10 mars 2021

1950s - Diana Dors, la "Marilyn anglaise" & RKO

 Diana Dors
(1931 - 1984)

actrice et chanteuse anglaise
La "Marilyn anglaise" des années 1950s
& la Marilyn des studios de la RKO

english actress and singer
The "British Marilyn" of the 1950's
& the RKO's studios Marilyn

diana_dors-1957-by_wallace_seawell-siting2-04-4a


L'Enfance -/- The Childhood

diana_dors-1930s-child  Diana Dors naît le 23 octobre 1931 à Swindon, dans le Wiltshire en Angleterre, sous le nom de Diana Mary Fluck. Son père Albert Edward Sidney Fluck est commis de chemin de fer; quand sa mère Winifred Maud Mary (Payne) était enceinte de Diana, elle entretenait une liaison extra-conjuguale avec leur logeur et ne sait pas qui est le père de sa fille. L'accouchement étant compliqué (la mère et le bébé ont failli mourir), Diana sera fille unique et adorée par sa mère; elle vivra une enfance heureuse et gâtée. Diana fait ses études dans une petite école privée à Selwood House. Enfant, elle se passionne pour le cinéma: dès 8 ans, ses héroïnes sont des actrices hollywoodiennes comme Veronica Lake, Lana Turner et Jean Harlow. Sa mère lui fait prendre très tôt des cours de danse et l'accompagne aux soirées des GI's installés dans une base américaine.

Diana Dors was born on 23 October 1931, in Swindon, Wiltshire, in England, under the name of Diana Mary Fluck. Her father Albert Edward Sidney Fluck is a railway clerk; when her mother Winifred Maud Mary (Payne) was pregnant with Diana, she was having an extramarital affair with the landlord and doesn't know who the father of her daughter is. Childbirth being complicated (the mother and the baby almost died), Diana will be an only child and beloved by her mother; she will live a happy and spoiled childhood. Diana is educated at a small private school in Selwood House. As a child, she is passionnate by the cinema: from the age of 8, her heroines are Hollywood actresses as Veronica Lake, Lana Turner and Jean Harlow. Her mother makes her take dance lessons very early on and accompanies her to the dance parties of the GI's installed in an American base.


Une belle étudiante -/- A beautiful student

diana_dors-1940s  Peu avant la fin de la guerre, elle participe à un concours de beauté -elle fait plus vieille que son âge - (le magazine Soldier cherche une pin-up); elle atteint la 3ème place, lui permettant de travailler comme modèle en posant dans les cours d'art et elle commence à faire du théâtre (elle joue dans les pièces A Weekend in Paris et Death Takes a Holiday) et chante sur les ondes d'une radio locale. Excellente en littérature et élocution, et après avoir menti sur son âge, elle intègre en janvier 1946 l’académie londonienne de la musique et des arts dramatiques (LAMDA), devenant la plus jeune étudiante du collège (elle a 14 ans). Pour subvenir à ses besoins, elle compléte son allocation de 2 £ par semaine en posant comme mannequin, notamment pour le London Camera Club pour 1 £ de l'heure. Elle signe son premier contrat à l'agence Gordon Harbord, et elle obtient une médaille de bronze décernée par Peter Ustinov (acteur et réalisateur primé) puis elle remporte une médaille d'argent avec les honneurs pour ses performances dans des pièces de théâtre de la LAMDA. Elle auditionne -sans succès- pour le rôle qui sera joué par Jean Simmons dans Le Narcisse Noir.

Towards the end of the war, she participates to a beauty contest - she looks older than her age - (Soldier magazine search a pin-up girl); she comes in third place, ledding her to work as a model in art classes and she begins to appear in local theatre productions (she plays in A Weekend in Paris and Death Takes a Holiday) and sings on the local radio station. Excellent in literature and speech, and after lying about her age, she integrates in January 1946 the London Academy of Music and Dramatic Art (LAMDA), becoming the college's youngest student (she is 14). To support herself, she supplements her allowance of £ 2 per week by posing as a model, especially for the London Camera Club for £ 1 per hour. She signs her first contract at the Gordon Harbord Agency, where she obtains a bronze medal awarded by Peter Ustinov (award-winning actor and director) and then she wins a silver medal with honors for her performances in LAMDA plays. She auditiones -unsuccessfully-  for the part which will be played by Jean Simmons in Black Narcissus.


Cinéma et Théâtre -/- Cinema and Theatre

diana_dors-1947-a  En 1947, elle obtient son premier rôle au cinéma -un rôle mineur avec 3 jours de tournage- dans le film Légitime défense, grâce au directeur de casting Eric L'Épine Smith, qui l'avait repéré dans une pièce de théâtre. Pour signer son contrat, elle choisit de prendre le nom de sa grand-mère maternelle, Dors, une suggestion de sa mère et avec l'accord de son père; elle expliquera plus tard: "Ils m'ont demandé de changer mon nom. Je suppose qu'ils avaient peur que mon vrai nom Diana Fluck soit illuminé et que l'une des lumières s''éteindrait." (nb: Fluck sans la 2ème lettre !) 
Puis son agent lui décroche un petit rôle de danseuse dans Holiday Camp, et Dancing with crime; dans ses trois premiers films, ses rôles étant tellement faibles, elle n'est pas créditée au générique, mais lui permet de gagner beaucoup d'argent: quand elle rentre chez ses parents, son père dit, déconcerté: "Ridicule; une fille de 15 ans qui gagne plus d'argent que moi !" Puis elle retourne au théâtre de LAMDA, où elle obtient son diplôme au printemps 1947 de la London Films Cup, décernée par Sir Alexander Korda pour la "fille la plus susceptible de réussir dans les films brittaniques".

In 1947, she obtains her first part in the cinema - a minor role with 3 days of filming - in the movie The shop at sly corner, thanks to the casting director Eric L'Épine Smith, who has spotted her in a play. To sign her contract, she chooses to take her maternal grandmother's name, Dors, at her mother's suggestion and with her father's consent; she will explain later: "They asked me to change my name. I guess they were afraid if my real name Diana Fluck was in the lights and one of the lights blew out." (nb: Fluck without the 2nd letter !)
Then her agent lands her a small part as a dancer in Holiday Camp, and Dancing with crime; in her first three films, her roles being so weak, she is not credited but allows her to earn a lot of money: when she goes back at home's parents, her father says, disconcerted: "Ridiculous; A 15 years old girl earning more money than I do at my time of life !" She then returns to the LAMDA theater, where she is graduated in the spring of 1947 by the London Films Cup, awarded by Sir Alexander Korda for the "girl most likely to succeed in British films".


diana_dors-1940s-jeune-pinup-1 Toujours en 1947, Diana Dors, 16 ans, signe un contrat avec la compagnie Rank et rejoint "l'école de charme" de J. Arthur Rank pour les jeunes acteurs, apparaissant par la suite dans beaucoup de leurs films. L'école de charme avait été créée par le producteur Sydney Box, qui était nommé responsable de la production chez Gainsborough Studios, l'une des sociétés sous l'égide de Rank (parmi les étudiants de l'école devenus célèbres: Petula Clark, Claire Bloom et Christopher Lee.) Dors n'aimait pas l'école de charme mais a reçu plus de publicité que les autres étudiants à l'époque en partie au fait de sa photogénie et d'assister à des premières. Un article d'août 1947 mentionne que son surnom est "Le corps".
Sous contrat avec Rank, elle joue un rôle important dans Streets Paved with Water dont le tournage débute en juillet 1947 mais le film sera annulé au bout d'un mois. Puis elle enchaîne avec un petit rôle de femme de chambre dans The Calendar (1948), et un bon rôle dans Les ailes brûlées (1948), qui lui permet de se faire remarquer; elle joue ensuite dans le Oliver Twist (1948) de David Lean. Elle obtient un rôle important dans Penny and the Pownall Case (1948), un film médiocre mais dans lequel néanmoins sa prestation est appréciée et impressionne les critiques. Rank fait savoir qu'elle fait partie de leur actrice des plus prometteuses.
Elle joue dans les comédies (des suites de Holiday Camp): Here Come the Huggetts et Vote for Huggett, produits par Betty E. Box qui décrit que Diana, bien qu'étant encore adolescente, "elle pensait comme une femme, agissait comme une femme et ressemblait à une femme." Elle excelle dans les rôles comiques et Rank lui décroche d'autres rôles plus importants au cinéma (Diamond City et A boy, a girl and a bike - où elle tombe amoureuse du cameraman qui a 19 ans et avec qui elle perd sa virginité à l'âge de 16 ans) tout en faisant aussi du théâtre (dans les pièces The Cat and the Canary, et elle part en tournée sur scène pour The Good Young Man.) Elle s'installe dans un appartement à Chelsea où elle reçoit bon nombre d'amis acteurs et y fait beaucoup la fête.
De 1949 à 1951, elle est en couple avec l'homme d'affaires Michael Caborn-Waterfield, dont elle tombe enceinte à l'âge de 18 ans mais il lui demande d'avorter: cela se passera sur une table de cuisine dans un quartier sordide de Battersea.

