale qui s'éternisait. Marilyn est allée aux toilettes et comme je suis une femme, je l'ai suivie. Je n'avais pas l'intention de la photographier, mais elle était si belle avec sa jupe relevée sur ses petites jambes potelées. J'avais toujours pensé qu'elle était mince. Elle avait cette merveilleuse capacité à se faire plus grande qu'elle n'était.
David Hurn: Cette photo est tellement intime. Et j'aime à pense que Eve était si proche d'elle, que Marilyn lui faisait tellement confiance. Cette photo, pour moi, c'est la quintessence de la photographie.

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Eve Arnold: Je l'ai photographiée sur une période de 10 ans. La plus courte de nos séances n'a duré que deux heures et la plus longue, deux mois, sur le tournage du film "The Misfits" de John Huston. Arthur Miller avait écrit une nouvelle dans laquelle il racontait l'histoire de trois hommes qui travaillaient dans le désert et capturaient des mustangs qu'ils vendaient ensuite pour faire de la nourriture pour chiens. C'est dans ce cadre sauvage qu'apparaît Marilyn. Clark Gable et Marilyn étaient le couple vedette. Il y avait aussi Montgomery Clift, Eli Wallach. Le film a été conçu dans le but de donner enfin un rôle sérieux à Marilyn.

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Alain Bergala (essayiste): Les "Misfits" est totalement exceptionnel sur plein de points. Mais quand le film a commencé à se tourner, personne ne pouvait savoir à quel point, ce serait un film exceptionnel.
Voix Off: Le tournage du film "The Misfits" est un cas unique dans l'histoire des relations entre photographie et cinéma. Neuf grands photographes de Magnum Photos vont suivre ce tournage chaotique durant les trois mois de l'été 1960 à Reno et dans le désert du Nevada. Se succédant deux à deux toutes les deux semaines. Cet accord exceptionnel n'était pas uniquement le fait des liens de John Huston et de l'agence, mais revient à l'initiative de Lee Jones, à l'époque responsable des projets spéciaux du bureau de New York, qui a eu le pressentiment que ce film au casting de rêve mériterait une couverture exceptionnelle.

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Alain Bergala: C'était la première fois dans l'histoire du cinéma où une agence obtenait l'exclusivité. Alors que toute la presse du monde aurait voulu être là. Il l'a obtenu pour une raison simple c'était que Marilyn était déjà mal en point au début du tournage et si elle avait vu arriver des photographes du monde entier, elle aurait craqué.

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Voix Off: Les deux premiers photographes à arriver à Reno sont Inge Morath et Henri Cartier-Bresson.
Agnès Sire (directrice de la fondation Henri Cartier-Bresson): Cartier-Bresson, ça ne l'intéressait pas du tout. Et puis il a entrepris un voyage aux Etats-Unis l'année du tournage des "Misfits" et je pense que Lee Jones et tous les autres à Magnum lui ont dit: "Ca serait bien, on a l'exclu sur ce tournage. Ca serait bien que tu viennes, il y a Marilyn Monroe, etc..." Donc, il est allé sur le tournage; il n'est pas resté très longtemps. Mais il a fait beaucoup de photos; il a fait un portrait de Marilyn Monroe qui est très, très beau. Sa définition du portrait, qui est l'idée de saisir le silence intérieur d'une victime consentante, on voit vraiment, dans la photo de Marilyn Monroe, son silence intérieur.

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Inge Morath (photographe -en 2001): Tout était exotique. Le caractère si américain du film était aussi exotique pour nous. Nous adoptions un point de vue très européen.
Agnès Sire: Arthur Miller a donc épousé Inge Morath qu'il a connue sur ce tournage des "Misfits". Arthur Miller était encore marié à Marilyn Monroe, mais c'était en train de se déliter totalement.
Alain Bergala: C'est hallucinant ce qu'on voit là dans les photos de ce tournage. Des scènes privées. C'est à dire que tout était destroy et du coup, tout était possible. Le photographe pouvait rentrer et faire la scène du ménage qui avait lieu à côté. Cela a évidemment beaucoup joué. Et ils ont senti ça, que tout allait mal.