diana_dors-1948-oliver_twist-1  Always in 1947, Diana Dors, aged 16, signs a contract with the Rank Organisation, and joins J. Arthur Rank's "Charm School" for young actors, subsequently appearing in many of their films. The Charm School had been established by producer Sydney Box who Rank appointed head of production at Gainsborough Studios, one of the companies under the Rank aegis (among the school's students becoming famous: Petula Clark, Claire Bloom and Christopher Lee.) Dors disliked the Charm School but received more publicity than other students at the time partly due to its photogeny and attending premieres. An August 1947 article says that her nickname is "The Body".
Under contract with Rank, she plays an important part in Streets Paved with Water which the filming starts in July 1947 but the movie will be cancelled after a month. Then she continues with a small role as a maid in The Calendar (1948), and a good part in Good-Time Girl (1948), which allows her to stand out; she plays after in Oliver Twist (1948), directed by David Lean. She obtains an important role in Penny and the Pownall Case (1948), a mediocre film but in which her performance is nevertheless appreciated and impresses critics.
She plays in the comic movies (that followed Holiday Camp): Here Come the Huggets and Vote for Huggets, produced by Betty E. Bow who describes that Diana, despite of being a teenager, "she thought like a woman, acted like a woman, and looked like a woman." She is excellent in comedic roles and Rank lands her other more important roles in the cinema (in Diamond City and in A boy, a girl and a bike - on which she falls in love with the cameraman who is 19 years old and with whom she looses her virginity at the age of 16) while also doing theater (in the plays The Cat and the Canary, and she leaves touring on stage for The Good Young Man.) She moves into an apartment in Chelsea where she receives a number of actor friends and organize a lot of parties.
From 1949 to 1951, she has a relationship with the businessman Michael Caborn-Waterfield, from whom she becomes pregnant at the age of 18 but he asks her to have an abortion: it would take place on a kitchen table in a squalid part of Battersea.


diana_dors-1951-lady_godiva En 1950, elle fait partie du quatuor féminin dans Le démon de la danse, avec Natasha Perry, Petula Clark et Jane Hylton; lui laissant un mauvais souvenir ("un film horrible - sans doute l'un des plus désagréables que j'ai jamais fait") mais pour lequel elle reçoit de bonnes critiques. Le film fait un flop au box-office, et Rank se couvre de dettes, n'ayant pas su gérer la célébrité de Diana; ils ferment l'école de charme.
En février 1950, elle joue au théâtre dans la pièce Man of the World qui lui permet de remporter le prix de l'actrice de l'année du magazine Theatre World.
En 1951, elle décroche le rôle principal féminin dans la comédie Worm's Eye View, le film le plus populaire de l'année en Grande-Bretagne; ainsi qu'un rôle majeur dans Face to Face, un téléfilm de la BBC et un rôle récurrent dans la série How Do You View ? : elle se fait ainsi connaître auprès du grand public, tout en poursuivant le théâtre avec Miranda à Stratford et Born Yesterday à Henley. De cette époque, elle racontera: "Je fus la première actrice blonde sex symbol faite maison (en Angleterre) plutôt que la blondasse des cartes postales ; quand le premier film connu de Marilyn Monroe (« Quand la ville dort ») sortit en Angleterre, les médias britanniques titrèrent « comme elle ressemble à notre Diana Dors !"

diana_dors-1951-portrait-1  In 1950, she belongs to the female quartet in Dance Hall, with Natasha Perry, Petula Clark and Jane Hylton; leaving her with a bad memory ("a ghastly film – quite one of the nastiest I ever made") but for which she receives good reviews. The film flopped at the box office, and Rank got covered in debt, failing to handle Diana's stardom; they close the Charm school. In February 1950, she plays in the theater in the play Man of the World fo which she is awarded by Theatre World magazine's Actress of the Year Award.
In 1951, she lands the female lead in the comedy Worm's Eye View, the movie is the most popular of 1951 in Britain; as well as a major role in Face to Face, a BBC TV movie and a recurring part in the TV series How Do You View ?: she makes herself known to a large audience, while pursuing theater with the plays Miranda at Stratford, and Born Yesterday at Henley. From that time, she will tell: “I was the first homemade blonde sex symbol actress (in England) rather than the postcard blonde girls; when Marilyn Monroe's first known film ("Asphalt Jungle") was released in England, the British media headlined "How she looks like our Diana Dors !"


Star britannique -/- British Stardom

diana_dors-1951-mariage_hamilton Côté vie privée, elle rencontre Dennis Hamilton Gittins (26 ans) sur le tournage de Lady Godiva Rides Again; ils se marient le 3 juillet 1951, à peine 5 semaines après leur rencontre. Son mari s'implique beaucoup dans la gestion de sa carrière, du choix de ses contrats et de ses cachets (il refuse en son nom qu'elle tourne un film avec Burt Lancaster à Hollywood); lui fait créer la société "Diana Dors Ltd" et prend en charge la publicité autour de sa femme, qu'elle soit bonne ou mauvaise, l'important est que les médias parlent de Diana. Les biographes et amis du couple raconteront qu'Hamilton prêtait sa femme aux producteurs et acteurs en demandes de faveurs sexuelles contre de juteux contrats, telle la "promotion canapé" en vigueur officieuse à cette époque. C'est avec Hamilton qu'elle commence à organiser des parties fines chez elle: des célébrités étaient invités, couchaient avec de jeunes starlettes, sur fond d'alcool, de drogues et de films pornos, et le tout filmé par Diana Dors qui conserve les films dans ses archives personnelles pour les visionner à sa guise; elle a continué cette pratique jusqu'à la fin de sa vie.
Il lui conclut aussi un contrat publicitaire avec les voitures Rolls Royce: elle est la première égérie féminine conductrice de la marque; pour mener à bien sa carrière, son mari lui demandera d'avorter quand elle tombera enceinte (en février 1952 et en août 1955).

diana_dors-rolls_royceOn the private side, she meets Dennis Hamilton Gittinson (26 year old) on the set of Lady Godiva Rides Again; they get married on July 3, 1951, barely five weeks after their meet. Her husband is very involved in the management of her career, the choice of her contracts and financial aspects (he turns down the part on her behalf a movie with Burt Lancaster in Hollywood); sets up her the company "Diana Dors Ltd" and supports the publicity around his wife, whether good or bad, the important thing is that medias talk about Diana. The couple's biographers and friends would tell that Hamilton lent his wife to producers and actors asking for sexual favors for hefty contracts, such as the "casting couch" in effect unofficially at the time. It's with Hamilton that she begins to organize fine parties at home: celebrities are invited, slept with young starlets, with a background of alcohol, drugs and porn movies, and everything is filmed by Diana Dors herself who keeps the films in her personal archives to watch them at will; she continues to practice that until the end of her life.
He also signs an advertising contract with Rolls Royce cars for her: she was the brand's first female driver; to carry out her career, her husband asks her to have an abortion when she got pregnant (in February 1952 and August 1955).


diana_dors-1954-3D   En 1952 et 1953, elle accède à la notoriété grâce au film noir The Last Page, les comédies My Wife's Lodger et The Great Game, et à la pièce Rendez-vous jouée peu de temps à Londres, où la critique souligne son talent (Variety dit d'elle qu'elle a apporté «la seule contribution notable» à la pièce); Laurence Olivier lui propose même un rôle, mais le projet ne se fera pas sur les conseils de Dennis préférant envoyer Diana se produire sur scène à Blackpool, qui la rémunère en conséquence. Hamilton lui organise une énorme publicité; Diana racontera plus tard que son mari l'a "promu strictement en tant que sex-symbol, jamais en tant qu'actrice. Mais cela a atteint son objectif et à l'époque c'était amusant." En 1954, il a l'idée d'exploiter la technologie nouvellement imprimée de la 3D: il engage le photographe Horace Roye et publie un livret "Diana Dors 3D: l'ultime Sex Symbol Britannique", vendu avec une paire de lunettes 3D; des plaintes sont déposées pour obsénité mais sont déboutées au tribunal. 
En 1953, elle est sur scène pour un numéro de cabaret à Glasgow, et ses cachets par films commencent à être importants (la société de production Adelphi rachètent les droits de la série Is Your Honeymoon Really Necessary ? pour lui en donner le rôle principal). Sa carrière prend un réel tournant pour son rôle dans Filles sans joie, un drame qui se passe dans une prison pour femmes; elle a tourné le film en août 1953, quelques semaines après avoir été condamnée dans la vraie vie pour avoir volé de l'alcool chez un ami. Le film reçoit un très bon accueil des critiques et du public. Elle enregistre aussi ses premières chansons, 2 titres sur un 78 tours: "I Feel So Mmmm" et "A Kiss and a Cuddle (and a Few Kind Words From You)".

diana_dors-1955s-portrait1  In 1952 and 1953, she gains notoriety thanks to the film noir The Last Page, the comedies My Wife's Lodger and The Great Game, and to the play Rendez-vous played shortly in London, where the critics underline her talent (Variety says of her that she brought “the only noteworthy contribution” to the play); Laurence Olivier even offers her a role, but the project will not happen on the Dennis' advices prefering to send Diana to perform on stage in Blackpool, which pays her more. Hamilton organizes a huge publicity for her; Diana would later relate that her husband "promoted me strictly as a sex symbol, never as an actress. But it served its purpose and at the time it was fun." In 1954, he has the idea of ​​exploiting the newly printed 3D technology: he hires photographer Horace Roye and publishs a booklet "Diana Dors 3D: the ultimate British Sex Symbol", sold with a pair of 3D glasses; complaints are filed for obsenity but are dismissed in court.
In 1953, she is on stage for a cabaret show in Glasgow, and her film fees began to be significant (the production Adelphi Films bought the rights to the series Is Your Honeymoon Really Necessary ? to give her the leading role). Her career takes a real turn for her role in The Weak and the Wicked, a drama set in a jail for women; she makes the film in August 1953, a few weeks after being convicted in real life for stealing alcohol from a friend's house. The film receives a very good reception from critics and the public. She also records her first songs, 2 titles on a 78 rpm record: "I Feel So Mmmm" and "A Kiss and a Cuddle (and a Few Kind Words From You)".


diana_dors-1950s-lucas En 1955, c'est la consécration: elle est à l'affiche de 6 films: L'Abominable Vérité (où elle chante "The Hokey Pokey Polka" sur la BO), L'enfant et la licorne, Miss Tulip Stays the Night, Fièvre blonde, An Alligator Named Daisy, et un petit rôle dans Rendez-vous à Rio (avec Brigitte Bardot). Elle est très bien payée, les britanniques la nomment 9ème star britannique la plus populaire au box-office en 1955 (elle est la seule femme du top 10), elle est acclamée au Festival de Cannes en 1956, sa popularité fait d'elle la "Marilyn Monroe anglaise", mais elle se lasse de ces rôles: "Ils pensent toujours que je ne suis bonne que pour les rôles de blondes stupides que j'ai joués il y a cinq ans, je pensais que tout le monde dans le milieu savait que j'aurais parcouru du chemin depuis".

In 1955, it's the consecration: she is at the top of 6 movies: As Long as They're Happy (on which she sings "The Hokey Pokey Polka" on the soundtrack), A Kid for Two FarthingsMiss Tulip Stays the Night, Value for moneyAn Alligator Named Daisy, and a little part in Doctor at sea (with Brigitte Bardot). She is very well paid, the British votes her the ninth-most popular British star at the box office in 1955 (she is the stole female star in the top 10), she is acclaimed at the 1956 Cannes Film Festival, her popularity makes her "the British Marilyn Monroe", but she gets bored about these roles: "They still think I'm only good for the dumb blonde parts I played five years ago, I thought everyone in the business knew I'd come some way since then."

Aller et retour à Hollywood  -/- Go and Back to Hollywood

diana_dors-1957-the unholy wife-sitting1-02-1 En 1956, Hollywood lui fait de l'oeil; elle s'installe dans la cité des anges et déclare: "J'espère m'amuser, garder mon sens du plaisir et faire du bon travail. Il m'a fallu 10 ans de travail acharné dans des films médiocres, dans des revues, des pièces de théâtre et en tournée pour devenir une star, et je n'ai pas l'intention de laisser Hollywood me changer, me couper les cheveux, changer de style ou de personnalité."; en février, elle est invitée dans une émission de Bob Hope enregistrée en Angleterre et en mai, elle signe chez la RKO pour 3 films: elle tourne La femme et le rôdeur, et I married a Woman, mais pas de 3ème film car les projets ne verront pas le jour (comme Blondes Prefer Gentlemen avec Eddie Fisher -le titre faisant échos au film avec Marilyn Les hommes préfèrent les blondes ); en décembre 1958, RKO mettra fin à son contrat en alléguant qu'elle "était devenue un objet de disgrâce, de blague, de mauvaise volonté et de ridicule", notamment à cause de sa laison avec l'acteur Rod Steiger, et le comportement de son mari Hamilton qui s'est vengé en la trompant avec la femme de Steiger; menant le couple à se séparer en novembre 1956. Elle fréquente les soirées à Hollywood mais les films ne se font pas et la journaliste commère Hedda Hopper de dire que "sa popularité diminue avant même que son premier film ne soit montré." Elle va au Bob Hope Show en octobre 1956 et retourne en Angleterre (où finalement son mari la rejoint) pour tourner Les trafiquants de nuit (où elle rencontre le cascadeur Tommy Yeardye) pour la Columbia, puis en Italie pour La Blonde enjôleuse avec Vittorio Gassman.

diana_dors-1957-set-unholy_wife  In 1956, Hollywood looks at her; she settles in the city of angels and declares: "I'm hoping to enjoy myself, keep my sense of fun and do a good job. It took me 10 years hard work in poor pictures, in revue, in straight plays and touring to become a star, and I don't intend to let Hollywood push me about, crop my hair, change my style or personality.", in February, she is a guest to a Bob Hope TV show recorded in England and in May, she signs with the RKO for 3 movies: she plays in The Unholy Wife, and I married a woman, but not a third movie because the projects won't be completed (as Blondes Prefer Gentlemen with Eddie Fisher - the title echoing the movie with Marilyn Gentlemen Prefer Blonds) and in December 1958, RKO breaks the contract alleging she "has become an object of disgrace, obloquy, ill will and ridicule." because of her relationship with actor Rod Steiger and the behaviour of her husband Hamilton who takes revenge by cheating on her with Steiger's wife; leading the couple to separate in November 1956. She goes to Hollywood parties but the movies don't make it and gossip reporter Hedda Hopper says that "her popularity is slipping even before her first film is shown." She goes to the Bob Hope TV show in October 1956 and goes back to England (where finally her husband joins her) to make the movie The Long Haul (on which she meets stuntman Tommy Yeardye) for the Columbia and then in Italy to make The Love Specialist with Vittorio Gassman.

> The Mike Wallace Interview, 09 novembre 1957 - USA
elle est présentée comme "la réponse anglaise à Marilyn Monroe"

 diana_dors-1959-04-12-avec_dawson-1 En couple avec son cascadeur, elle divorce d'Hamilton: en 1958, son divorce est un gouffre financier (elle doit payer des indus d'impôts, ses avocats, les comptables et céde ses actifs à Hamilton), elle découvre que sa société Diana Dors Ltd est très endettée, dûe à une mauvaise gestion de son ex-mari. En besoin d 'argent, elle donne une interview où elle décrit leur vie de couple et leurs fêtes coquines en détail. L'interview est publiée en plusieurs parties pendant 12 semaines, suivie d'une série de six semaines d'histoires sensationnelles, lui créant une publicité négative. L'archevêque de Canterbury la qualifie de "coquine rebelle". Toujours pour se renflouer, elle accepte la proposition de son agent Joseph Collins de partir en tournée de cabaret "The Diana Dors Show". L'acteur Richard Dawson est engagé pour scénariser le spectacle et ils entament une liaison. Diana se sépare de Tommy Yeardye, et pour se venger, Yeardye lui vole de l'argent (placé dans un coffre à Harrod's) et vend leur histoire aux médias. En 1959, son ex-mari Hamilton décède (officiellement d’une crise cardiaque, mais la cause de son décès est la syphilis) et Diana se remarrie avec Dawson à New York; ils auront ensemble deux fils Mark Dawson (né en février 1960) et Gary Dawson (né en juin 1962). Elle est invitée aux émissions américaines populaires comme chez Steve Allen, Red Skelton, Jack Benny; son spectacle est enregistré pour la télévision, elle en décroche un contrat pour se produire au Dunes Hotel de Las Vegas (en septembre 1960) et sort même son autobiographie "Swingin' Dors". En 1960 sort aussi ce qui sera son unique album, le LP "Swingin 'Dors" sur le thème du swing, orchestré par Wally Stott.
Elle tourne même dans quelques films (La doublure du général et King of the Roaring 20's) et joue dans un épisode de la série "Alfred Hitchcock présente" mais l'épisode (L'apprentie sorcière) est tellement une histoire horrible, qu'il sera censuré pendant des années. Elle joue de petits rôles dans d'autres séries télé puis retourne en Angleterre en 1961 où elle échappe de peu à la mort (des feux d'artifices ont mis le feu à une maison où elle était invitée, bilan: 4 morts; Diana s'en est échappée par une fenêtre) et en 1963, elle part en tournée en Australie.