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Elliott Erwitt (photographe): Le chaos qui régnait sur le tournage était dû aux constants retards de Marilyn, à sa nervosité, et à sa grande détresse de façon générale.
Alain Bergala: Quand les acteurs arrivent, ils sont tous en très mauvais état. Clark Gable n'est pas en mauvais état mais il est très vieux, et Marilyn, ce film se trouve être son dernier film et elle le fait en très très mauvais état.
Bruce Davidson (photographe): Ce n'est pas le sex-appeal de Marilyn qui m'a attiré, mais sa fragilité. C'était une artiste qui luttait contre la dépression. Il y a cette photo que j'ai prise d'elle avec Huston qui m'a mis mal à l'aise. Elle souffrait beaucoup.

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Susan Richards (auteure): Monty Clift était un peu comme  elle. Les acteurs que Dennis trouvait les plus humains sortaient souvent de l'Actor's Studio. Ils essayaient de rester eux-mêmes à Hollywood où tout le monde porte un masque. Et Monty Clift ne jouait pas ce jeu là.
Alain Bergala: L'homosexualité qu'il s'interdisait de faire savoir, névrose absolue, drogues, lui, il avait tout à la fois. Et c'est magnifique. Evidemment, la scène dans l'arrière-cour où ils sont tous les deux complètement destroy, parce qu'ils étaient réellement destroy. Et Huston détestant les homosexuels... En plus, c'était pas simple pour eux, le rapport avec Huston.
Marilyn Monroe: Ce travail peut être si... On essaie d'être sincère. Cela nous amène parfois au bord d'une sorte de folie. Ce n'est pas vraiment de la folie. Il s'agit plutôt d'essayer d'extraire de soi une part de vérité. Et c'est très dur. Enfin, disons, que c'est pas facile.
Alain Bergala: Marilyn, comme toutes les stars, contrôlait les images qu'on pouvait montrer d'elle. Sur les photos qu'elle ne voulait pas voir diffuser, on voit tout ce qui la menace. C'est à dire pour elle, la beauté n'était pas donnée, n'était pas acquise, qu'est ce qu'il a fallu de travail et d'efforts pour qu'on ait une autre image que ça. Cette lutte l'a tuée. D'être toujours une image, à un moment, ça ne tient plus. C'est le film où ça ne tient plus.
Eve Arnold: On l'a tous utilisée, cela ne fait aucun doute. Nous, photographes, devons accepter le fait qu'on a besoin de l'image des autres. Bien sûr, sans la photographie, Marilyn n'aurait jamais été Marilyn. On l'aurait jamais vue car c'est ainsi que beaucoup de gens l'ont découverte. C'est un cercle vicieux, tout le monde utilise tout le monde. Elle m'a utilisée pour l'aider à aller là où elle voulait, moi et des centaines d'autres. Je n'étais pas unique. J'était unique que dans le sens où elle faisait totalement confiance.

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Elliott Erwitt: Les photographes qui ont travaillé sur ce tournage n'étaient pas des paparazzis. Nous étions des photographes Magnum. Personne ne cherchait à nuire ou à créer de scandales. Je ne pense pas qu'il y ait eu des gens comme ça parmi nous.
Voix Off: Le tournage des "Misfits" s'achève le 4 novembre 1960. Le lendemain, Clark Gable est victime d'une crise cardiaque dont il décèdera quelques jours plus tard. Rarement la frontière entre la fiction et la réalité fut aussi mince; et la proximité entre les photographes et les stars aussi grandes.
Alain Bergala: C'est un film 'bascule'. Le cinéma hollywoodien ne sera jamais plus la même chose qu'avant. C'est terminé, donc Il a filmé, en même temps, la décomposition d'un système.
Voix Off: Concurrencé par la télévision, le système des studios s'est essouflé. Et bientôt, les grands magazines suivront. Pour Magnum et le cinéma, une page se tourne.

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

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14 novembre 2014

Property from the life and career of MM - 12/2014 - The Misfits


The Misfits


Lot 891: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe co-stars Clark Gable and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
juliens-mmauction2014-lot891  


Lot 892: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The images show Marilyn Monroe and co-star Clark Gable working a scene.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
juliens-mmauction2014-lot892  


Lot 893: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains various images of the principal cast of the film including Marilyn Monroe, Clark Gable, Eli Wallach and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
juliens-mmauction2014-lot893 


Lot 894: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains candid images of Marilyn Monroe, Clark Gable and Montgomery Clift, including images of Monroe seated between takes talking to a child. One image is marked with an "X" and marked "6" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$384 - Estimate: $400 - $600
juliens-mmauction2014-lot894  