Diana_Dors-1960-SwingingDors   In a relationship with her stuntman, she divorces from Hamilton: In 1958, her divorce is a financial abyss (she has to pay overdue taxes, her lawyers, accountants and signs her assets to Hamilton), she discovers that her company Diana Dors Ltd is very much in debt, due to mismanagement by her ex-husband. In need of money, she gives an interview where she describes their married life and their naughty parties in details. The interview is published in parts for 12 weeks, followed by a six-week series of sensational stories, creating negative publicity for her. The Archbishop of Canterbury calls her a "wayward hussy". Always to bail out, she accepts the proposal of her agent Joseph Collins to go on a cabaret tour "The Diana Dors Show". Actor Richard Dawson is hired to script the show and they start an affair. Diana separates from Tommy Yeardye, and in revenge, Yeardye steals her money (places in a deposit box in Harrods) and sells their story to the media. In 1959, her ex-husband Hamilton died (officially by a heart attack, but the cause of death is syphilis) and Diana marries Dawson in New York; they will have together two sons Mark Dawson (born in February 1960) and Gary Dawson (born in June 1962). She is a guest on popular american TV programs as the Steve Allen's, Red Skelton's, Jack Benny's Shows; her cabaret show is taped for television, she lands a contract for it at the Dunes Hotel in Las Vegas (in September 1960) and even publishes her autobiography "Swingin' Dors". In 1960, what will be her single songs album is published, the LP "Swingin' Dors", on the swing-themed, orchestrated by Wally Stott.
She even makes some movies (On the double and King of the Roaring 20's) and plays in an "Alfred Hitchcock Presents" story ("The Sorcerer's Apprentice") but the story is so gruesome that it will be censored for years. She plays small roles in other TV series and then returns to England in 1961 where she narrowly escapes death (fireworks set fire to a house where she was a guest, results: 4 dead; Diana is escaped through a window) and in 1963, she tours in Australia.


Le déclin -/- The declin
En 1966, Diana Dors divorce de Dawson en lui laissant leur deux fils et retourne en Angleterre pour faire la tournée des cabarets dans de petites salles. En 1968, elle se déclare en faillite; et elle poursuit sa carrière d'actrice, en n'obtenant que des rôles secondaires dans des films dramatiques et des thrillers qui ne marqueront pas l'histoire du cinéma: Le cercle de sang (1967, avec Joan Crawford), Le coup du lapin (1967), Les requins volent bas (1968), Baby Love (1968), Deep End (1970) et la comédie Une fille dans ma soupe (1970). Au début des années 1970s, c'est vers la télévision qu'elle se tourne en jouant la guest dans les séries britanniques, obtenant même le rôle principal dans la sitcom Queenie's Castle (de 1970 à 1972). Puis au milieu des années 1970s, sa carrière prend un virage, elle s'illustre principalement dans des comédies érotiques: The Amorous Milkman (1975), Bedtime with Rosie (1975), Three for All (1976), Les aventures érotiques d'un chauffeur de taxi (1976), Keep It Up Downstairs (1976), Adventures of a Private Eye (1977) et Confessions from the David Galaxy Affair (1979).

diana_dors-1968s-avec_lake  En 1968, elle rencontre l'acteur Alan Lake (de 9 ans son cadet) sur une série télé; au départ pas très emballé de devoir tourner avec elle, Lake aurait dit: "Oh non, pas Madame nichons et grosses lèvres !"; mais ils tombent amoureux et se marient le 23 novembre 1968 et ont ensemble un fils, Jason Lake (né en 1969).
En 1970, après une bagarre dans un pub, Alan Lake est incarcéré pendant un an; à son retour à la maison, Diana lui offre une jument. Un jour, il a un accident de cheval et d'après les médecins, il restera paralysé. Pourtant, il parvient à remarcher; mais pendant sa convalescence, souffrant atrocement, il se met à boire et tombe dans l'alcoolisme. De cette période difficile, Diana dira plus tard que "l'alcool avait déchaîné un monstre, incontrôlable et effrayant". Ils se tournent tous les deux vers la foi et se convertisent au catholicisme romain. En 1975, Diana tombe enceinte mais se refuse à avorter en vertu de la religion; mais elle fera une fausse couche.

Diana_Dors-1960s-portrait In 1966, Diana Dors divorces from Dawson leaving him their two sons and returns in England to tour the cabarets in smaller clubs. In 1968, she declares bankruptcy; and she continues her acting career, obtaining only secondary roles in drama and thriller movies that would not mark the history of cinema: Bersek (1967, with Joan Crawford), Danger Route (1967), Hammerhead (1968), Baby Love (1968), Deep End (1968) and the comedy There's a Girl in My Soup (1970). At the beginning of the 1970s, she turns to the television, playing the guest in British series,even getting the main role in the sitcom Queenie's Castle (from 1970 to 1972). Then in the mid-1970s, her career tooks a turn, she illustrates herself mainly in erotic movies and sex comedies: The Amorous Milkman (1975), Bedtime with Rosie (1975), Three for All (1976), Adventures of a Taxi Driver (1976), Keep It Up Downstairs (1976), Adventures of a Private Eye (1977) and Confessions from the David Galaxy Affair (1979).
 In 1968, she meets actor Alan Lake (9 years younger) on a TV series; initially not very excited to have her as partner, Lake would have said: "Oh no, not Madame tits and lips !"; but they fall in love and get married on November 23, 1968 and together have a son, Jason Lake (born 1969). In 1970, after a brawl in a pub, Alan Lake was jailed for a year; on his return at home, Diana gives her a mare. One day, he has a horseback accident and doctors say he will remain paralyzed. Yet he manages to walk again; but during his convalescence, suffering excruciatingly, he begins to drink and fells into alcoholism. Of this difficult period, Diana will say later that "alcohol had unleashed a monster, uncontrollable and frightening". They both turn to the faith and convert to Roman Catholicism. In 1975, Diana becomes pregnant but refuses to have an abortion on the grounds of religion; but she will miscarry.


diana_dors-1975s-portrait  Elle fait beaucoup la Une des tabloïds dû à ses moeurs légères d'organiser des soirées coquines chez elle; elle reste populaire grâce à sa présence importante dans les shows télé où elle brille par son esprit et ses réparties; la jeune génération d'artistes musicaux s'intéressent à son statut d'icône (Adam and the Ants la font jouer dans leur clip en 1981; The Smiths mettent une photo d'elle jeune sur leur album en 1995). Elle écrit et publie aussi 4 livres autobiographiques sur sa vie entre 1978 et 1984: "For Adults Only", "Behind Closed Dors", "Dors by Diana", et "A. to Z. of Men".
En 1974, elle est emmenée d'urgence à l'hôpital pour une méningite et elle subira ensuite deux interventions chirurgicales pour enlever des tumeurs cancéreuses; les traitements contre un cancer des ovaires diagnostiqué en 1982 modifient sa silhouette (elle a pris beaucoup de poids), elle écrit alors un livre diététique, et sort une cassette vidéo de régime et d'exercices, ce qui lui permet d'obtenir un contrat à la télévision en 1983 où elle présente une rubrique sur l'alimentation et la nutrition dans une émission matinale (sur ITV). Les problèmes de santé qu'elle traverse amène son mari Alan Lake à tomber davantage dans l'alcool et la déprime, jusqu'à des passages psychotiques.

diana_dors-book-autobiographie-quatre  
Autobiographies de Diana - publiées de 1978 à 1984

diana_dors-1981 She makes a lot the titles of the tabloids due to her light manners of organizing sex parties at her home; she remains popular thanks to her important presence in the TV shows where she shines by her wit, catchy one-liners; the young generation of musical artists are interested in her status as an icon (Adam and the Ants played her in their music video in 1981; The Smiths put a photo of her young on their album in 1995). She writes and publishes 4 books about her life between 1978 and 1984: "For Adults Only", "Behind Closed Dors", "Dors by Diana", and "A. to Z. of Men".
In 1974, she is rushed to hospital for meningitis and then has twice surgery to remove cancerous tumors; treatments for ovarian cancer diagnosed in 1982 changes her figure (she gained a lot of weight), she writes a diet book, and released a diet and exercise videocassette, which allows her to obtain a contract on television in 1983 where she presents a column on food and nutrition in a morning show (on ITV). The health problems she is going through leads her husband Alan Lake to fall more into alcohol and get depressed, until psychotic episodes.

> This is your life, octobre 1982 - G-B
  

diana_dors-1980-avec_jason_lake Le 15 avril 1984, elle effectue ce qui sera sa dernière apparition en public dans un cabaret de Londres. Après avoir ressentie des douleurs d'estomac aiguës, elle s'effondre chez elle et décède le 4 mai 1984 à l'hôpital, des suites d'une récidive du cancer de l'ovaire; elle a 52 ans. Alan Lake ne se remet pas de sa mort: il brûle les vêtements de Diana et il se suicide le 10 octobre 1984, en ayant emmené d'abord leur fils à la gare, il se tire une balle dans la bouche dans la chambre de Jason, 16 ans jour pour jour après leur rencontre; il a 43 ans. Leur grande maison (Ochard Manor) est vendue, les affaires vendues aux enchères -par Sotheby's- et les dettes sont remboursées; ce qui laisse peu pour l'héritage de leur fils Jason Lake qui a 14 ans et déclaré pupille de la nation (il part vivre aux Etats-Unis avec ses demi-frères). Il luttera contre la dépression toute sa vie, tombant dans l'alcoolisme, les médicaments et la drogue et décrivant aux médias son enfance chaotique (à boire du champagne pour le calmer, ou fumer de la marijuana à 9 ans - il racontera notamment: "quand je rentrais de l'école, mon père se saoulait avec Richard Harris et Oliver Reed"; "je n'avais que 7 ans et j'étais aux fêtes de ma mère. Je discutais avec John Lennon et Keith Moon. Maman servait des tasses de thé et faisait monter les gens dans les chambres. Elle adorait avoir des amis pour regarder les films pornos réalisés aux fêtes. Ils s'asseyaient en riant pendant que les couples se pelotaient et faisaient l'amour sur le lit. La plupart d’entre eux ne savaient même pas qu’ils avaient été filmés".); il est retrouvé mort dans son appartement en 2019 d'abus d'alcool et de médicaments alors qu'il venait d'avoir 50 ans.
Avant sa mort, Diana Dors avait confié à son fils aîné Mark Dawson qu'elle possédait près de 2 millions de livres sterling placés dans des banques en Europe, en lui donnant une feuille de papier avec un code crypté qui révélerait où se trouvait l'argent et précisant qu' Alan Lake connaissait le déchiffrage du code; mais leur décès laissa Mark Dawson avec le code insoluble. Il se tourna vers des spécialistes en criminalistique informatique qui parvinrent à ne déchiffrer qu'une partie (une liste de noms et de villes), mais qu'il manque une autre page permettant de compléter avec les prénoms et les coordonnées bancaires. Le mystère n'a jamais été résolu et même un documentaire en 2003 a retracé cette histoire rocambolesque.

diana_dors-1980s On April 15, 1984, she makes what will be her last public appearance in a London cabaret. After having felt acute stomach pains, she collapses at home and dies on May 4, 1984 in hospital, following a recurrence of ovarian cancer; she is 52 years old. Alan Lake doesn't recover from her death: he burns Diana's clothes and he commits suicide on October 10, 1984, first taking their son to the railway station, he shoots himself in the mouth in Jason's room, 16 years to the day after their meeting; he is 43 years old. Their big house (Ochard Manor) is sold, and the contents are auctioned -by Sotheby's- and debts are repaid; which leaves little money for the legacy of their 14-year-old son Jason Lake who is declared a ward of the nation (he goes to live in the United States with his half-brothers). He would struggle with depression all his life, falling into alcoholism, medications and drugs and describing to the media his chaotic childhood (to drink champagne to calm him down, or smoke marijuana at 9 years old - he will say in particular: "when I came home from school, my father got drunk with Richard Harris and Oliver Reed"; "I was only 7 years old and I was at my mom's parties. I was chatting with John Lennon and Keith Moon. Mom served cups of tea and brought people up to the bedrooms. She loved having friends round to watch the porn films made at the parties. They would sit around giggling as couples groped each other and made love on the bed. Most of them didn’t even know they had been filmed"); he is found dead in his apartment in 2019 when he has just turned 50.
Before her death, Diana Dors told her eldest son Mark Dawson that she had nearly £ 2million in banks across Europe, giving him a sheet of paper with a code that would reveal where the money was and specifying that Alan Lake knew the deciphering of the code; but their passing left Mark Dawson with the unsolvable code. He asks to computer forensics specialists who managed to decipher only a part (a list of names and cities), but that another page was missing allowing to complete with first names and bank details. The mystery has never been solved and even a documentary in 2003 relates this incredible story.


 >> Diana vs Marilyn <<

DD_as_MM-style-07-fur 

Elles ont participé toutes les deux à des concours de beauté, les amenant à être désormais des références dans l'iconographie de la pin-up vintage des années 1950s. Décolorées en blonde platine, elles ont été l'objet des studios de cinémas et ont souffert des rôles de blondes idiotes qu'on leur donnait à jouer. Elles ont changé leur nom pour mener une carrière, prenant le nom de leur grand-mère.
Diana dira: "En Amérique, personne ne m’a jamais pris au sérieux : les gens de Hollywood n’avaient jamais vu aucun de mes films, ils pensaient de moi que je singeais Marilyn Monroe et que j’étais simplement une blonde britannique qui la copiait et essayait de surfer sur la vague de Marilyn ; et pour couronner le tout, aucun de mes films anglais n’était sortis aux USA."

- Comparaison:en mode "Pin-Up" -
DD_as_MM-event-02-xmas  DD_as_MM-style-06-pinup-CowGirl  DD_as_MM-style-10-pose-1946MM-1957DD 
DD_as_MM-style-11-pose-1953MM-1957DD  DD_as_MM-style-12-pose-1953MM-1957DD  DD_as_MM-style-15-pose-maillot  

DD_as_MM-style-18-echelle  DD_as_MM-style-18-tiger DD_as_MM-style-04-beach 

They both took part in beauty contests, leading them to now be references in the iconography of the vintage pin-up girls of the 1950s. Bleached to platinum blonde, they were the object of movie studios and suffered from the silly blonde roles they were given to play. They changed their name to pursue a career, taking their grandmother's name.
Diana will say: "In America, nobody ever took me seriously: the people of Hollywood had never seen any of my films, they thought of me that I was aping Marilyn Monroe and that I was just a British blonde who was imitate her and trying to ride on Marilyn's vogue; and to top it off none of my English films had been released in the US. "

- Comparaison: le même style -
DD_as_MM-clothe-01-fur-1953MM-1958DD  DD_as_MM-clothe-02-fur-1953MM-DD  DD_as_MM-clothe-03-fur-1962MM-DD 
DD_as_MM-clothe-04-skirt-1956MM-DD  DD_as_MM-clothe-05-dress-1954MM-DD  DD_as_MM-clothe-08-dress-1952MM-DD 
DD_as_MM-clothe-06-dress-1960MM-DD  DD_as_MM-clothe-07-dress-1954MM-DD  DD_as_MM-style-01-glasses 

- Comparaison: les mêmes poses -
DD_as_MM-style-03-profil  DD_as_MM-style-08-golden  DD_as_MM-style-05-pomare 
DD_as_MM-style-02-pose-1952MM-DD  DD_as_MM-style-19-chaise  DD_as_MM-style-13-pose-magazine-1953MM-DD 
DD_as_MM-style-14-pose-maillot  DD_as_MM-style-16-pose-pool  DD_as_MM-style-17-barre 

*  *  *  *  *

Le 9 janvier 1953, Diana Dors se produit dans un cirque à Londres; apparaissant en pin-up à côté d'un éléphant.
Le 30 mars 1955, Marilyn Monroe monte sur un éléphant peint en rose du cirque Ringling Brothers à New York pour une action caritative.

On January 9, 1953, Diana Dors performs in a circus in London; appearing as a pin-up next to an elephant.
On March 30, 1955, Marilyn Monroe rides a pink painted elephant from the Ringling Brothers circus in New York for charity.

DD_as_MM-event-01-circus 

*  *  *  *  *

- Avec le photographe Earl Leaf / La "Jump" sitting de Philippe Halsman-
DD_as_MM-personata-01-earl-leaf  DD_as_MM-style-09-jump_halsman 

*  *  *  *  *

Le 27 mai 1958, Marilyn Monroe pose pour le photographe Richard Avedon pour une série de photographies où elle se met dans la peau d'autres grandes stars du cinéma: Lilian Russell, Jean Harlow, Theda Bara, Clara Bow et Marlene Dietrich, pour le magazine Life (publication dans l'édition du 22/12/1958). Quelques années plus tard, au début des années 1960s, Diana Dors fera la même chose; elle posera grimée en Clara Bow, Mae West, Marlene Dietrich et... en Marilyn Monroe.

diana_dors_as_mm-1960s-sitting_MM-DD

On May 27, 1958, Marilyn Monroe poses for photographer Richard Avedon for a series of photographs for which she imitates other movies stars: Lilian Russell, Jean Harlow, Theda Bara, Clara Bow and Marlene Dietrich, for Life magazine (published in the 12/22/1958 ). A few years later, in the early 1960s, Diana Dors would do the same; she will pose as Clara Bow, Mae West, Marlene Dietrich and ... as Marilyn Monroe.

*  *  *  *  *

En 1967, Marilyn Monroe et Diana Dors font parties des nombreuses célébrités de la pop culture présentes sur la couverture de l'album culte des Beatles "Sgt. Pepper's Lonely Hearts Club Band" ; Diana Dors étant bien plus mise en valeur (elle est en statue de cire, au premier plan) que Marilyn (image cartonnée du visage à moitié caché en noir et blanc en arrière plan). Sans doute dû à la nationalité de Diana, britannique comme les Beatles.

diana_dors-1967-beatles 
diana_dors-1967-beatles-2  diana_dors-1967-beatles-3 

In 1967, Marilyn Monroe and Diana Dors were among the many pop culture celebrities featured on the cover of the Beatles' cult album "Sgt. Pepper's Lonely Hearts Club Band"; Diana Dors being much more highlighted (she is a wax statue, in the foreground) than Marilyn (cardboard image of the face half hidden in black and white in the background). No doubt due to the nationality of Diana, British like the Beatles.