Lot 895: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 behind-the-scenes images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot895  


Lot 896: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of seven images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and co-star Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$256 - Estimate: $400 - $600  
juliens-mmauction2014-lot896  


Lot 897: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains two images of Marilyn Monroe and Montgomery Clift. Clark Gable appears in all of the photographs. Eli Wallach is in six of the 10 images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot897  


Lot 898: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images that include Marilyn Monroe. The remaining images show the principal male stars of the film, Clark Gable, Montgomery Clift and Eli Wallach, working with horses and lassos.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot898  


Lot 899: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains three images that include Marilyn Monroe. The remaining images show the principal male stars of the film: Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot899 


Lot 900: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe. Some images include co-star Clark Gable, and two images show director John Huston speaking to both Gable and Monroe.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot900


Lot 901: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe from two separate scenes in the film riding in a car. In some of the images Eli Wallach is the driver, in others Clark Gable is the driver.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot901  


Lot 902: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a car. Clark Gable is the driver in eight of the images. Monroe appears to be asleep in three of the images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot902 


Lot 903: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 18 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach and a dog. Marked "222" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$320 - Estimate: $400 - $600
juliens-mmauction2014-lot903 


Lot 904: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach, two desert views, and four images of Monroe speaking with a man whose back is to the camera. Marked "221" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot904


Lot 905: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe from two separate scenes in the film riding in a car. In some of the images Eli Wallach is the driver, in others Clark Gable is the driver with Montgomery Clift in the car as well. Two of these latter images have a black X over Gable's face.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot905


Lot 906: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a car with Clark Gable and Montgomery Clift. Other images are portrait shots of Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot906


Lot 907: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Eli Wallach and Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$75 - Estimate: $400 - $600
juliens-mmauction2014-lot907


Lot 908: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet from the set of The Misfits (Seven Arts, 1961). The sheet has 12 images of Marilyn Monroe and Clark Gable during the film's swim scene.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$512 - Estimate: $400 - $600
juliens-mmauction2014-lot908 


Lot 909: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 15 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and Clark Gable and two candid images of Monroe by herself. Marked "170" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$320 - Estimate: $400 - $600
juliens-mmauction2014-lot909


Lot 910: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of an intimate scene between Marilyn Monroe and Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$1,920 - Estimate: $400 - $600
juliens-mmauction2014-lot910


Lot 911: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of Marilyn Monroe with Montgomery Clift. The remaining images are from a desert scene with horses. Marked "177" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot911


Lot 912: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe and Eli Wallach in a car together, images of Montgomery Clift lying on the ground, and two images of three unknown persons on the set.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot912 


Lot 913: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe with Montgomery Clift. Director John Huston can be seen talking to the actors in some of the images. Marked "174" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot913


Lot 914: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 13 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe riding in a truck with Eli Wallach. Marked "221" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot914 


Lot 915: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe with Montgomery Clift and horse wrangling scenes shot in the desert. Marked "177" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot915 


Lot 916: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains behind-the-scenes images of Marilyn Monroe, Clark Gable, Eli Wallach, and Montgomery Clift with other members of the cast and crew. Marked "192" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot916


Lot 917: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe resting between takes, Arthur Miller reclining on set, five images of Clark Gable with a dog on set, and a candid portrait of Montgomery Clift.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot917


Lot 918: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid and behind-the-scenes images of Marilyn Monroe, her longtime makeup artist Whitey Snyder with what appears to be a birthday cake, Arthur Miller, Eli Wallach and Clark Gable. One image of Gable seated with two other men has a red X drawn through it.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot918


Lot 919: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of nine behind-the-scenes images from the set of The Misfits (Seven Arts, 1961). The sheet contains one image of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $200 - $400
juliens-mmauction2014-lot919


Lot 920: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains four images of Marilyn Monroe with makeup man and friend Whitey Snyder. Other images are of the cast and crew on location. Marked "203" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot920


Lot 921: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 15 images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of Marilyn Monroe with Montgomery Clift. The remaining images are of Clark Gable pulling a rope. John Huston appears in one image with Gable. Marked "204" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot921


Lot 922: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961). The sheet contains four images of Marilyn Monroe with Montgomery Clift. Other images show Clark Gable with director John Huston and Eli Wallach in a plane, among other set shots. Marked "194" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot922