*  *  *  *  *

Le parcours de vie de Diana Dors peut être aussi mis en parallèle avec celui d'une autre "Marilyn Girls": Jayne Mansfield; du théâtre avec les éloges des critiques amenant à un début de carrière prometteur, avec une célébrité éclaire au cinéma, puis la publicité à outrance, aux revues dans les cabarets et de l'importance du sexe dans leur vie.

- Diana & Jayne, Hotel Leeds, 1967 -
diana_dors_et_jayne_mansfield-1967-leeds-1  

Diana Dors' course of life can also be compared with one other "Marilyn Girls": Jayne Mansfield; from theater with the praise of critics leading to a promising start to their career, with a quick celebrity in the cinema, then excessive publicity, reviews in cabarets and the importance of sex in their lives.


diana_dors-gif-1955-value_money-1 

> Sources: 
 biographie Diana Dors sur wikipedia in english / biographie Alan Lake sur wikipedia in english
 biographie en français sur le Blog Les Scandaleuses
 Site officiel tenu par un fan  Diana Dors The Official Website and Archive
 articles "Diana Dors: Mink and millions?" sur The History Press  / "Diana Dors Sex Parties" sur Flashbak  /
 Photos HQ sur Dr Macro's / Films et presse d'époque sur Pulp International

diana_dors-canape 


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

29 décembre 2015

Icons & Idols Feat Joan Collins 12/2015 - Photos


 Andre De Dienes


Lot 478  MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1945. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$512 - Estimate: $400 - $600
lot478-220406_0 


Lot 479 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1946. Hand printed by de Dienes on double-weight paper and stamped by the photographer on verso.
20 by 16 inches
Winning bid:$896 - Estimate: $400 - $600
lot479-220407_0 


Lot 480  MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
17 by 16 inches
 Winning bid:$750 - Estimate: $400 - $600
lot480-220408_0  


Lot 481  MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
 Winning bid:$384 - Estimate: $400 - $600
lot481-220409_0 


Lot 482  MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer on verso. Additionally handwritten on verso is "17/67 given to [illegible] Shirley de Dienes 11-18-86."
20 by 16 inches
Winning bid:$384 - Estimate: $400 - $600
lot482-220410_0  


Lot 483  MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso. Additionally inscribed on verso "25/67 given to Chad Lewis Shirley de Dienes 11-18-86."
20 by 16 inches
Winning bid:$384 - Estimate: $400 - $600
lot483-220411_0 


Lot 484 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1949. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
 Winning bid:$576 - Estimate: $400 - $600
lot484-220412_0  


Lot 485 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$1,024 - Estimate: $400 - $600
lot485-220413_0 


Lot 486 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
Winning bid:$1,024 - Estimate: $400 - $600
lot486-220414_0 


Lot 487 MARILYN MONROE VINTAGE PHOTOGRAPH BY ANDRE de DIENES
 A black and white silver gelatin print of Marilyn Monroe taken by Andre de Dienes in 1953. Hand printed by de Dienes on double-weight paper and stamped by the photographer twice on verso.
20 by 16 inches
 Winning bid:$640 - Estimate: $400 - $600
lot487-220415_0 


 Bruno Bernard


Lot 502  MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
 A limited edition color photograph of Marilyn Monroe titled “Valentine Heart” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000
lot502-220447_0 


Lot 503  MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
 A limited edition color photograph of Marilyn Monroe titled “Sailor Girl” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $3,000 - $4,000
lot503-220448_0 


Lot 504  MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
 A limited edition color photograph of Marilyn Monroe titled “My Girl Friday” taken by Bruno Bernard circa 1946. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
 unsold - Estimate: $3,000 - $4,000
lot504-220449_0 


Lot 505  MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
 An original vintage black and white pin-up photograph of Marilyn Monroe taken by Bruno Bernard circa 1946. Signed on verso “Bernard of Hollywood.”
10 by 8 inches
PROVENANCE From the Estate of Bruno Bernard
 unsold - Estimate: $6,000 - $8,000
lot505-220450_0 


Lot 510  MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
 A limited edition black and white photograph of Marilyn Monroe titled “Poolside” taken by Bruno Bernard circa 1949. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
Winning bid:$4,062.50 - Estimate: $3,000 - $4,000
lot510-220455_0 


Lot 511  MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
  An original vintage black and white photograph of Marilyn Monroe signing autographs taken by Bruno Bernard circa 1954. Signed on verso “Bernard of Hollywood.”
11 by 14 inches
PROVENANCE From the Estate of Bruno Bernard
unsold - Estimate: $6,000 - $8,000
lot511-220456_0 


Lot 512  MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
 A limited edition black and white photograph of Marilyn Monroe wearing a costume dress from her film Gentlemen Prefer Blondes (20th Century, 1953) taken by Bruno Bernard circa 1953. Numbered 16/90 and signed by The Estate of Bruno Bernard in the lower margin.
20 by 16 inches
PROVENANCE From the Estate of Bruno Bernard
 unsold - Estimate: $3,000 - $4,000
lot512-220457_0 


Lot 513  MARILYN MONROE BRUNO BERNARD SIGNED ORIGINAL VINTAGE PHOTOGRAPH
 An original vintage black and white photograph of Marilyn Monroe on the set of The Seven Year Itch (20th Century, 1955) taken by Bruno Bernard circa 1954. Signed on verso "Bernard of Hollywood" and contained in a brown Bernard of Hollywood folder.
14 by 11 inches
PROVENANCE From the Estate of Bruno Bernard
Winning bid:$12,500 - Estimate: $10,000 - $20,000
lot513-220458_0 


Lot 514  MARILYN MONROE BERNARD OF HOLLYWOOD PHOTOGRAPH
 A limited edition color photograph of Marilyn Monroe wearing the famous white dress from her film The Seven Year Itch (20th Century, 1955) taken by Bruno Bernard circa 1954. Numbered 16/50 and signed by The Estate of Bruno Bernard in the lower margin.
24 by 20 inches
PROVENANCE From the Estate of Bruno Bernard
 unsold - Estimate: $3,000 - $5,000
lot514-220459_0 


 George Barris


Lot 537 MARILYN MONROE GEORGE BARRIS PHOTOGRAPHS
A pair of black and white photographs of Marilyn Monroe taken by George Barris. Each photograph is signed by Barris. One of the photographs is stamped “© 1987 George Barris/ Marilyn Monroe/ Weston Editions LTD./ All Rights Reserved,” and both photographs are stamped “The Private Collection of Kim Goodwin.”
Winning bid:$448 - Estimate: $600 - $800
lot537-220508_0  lot537-220509_0 


Lot 538  MARILYN MONROE GEORGE BARRIS PHOTOGRAPH
A black and white photograph of Marilyn Monroe taken by George Barris in the summer of 1962. Signed by the photographer at lower right and stamped “The Kim Goodwin Collection” on verso.
Winning bid:$250 - Estimate: $800 - $1,200
lot538-220510_0 


Lot 539  MARILYN MONROE GEORGE BARRIS LAST PHOTOGRAPHS PORTFOLIO
 A folder containing eight color prints of George Barris’ photographs of Marilyn Monroe. White folder reads on the cover “Marilyn Monroe/ 25th/ The Last Photos.” Interior left of folder reads “Limited Edition/ Original Photographs by/ George Barris.” Interior right of folder reads “As seen in/ ‘Marilyn’ Norma Jeane/ text by Gloria Steinem.” Accompanied by a card that gives the edition number as 74/99. Each photograph is signed by Barris and stamped on verso “Copyright 1987/ Marilyn Monroe/ Weston Editions LTD.” The photographs are additionally stamped “The Private Collection of Kim Goodwin.”
Photographs, 10 by 8 inches; Folder, 10 1/2 by 9 inches
 Winning bid:$2,240 - Estimate: $1,000 - $2,000
lot539-220511_0 
lot539-220512_0 lot539-220513_0 
lot539-220514_0 lot539-220515_0 lot539-220516_0 
lot539-220517_0 lot539-220518_0 lot539-220519_0 


Photos Diverses


Lot 19  JOAN COLLINS TWO FRAMED POSTERS
 The first, titled "Marilyn Monroe as Jean Harlow," is from a series of photographs photographer Richard Avedon produced with Marilyn Monroe, signed by Avedon. Other photographs from the series show Monroe dressed as actresses Lillian Russell, Marlene Dietrich, Theda Bara, and Clara Bow. The second, an Erte exhibition poster from 1972.
Larger, 32 by 24 1/4 inches
Winning bid:$640 - Estimate: $200 - $300
lot19-219124_0  lot19-219125_0 