Lot 923: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 17 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe in a truck, and images of Clark Gable, Eli Wallach, and Montgomery Clift in the desert. Marked "192" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot923


Lot 924: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe and Clark Gable as well as three group shots of the cast and crew.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$250 - Estimate: $400 - $600
juliens-mmauction2014-lot924


Lot 925: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of images from the set of The Misfits (Seven Arts, 1961). The sheet contains five images of the principal characters, Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach, and six images of Monroe's and Paula Strasberg's personalized chairs from the set.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot925


Lot 926: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Paula Strasberg, Eli Wallach and one image of Monroe and Wallach with Montgomery Clift and Clark Gable, with other general set images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$128 - Estimate: $400 - $600
juliens-mmauction2014-lot926


Lot 927: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11inches
Winning bid:$768 - Estimate: $400 - $600
juliens-mmauction2014-lot927


Lot 928: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). Marilyn Monroe appears in six of the images. Co-stars Clark Gable, Eli Wallach and Montgomery Clift can be seen in some of the images.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot928


Lot 929: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid and behind-the-scenes images of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot929


Lot 930: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 11 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe and Clark Gable and a behind-the-scenes image.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$576 - Estimate: $400 - $600
juliens-mmauction2014-lot930


Lot 931: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 10 images from the set of The Misfits (Seven Arts, 1961). The sheet contains candid images of Marilyn Monroe, Eli Wallach, Montgomery Clift and Clark Gable.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot931


Lot 932: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 19 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains images of the film's principal actors: Marilyn Monroe, Clark Gable, Eli Wallach and Montgomery Clift. Marked "193" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot932


Lot 933: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet from the filming of The Misfits (Seven Arts, 1961). The sheet has 12 images of Marilyn Monroe and Clark Gable on the set in candid moments.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$1,000 - Estimate: $400 - $600
juliens-mmauction2014-lot933


Lot 934: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961). The sheet contains images of Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach and images of Monroe on horseback.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot934


Lot 935: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961), possibly taken by Eve Arnold. The sheet contains candid images of Marilyn Monroe on the set with crew members preparing for her swim scene in the film.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
Winning bid:$1,562.50 - Estimate: $400 - $600
juliens-mmauction2014-lot935


Lot 936: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 12 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe alone and with Montgomery Clift, director John Huston, and an image of the crew.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot936


Lot 937: THE MISFITS STILL PHOTOGRAPHY CONTACT SHEET
 A contact sheet of 20 images from the set of The Misfits (Seven Arts, 1961) possibly taken by Eve Arnold. The sheet contains images of Marilyn Monroe and Clark Gable, an image of Monroe with Arthur Miller, two images of Monroe alone, and other images taken on set of Monroe on horseback and in the water. Marked "176" on verso.
PROVENANCE From the lost archive of Marilyn Monroe
14 by 11 inches
 Winning bid:$512 - Estimate: $400 - $600
juliens-mmauction2014-lot937 


Lot 938: MARILYN MONROE MISFITS CANDID PHOTOGRAPH
 A vintage black and white image of Marilyn Monroe with Eli Wallach on the set of The Misfits (Seven Arts, 1961).
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid:$128 - Estimate: $300 - $500
juliens-mmauction2014-lot938  


Lot 939: MARILYN MONROE MISFITS CANDID PHOTOGRAPH
 A vintage black and white image of Marilyn Monroe on the set of The Misfits (Seven Arts, 1961).
PROVENANCE From the lost archive of Marilyn Monroe
8 by 10 inches
Winning bid:$384 - Estimate: $300 - $500
juliens-mmauction2014-lot939  


Lot 940: MARILYN MONROE RELATED NOTE ON MISFITS LETTERHEAD
 A letter written to Marilyn Monroe Productions on The Misfits (Seven Arts, 1961) letterhead, dated March 13, 1961. Written to May Reis, Monroe's private secretary from the comptroller of the film. The letter is dated one month following the release of the film in regard to Arthur Miller.
8 1/2 by 11 inches
 Winning bid:$375 - Estimate: $300 - $500
juliens-mmauction2014-lot940 


Lot 942: MARILYN MONROE'S PERSONAL COPY OF A MISFITS BEHIND-THE-SCENES FILM
 A 16mm reel of behind-the-scenes footage shot on the set of The Misfits (Seven Arts, 1961). The reel comes with the original envelope that is addressed to Marilyn Monroe from United Artists. Notes on the envelope read "16mm publicity" and "The Misfits/ film for Foreign Screening." Accompanied by a document from UA titled “The Making of ‘The Misfits’/ (Narration for a 20-minute featurette)” with a personal note to Monroe affixed to the cover page.
The film begins with Marilyn Monroe arriving in Reno, Nevada, with Arthur Miller and being received at the airport, then then driving through Reno. The next scene appears to be a press conference with Monroe and co-stars Clark Gable, Montgomery Clift, Eli Wallach, Kevin McCarthy, Thelma Ritter, director John Huston and Monroe's husband, Arthur Miller.
The approximately 19-minute film goes on to show a variety of behind-the-scenes activities of the cast and crew beginning with the filming of Monroe and Ritter in a street scene that was cut from the final version of the film.
Other segments of the include Monroe at Harrahs Casino taking refreshment with Ritter, Houston and a dog Monroe attempts to feed; the cast on location; street filming in Reno with the cast in a vehicle followed by a parade of observers; Monroe signing autographs; Monroe greeting and get on a horse; shots of the cast being filmed riding together; aerial images of the set; a baseball game being played on set; a football being tossed on set with Miller and Houston joining in the game; and Monroe lounging with two other women on the hood of a car. The last part of the film shows the filming of a “Misfits” scene where Monroe is swimming and playing with a dog in the water. The very last image is of Monroe running from the water to embrace Gable. No audio. Accompanied by a DVD copy of the film.
PROVENANCE From the lost archive of Marilyn Monroe
8 1/4 inches
Winning bid:$4,800 - Estimate: $10,000 - $20,000
juliens-mmauction2014-lot942a juliens-mmauction2014-lot942b
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01 avril 2013

Julien's Auction 04/2013 - The Misfits

lot n°783: MARILYN MONROE PHOTOGRAPH BY EVE ARNOLD
  A black and white photograph of Marilyn Monroe, taken in 1960 by Eve Arnold (American, 1912-2012) during the filming of The Misfits (United Artists, 1961). Stamped on verso "Magnum Photo Library Print / New York."
Estimate: $400 - $600 
lot128494 lot128495 


lot n°784: MARILYN MONROE AND CLARK GABLE PHOTOGRAPH
  A black and white photograph of Marilyn Monroe and her " Misfits " (United Artists, 1961) co-star, Clark Gable, at a dinner circa 1961. Gelatin silver print, printed later. Stamps on verso marked " Silver Screen ."
Estimate: $200 - $300  
lot128496 


lot n°785: MARILYN MONROE PHOTOGRAPH
  A black and white photograph of Marilyn Monroe at a breakfast table, circa 1960. Gelatin silver print, printed later. Stamp on verso marked " Silver Screen ."
Estimate: $200 - $300 
lot128497 


 lot n°786: MARILYN MONROE "MISFITS" ERA AMATEUR FILM
  An amateur film of Marilyn Monroe shot around the time of filming " The Misfits " (Seven Arts, 1961). In this film, Monroe wears the cherry printed dress she wears in the motion picture. The first two minutes of the 8mm film are family scenes; the last two minutes appear to be on set with Monroe, Arthur Miller and other actors in " The Misfits ." The reel has been transferred to DVD, which accompanies this lot.
Estimate: $1 000 - $1 500
lot128498 lot128499 
lot128500 lot128501 lot128502


lot n°790: MARILYN MONROE "MISFITS" PHOTOGRAPH BY EVE ARNOLD
  A black and white photograph of Marilyn Monroe and co-stars Clark Gable, Montgomery Clift, and Eli Wallach, taken in 1960 by Eve Arnold (American, 1912-2012) during the filming of " The Misfits " (United Artists, 1961). Stamped on verso " Eve Arnold - Magnum ."
Estimate: $300 - $500
lot128506


lot n°791: MARILYN MONROE "THE MISFITS" STREET SCENE FILM REEL
 An 8mm film reel shot, in part, during filming of " The Misfits " (Seven Arts, 1961) in July 1960 by an amateur filmmaker. The one-minute, 40-second segment of the reel shows Marilyn Monroe and Thelma Ritter working a scene together. This scene was not included in the final version of the film. This film is sold with copyright. It is accompanied by a copy of a  hand drawn map provided by the filmmaker showing the location of the event and two DVD transfers of the film, one that includes only the Monroe portion of the reel and the other that includes the entire contents of the reel, much of which is a family vacation.
Estimate: $1 000 - $2 000 
 lot128507 lot128508 
lot128509 lot128510 
lot128511 lot128512 lot128513