Lot 488 MARILYN MONROE ARCHIVE OF PHOTOGRAPHS BY JOSEPH JASGUR
 An archive of photographs of Marilyn Monroe taken by Joseph Jasgur in 1946. The photographs were taken of a 19-year-old Norma Jeane Dougherty, before she was Marilyn Monroe. Taken in Los Angeles for Blue Book Modeling Agency, these photographs comprise one of Monroe’s first modeling portfolios. It was this portfolio she presented to Ben Lyon, the casting director at 20th Century Fox who signed her to the studio and shortly after changed her name. Jasgur’s images of Norma Jeane Dougherty mark the beginning of her career and offer us a unique glimpse of Marilyn Monroe, before she was Marilyn.
All prints in this lot are from these early photoshoots and are directly from the estate of Joseph Jasgur. Included in the archive are approximately 400 color and black and white later prints, size 11 by 14 inches; approximately 120 black and white gelatin silver prints, size 8 by 10 inches; approximately 10 black and white gelatin silver prints, size 11 by 14 inches; some oversize prints, contact prints, and a wooden camera tripod used by Jasgur. Some prints are signed or stamped by the photographer, others are not. Print dates vary. Condition varies.
Sizes vary
PROVENANCE From the Estate of Joseph Jasgur
Winning bid:$8,320 - Estimate: $600 - $800
lot488-220416_0 


Lot 489  MARILYN MONROE JOSEPH JASGUR NEGATIVE AND COPYRIGHT
 One Joseph Jasgur black and white negative of Marilyn Monroe taken in 1946. Copyrights to this image will be transferred to the winning bidder.
5 by 4 inches
Winning bid:$1,280 - Estimate: $1,000 - $1,500
lot489-220417_0  lot489-220418_0  


Lot 490  MARILYN MONROE JOSEPH JASGUR NEGATIVES AND COPYRIGHT
 Two Joseph Jasgur black and white negatives of Marilyn Monroe taken in 1946. Copyrights to this image will be transferred to the winning bidder. Accompanied by a photograph of the image, printed 2000-2001.
Negatives, 5 by 4 inches; Photograph, 14 by 11 inches
 Winning bid:$384 - Estimate: $1,000 - $2,000
lot490-220420_0  lot490-220421_0 


Lot 491  MARILYN MONROE FAMILY PHOTOGRAPH
 An original vintage black and white photograph of Marilyn Monroe circa 1946, with her half sister Berniece Baker Miracle, her mother Gladys, and her niece Mona Rae. Originally from the collection of Eleanor Goddard.
3 1/2 by 2 1/2 inches
PROVENANCE Lot 84, "Julien's Autumn Sale," Julien's, Las Vegas, October 29, 2005
Winning bid:$875 - Estimate: $400 - $600
lot491-220422_0  lot491-220423_0 


Lot 492  MARILYN MONROE INSCRIBED JIM DOUGHERTY PHOTOGRAPH
 A pair of original vintage photographs of Marilyn Monroe's first husband, Jim Dougherty. The first is a passport style portrait, and the second shows Dougherty sleeping on the beach and is inscribed on the back in Monroe's hand "(zzz.....zzz) Jimmie sound asleep." Originally from the collection of Eleanor Goddard.
Larger, 3 3/4 by 4 3/4 inches
PROVENANCE Lot 80, "Julien's Autumn Sale," Julien's, Las Vegas, October 29, 2005
Winning bid:$750 - Estimate: $400 - $600
lot492-220424_0  lot492-220425_0 


Lot 496  MARILYN MONROE TOM KELLEY SIGNED PHOTOGRAPH
 A large-format nude photograph of Marilyn Monroe printed from an image taken by Tom Kelley in 1949 during his famous photoshoot with Monroe. Numbered 146 of 300 to the lower left and signed by Tom Kelley to the lower right. Includes certificate of authenticity from Mirage Editions.
44 by 36 inches, framed
PROVENANCE From the Collection of James Heeren
 Winning bid:$1,562.50 - Estimate: $1,000 - $2,000
lot496a lot496-220431_0 lot496-220432_0 


Lot 497 MARILYN MONROE HUGH HEFNER SIGNED EARL MORAN PHOTOGRAPH
A black and white photograph of Marilyn Monroe posing topless, originally taken by pin-up artist Earl Moran. Numbered 1 of 75 and signed by Playboy founder Hugh Hefner to the lower left. Embossed with the Playboy Legacy Collection logo to the lower right.
 Winning bid:$6,400 - Estimate: $1,000 - $2,000
lot497-220433_0  
lot497-224723_0  


Lot 498  MARILYN MONROE EARL MORAN PHOTOGRAPH
 A black and white photograph of Marilyn Monroe posing topless, originally taken by pin-up artist Earl Moran. Numbered 5 of 75 to the lower left and embossed with the Playboy Legacy Collection logo to the lower right. Housed in a cloth-bound clamshell box with gilt titling and includes a Playboy certificate of authenticity.
24 by 20 inches
Winning bid:$2,187.50 - Estimate: $1,000 - $2,000
lot498-220434_0 lot498-220435_0 lot498-220436_0  


Lot 499  MARILYN MONROE HUGH HEFNER SIGNED PHOTOGRAPH
 A large-format nude photograph of Marilyn Monroe printed from an image taken by Tom Kelley in 1949. This is the iconic Marilyn pose used in the first issue of Playboy magazine. Numbered 171 of 300 to the lower left and signed by Playboy founder Hugh Hefner to the lower right. Includes certificate of authenticity from Light Signatures.
42 by 34 inches, framed
 Winning bid:$2,187.50 - Estimate: $1,000 - $2,000
lot499-220437_0 lot499-220438_0 


Lot 500  MARILYN MONROE FRANK WORTH PHOTOGRAPH
 A large-format gelatin silver photograph of Marilyn Monroe posing in her dress from the film How to Marry a Millionaire (20th Century Fox, 1953) printed from a negative created by Frank Worth. Numbered 9 of 95 to the lower left and embossed by the Frank Worth Estate. Includes cloth-bound clamshell box with gilt-stamped titling and a certificate of authenticity from the Frank Worth Estate.
25 3/4 by 21 3/4 by 1 3/4 inches
PROVENANCE From the Collection of James Heeren
Winning bid:$768 - Estimate: $800 - $1,200
lot500-220439_0  lot500-220440_0  
lot500-220441_0  lot500-220442_0 


Lot 517  MARILYN MONROE EARL LEAF CONTACT SHEET
 A contact sheet containing eight vintage black and white images of Marilyn Monroe taken by Earl Leaf. They were taken at the home of talent agent Johnny Hyde, where Monroe occasionally lived, on May 17, 1950. The images are attached to a sheet of cardstock with numerous notations, including the date the photographs were taken and Monroe’s name; stamped at the bottom left with the photographer's stamp.
EXHIBITED Etherton Gallery, Tucson, Arizona, "Marilyn Monroe Collection," Number 46
10 by 8 inches
Winning bid:$2,187.50 - Estimate: $800 - $1,200
lot517-220464_0 


Lot 519  MARILYN MONROE ORIGINAL 1954 SLIDES
 A group of 12 original vintage color slides showing Marilyn Monroe entertaining members of the United States military in Korea in 1954. Accompanied by a printed mage of each slide and two additional slides showing other performers that do not include Monroe.
This item sold with copyright but is not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given .
2 by 2 inches, each
PROVENANCE Lot 135, "Entertainment Memorabilia," Christie's, New York, Sale number 8525, July 19, 2001
Winning bid:$2,240 - Estimate: $4,000 - $6,000
lot519-220466_0  lot519-220467_0 


Lot 520 MARILYN MONROE 1954 NEGATIVES
 A pair of black and white negatives of Marilyn Monroe taken in 1954 while the actress was entertaining troops in Korea on a break from her honeymoon with Joe DiMaggio.
This item is sold with copyright but is not sold with copyright documentation. It is the responsibility of the winning bidder to apply for copyright. While the seller confirms that this property is sold with copyright, Julien’s can accept no liability in relation to any matters arising as a result of any imperfection in copyright given.
Strip of negatives, 4 1/2 by 1 3/8 inches
Winning bid:$768 - Estimate: $1,000 - $2,000 
lot520-220469_0  lot520-220470_0  lot520-220471_0 
lot520-220472_0 


Lot 523  MARILYN MONROE EVE ARNOLD PHOTOGRAPH
 A color photograph of Marilyn Monroe taken by Eve Arnold. The image shows Monroe in a one-piece leopard print swimsuit lying in a marsh, taken circa 1955. The photograph is affixed to a board. Some handwritten markings on verso and stamped “The Kim Goodwin Collection.”
15 1/2 by 19 1/2 inches
Winning bid:$768 - Estimate: $1,000 - $2,000
lot523-220477_0 


Lot 524  MARILYN MONROE AND MARLON BRANDO DIGITAL PRINTS
 A group of eight digital prints of Marilyn Monroe and Marlon Brando taken by Milton Greene in November 1955. The photographs were used to publicize a performance of The Rose Tattoo to benefit The Actors Studio. A paper label is affixed to the back of each image from the Milton H. Greene Collection.
Each, 19 by 13 inches
Winning bid:$1,920 - Estimate: $600 - $800
lot524-220478_0 lot524-220479_0 lot524-220480_0 
lot524-220481_0 lot524-220482_0 
lot524-220483_0 lot524-220484_0 lot524-220485_0 


Lot 526  MARILYN MONROE CECIL BEATON PHOTOGRAPH
 A black and white photograph of Marilyn Monroe taken by Cecil Beaton in 1956. The photograph, from Monroe's personal archive, is mounted to board and contained in a brown folder.
Photograph, 9 by 9 1/4 inches; 16 by 14 1/2 inches, overall
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$2,187.50 - Estimate: $1,000 - $2,000
lot526-220488_0 