Posté par ginieland à 09:21 - - Commentaires [0] - Permalien [#]
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30 novembre 2012

Profiles in History 15/12/2012: documents et objets

Profiles in History: Documents et Photos inédites aux enchères
profilesinhistory_catalogue_coverPartie 1/ Vente aux enchères organisée par Profiles in History. Le site de vente aux enchères ArtFact propose de nombreux lots aux enchères concernant Marilyn Monroe. On y retrouve des objets divers à l'effigie de la star (puzzle, tableaux...), des documents écrits (lettres, chèques, autographes signés par Marilyn), et des photographies, dont certaines totalement inédites; les lots sont présentés sur le site jusqu'au 29 novembre 2012 et la vente s'effectuera les 15 et 16 décembre 2012. Voici les lots sur les documents papiers et les divers objets:

> Documents écrits <

> Autographe (lot 119) 
"To Kirk, Best Luck Always, Marilyn Monroe
Le photographe Kirk Crivello a obtenu cette photo signée en rencontrant Marilyn au Mocambo nighclub de Hollywood en 1951.
lot119_H3882_L40408943

> Autographe (lot 417) 
"To Teddy, From all I hear you sound - nice! Marilyn Monroe"
lot417_H3257_L40281864  

> Lettre 2 pages de Marilyn à Norman Rosten (lot 189)
non datée (circa 1954-55)
 lot189_H3257_L40185531  mm_letter_to_rosten-waldorf2 

Marilyn Monroe écrit à son ami proche à propos de sa dépressione et son désir d'avoir un enfant (et seulement un garçon plutôt qu'une fille, tel un désir "freudien"):
Dear Norman, It feels a little funny to be writing the name Norman since my own name is Norma and it feels like I’m writing my own name almost, However--
First, thanks for letting Sam and me visit you and Hedda last Saturday.  It was nice.  I enjoyed meeting your wife - she seemed so warm to me. Thanks the most for your book of poetry--with which I spent all Sunday morning in bed with. It touched me - I use to think if I had ever had a child I would have wanted only a son, but after reading  - Songs for Patricia - I know I would have loved a little girl just as much but maybe the former feeling was only Freudian for something...anyway Frued [sic]
I use to write poetry sometimes but usually I was very depressed at those times and the few (about two) people said that it depressed them, in fact one cried but it was an old friend I’d known for years.  So anyway thanks. And my best to Hedda & Patricia and you--  Marilyn M.”

> Lettre 3 pages de DiMaggio à Marilyn (lot 292)
du 15 juillet 1952
lot292_H3257_L40183716 lot292_H3257_L40183717 

Dear Marilyn, I just got through talking with you--and I don’t know what else to say than I have already said. However, it bothers me (call it guilt or what have you) to think about what happened the day I left for New York. I definately [sic] am punishing myself. I have always felt that I’ve been able to ‘take’ it, but in this particular instance, I find myself rather cold. It annoys me no end to think that I have ‘bit’ your feelings: you of all people, would be the last one I’d hurt! It has never been my nature to do that to anyone, and I’m certainly not going to start now. I’d rather take an ‘airship’--bow out gracefully is what I mean--rather than give you any misieres [sic; i.e., plural of misery], and please don’t get the idea I am saying these things because I want things to change -on the contrary, I have among other things great respect for you. For the time that I know you--you have done nothing but good--for me and some of your acquaintances--you have done nothing but take the worse of things when other people are involved in rough spots, and in our mild mannered way, people have taken advantage of you. I know all these things about you, and a lot more. I guess I could also mention how much you try, in everything that you do. Especially when you were here and went shopping just to please me. So you see Marilyn, I appreciate you as a real, solid, human soul, with tremendous inner feelings.
What you have already read has been put mildly and very brief.
I am handing you the ‘deck’ of cards now--you schuffle [sic] them and deal; all I ask is you forgive me. Love Joe.

> Chèque de $138.25 à City Collector (lot 75)
du 14 octobre 1959
lot75_H3331_L39990712  

> Chèque de $14.25 à Colonial Trust Company (lot 76)
du 28 octobre 1960
lot76_H3331_L39990711 

> Autographe Dimaggio & Marilyn (lot 1240)
de 1954
"Best wishes, Joe DiMaggio" / "Love & Kisses, Marilyn Monroe
lot1240_H4129_L40420483 

> Photos d'école signée par Norma Jeane (lot 1241)
de 1941 Ralph Waldo Emerson Junior High School
"To a swell, nice & perfect girl[?], Norma Jeane Baker."
lot1241_H4129_L40420471 lot1241_H4129_L40420473 
lot1241_H4129_L40420475

> Script 'The Misfits' de Clark Gable (lot 329)
Gable a donné son scrpt à Arthur Rosson le dernier jour de tournage
lot329_H3257_L40281685
 lot329_H3257_L40281686


> Objets divers <

> Caméra 'Mitchell BNC #206' pour The Misfits (lot 418) 
(Seven Arts Prod., 1961)
This Mitchell BNC #206 was used as the principal first unit camera on Marilyn Monroe's final completed film The Misfits.

lot418_H3257_L40281871lot418_H3257_L40281877lot418_H3257_L40281876
lot418_H3257_L40281872
lot418_H3257_L40281873lot418_H3257_L40281874

17 octobre 2012

Julien's Auction 11/2012 - The Misfits

lot n°587: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
     A group of five negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The five images in this lot show Monroe on the set with various cast and crew members, including one photograph with Arthur Miller. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches each
Estimate: $1 000 - $2 000
lot587 lot587a lot587b
lot587d lot587e lot587f
lot587c lot587g lot587h


lot n°588: MARILYN MONROE AND CLARK GABLE STILL
       A black and white photograph of Marilyn Monroe and Clark Gable on location during the filming of The Misfits (United Artists/Seven Arts Productions, 1961). Stamped "Propiedad de Tito Franco" with production information on verso.
6 1/2 by 9 1/2 inches
Estimate: $200 - $300
lot588


lot n°589: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
     A group of four negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The four images in this lot show Monroe on the set wearing a bathing suit and towel with her hairdresser and other crew. Together with a black and white photograph of Monroe on the set. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot589 lot589a lot589b
lot589c lot589d
lot589e lot589f


lot n°590: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
      A negative of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photograph offered here was taken on the Nevada set of the film by Thomas Kaminski. The image in this lot shows Monroe seated on the ground with various cast and crew members behind her. Rights to this image will be transferred to the winning bidder.
Negative, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot590 lot590a


lot n°591: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
     A group of three negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits, written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The three images in this lot show Monroe on horseback. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot591 lot591a lot591b
lot591c lot591d lot591e


lot n°592: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
     Two negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The two images in this lot show Monroe wearing sunglasses on the set with various cast and crew members. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot592 lot592a lot592b


lot n°593: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
    A negative of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photograph offered here was taken on the Nevada set of the film by Thomas Kaminski. The image in this lot shows Monroe seated among cameras on the set wearing jeans and cowboy boots. Rights to this image will be transferred to the winning bidder.
Negative, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot593 lot593a


lot n°594: MARILYN MONROE THE MISFITS NEGATIVES AND COPYRIGHT
   Two negatives of Marilyn Monroe on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits , written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The two images in this lot show Monroe in a bikini walking on the sand and coming out of the water. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot594 lot594a lot594b


 lot n°595: MARILYN MONROE AND CLARK GABLE THE MISFITS NEGATIVES AND COPYRIGHT
   A group of 38 negatives of Marilyn Monroe, Clark Gable, and others on the set of The Misfits (United Artists/Seven Arts Productions, 1961). The Misfits, written by Monroe's then husband, Arthur Miller, was directed by John Huston and starred Monroe, Clark Gable, and Montgomery Clift. It was the final completed film appearance for both Gable and Monroe. The photographs offered here were taken on the Nevada set of the film by Thomas Kaminski. The images in this lot show Monroe, Gable, and other cast and crew on the set and filming various scenes, including one with horses. Together with five contact sheets of these images. Rights to these images will be transferred to the winning bidder.
Negatives, 2 1/4 by 2 1/4 inches
Estimate: $1 000 - $2 000
lot595 lot595a lot595b lot595c
lot595d lot595e lot595f lot595g
lot595h lot595i lot595j lot595k
lot595l lot595m lot595n lot595o
lot595p lot595q lot595r
lot595s lot595t
lot595u lot595v lot595w