Lot 527  MARILYN MONROE VINTAGE PHOTOGRAPH
 A Marilyn Monroe vintage portrait publicity photograph from her personal collection.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$576 - Estimate: $600 - $800
lot527-220489_0 


Lot 528  MARILYN MONROE AND ARTHUR MILLER VINTAGE PHOTOGRAPH
 A Marilyn Monroe and Arthur Miller black and white vintage original photograph. Taken by Paul Schumach at the premiere of Some Like It Hot (USA, 1959). Photographer stamp on verso.
10 by 8 inches
PROVENANCE From the Lost Archive of Marilyn Monroe
Winning bid:$896 - Estimate: $600 - $800
lot528-220490_0 


Lot 530 MARILYN MONROE CANDID PHOTOGRAPHS
 A group of nine vintage candid snapshots of Marilyn Monroe. Eight images are in color and one is black and white. Three of the images show Monroe and husband Arthur Miller at the premiere of Some Like It Hot (UA, 1959). Eight of the nine images were sold together as a lot in a previous Christie's auction.
Largest, 5 1/4 by 3 1/2 inches
PROVENANCE Partial Lot 15, "Entertainment Memorabilia," Christie's, New York, Sale number 8609, November 19, 2001
 Winning bid:$1,250 - Estimate: $1,000 - $2,000
lot530-220493_0 


Lot 540 MARILYN MONROE DOUGLAS KIRKLAND PHOTOGRAPH
 A color photograph of Marilyn Monroe taken by Douglas Kirkland on November 17, 1961, on assignment for Look magazine. Signed by Kirkland and numbered 17/49 at lower right.
20 by 16 inches
Winning bid:$1,920 - Estimate: $600 - $800
lot540-220520_0 
lot540-220521_0 


Lot 541  MARILYN MONROE MILTON GREENE SILKSCREEN PRINT
A limited edition silkscreen print of a Milton Greene photograph of Marilyn Monroe taken during the "Black Sitting" photo session in New York in 1956. Numbered 85/300 and signed by Greene at lower right.
 Winning bid:$750 - Estimate: $600 - $800
lot541-220522_0  
lot541-220523_0  lot541-220524_0  


Lot 542  MARILYN MONROE BILL RAY PHOTOGRAPH
 A black and white photograph of Marilyn Monroe at the May 19, 1962, birthday celebration of President John F. Kennedy, taken by Bill Ray. The photograph is inscribed at the lower margin “To Kim, With Best Wishes, Bill Ray 1982.” Stamped “Kim Goodwin” on verso.
 Winning bid:$640 - Estimate: $1,000 - $2,000
lot542-220525_0 

14 décembre 2014

11/02/1952 Photoplay Award

Le 11 février 1952, Marilyn Monroe participe à la soirée de remise de prix organisée par le magazine Photoplay à l'Ambassador Hotel de Los Angeles; Marilyn y aurait reçu un prix spécial "Special Award".
In February 11, 1952, Marilyn Monroe participates to the Awards Party organized by Photoplay magazine at the Ambassador Hotel in Los Angeles; Marilyn would have received a "Special Award".

 1952_Premiere_DontBotherToKnock_020_010_11952-photoplay_award-2 1952_Premiere_DontBotherToKnock_020_020
1952_Premiere_DontBotherToKnock_013_010_1    1952_Premiere_DontBotherToKnock_013_010_2

> Marilyn avec Richard Widmark
(son partenaire de 'Don't Bother to Knock')

1952_Premiere_DontBotherToKnock_030_010_withRichardWidmark_1 1952-photoplay_award-3-1a 1952_Premiere_DontBotherToKnock_030_010_withRichardWidmark_1_a

 > Marilyn avec David Wayne
(son partenaire de 'We're not married')

1952_Premiere_DontBotherToKnock_030_020_withFrankSinatra_1   


> Photographie de Nate Cutler
Marilyn avec David Wayne

1952_Premiere_DontBotherToKnock_avec_david_wayne_1
  1952-by_nate_cutler-with_david_wayne

> Photographie de Earl Leaf
 1952-photoplay_award-1-1 1952-photoplay_award-1-1c

 1952_Premiere_DontBotherToKnock_020_030_byEarlLeaf_1 1952_Premiere_DontBotherToKnock_020_030_byEarlLeaf_2


Sheilah Graham racontera que Marilyn passera une bonne partie de la soirée à poser dans une salle de l'Ambassador pour les photographes.
Sheilah Graham wrote that Marilyn spent a part of the evening posing on the far side of the Ambassador room for the press.

1952_Premiere_DontBotherToKnock_050_010  1952_dbtk 1952_Premiere_DontBotherToKnock_050_020 
lot1139-H3257-L78856211   1952-02-11-20thCF 
1952-02-11-photoplay_award-ambassador-1

1952_Premiere_DontBotherToKnock_051_010  1952-02-11-photoplay_award-ambassador-2  1952_Premiere_DontBotherToKnock_051_020 

  > photographie de Phil Burchman
1952-dbtk-by_phil_burchman-1 


> photographie de Bob Landry
1952_Premiere_DontBotherToKnock_052_010_2 1952_Premiere_DontBotherToKnock_052_010_GF 1952_Premiere_DontBotherToKnock_052_050
1952_Premiere_DontBotherToKnock_052_021 1952_Premiere_DontBotherToKnock_052_020
1952_Premiere_DontBotherToKnock_052_030_2 1952-photoplay_award-st-4  1952_Premiere_DontBotherToKnock_052_040

> couvertures de magazines:
1952-photoplay_award-st-6 1952-07-see-us


(> source: Photoplay Awards sur imdb ) -
(
> ne pas confondre avec la
Première de Don't Bother to Knock ) -

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

30 avril 2014

3/03/1956 Press Party

Le samedi 3 mars 1956, se tient une "press party" en l'honneur de Marilyn Monroe pour son prochain film "Arrêt d'Autobus", dans la maison où elle vit, louée par Milton Greene pour la durée du tournage, au 595 North Beverly Glen Boulevard à Los Angeles.
Photographies en noir et blanc de Earl Leaf.
On Saturday, March 3, 1956, helds a "press party" in honor of Marilyn Monroe for her upcoming film "Bus Stop" in the house where she lives, rented by Milton Greene during the filming of the movie, at 595 North Beverly Glen Boulevard in Los Angeles. 
Black and white photographs by Earl Leaf.

> Devant la porte / Mur
1956-03-03-BeverlyGlenBoulevard-press_party-013-1 1956-03-03-BeverlyGlenBoulevard-press_party-014-by_earl_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-014-by_earl_leaf-2
1956-03-03-BeverlyGlenBoulevard-press_party-014-by_earl_leaf-3 1956-03-03-BeverlyGlenBoulevard-press_party-015-1 1956-03-03-BeverlyGlenBoulevard-press_party-016-1 
1956-03-03-BeverlyGlenBoulevard-press_party-010-1-by_earl_leaf-1  1956-03-03-BeverlyGlenBoulevard-press_party-011-1
1956-03-03-BeverlyGlenBoulevard-press_party-010-2 1956-03-03-BeverlyGlenBoulevard-press_party-011-2 1956-03-03-BeverlyGlenBoulevard-press_party-011-3

- photographies de Phil Stern -
1956-03-03-BeverlyGlenBoulevard-press_party-012-by_phil_stern-1 1956-03-03-BeverlyGlenBoulevard-press_party-012-by_phil_stern-1a
1956-03-03-BeverlyGlenBoulevard-press_party-012-by_phil_stern-2 1956-03-03-BeverlyGlenBoulevard-press_party-012-by_phil_stern-3 1956-03-03-BeverlyGlenBoulevard-press_party-012-by_phil_stern-4
1956-03-03-BeverlyGlenBoulevard-press_party-012-by_phil_stern-5 1956-03-03-BeverlyGlenBoulevard-press_party-012-by_phil_stern-6 1956-03-03-BeverlyGlenBoulevard-press_party-012-by_phil_stern-7 

> Debout
1956-03-03-BeverlyGlenBoulevard-press_party-020-1-by_earl_leaf 1956-03-03-BeverlyGlenBoulevard-press_party-020-2 1956-03-03-BeverlyGlenBoulevard-press_party-021-1
1956-03-03-BeverlyGlenBoulevard-press_party-023-2 1956-03-03-BeverlyGlenBoulevard-press_party-023-3 1956-03-03-BeverlyGlenBoulevard-press_party-025-3
1956-03-03-BeverlyGlenBoulevard-press_party-024-2  1956-03-03-BeverlyGlenBoulevard-press_party-025-2 
1956-03-03-BeverlyGlenBoulevard-press_party-024-1-by_earl_leaf  1956-03-03-BeverlyGlenBoulevard-press_party-025-1 

- avec les Soeurs Churchill -
1956-03-03-BeverlyGlenBoulevard-press_party-022-with_churchill_sisters-1 1956-03-03-BeverlyGlenBoulevard-press_party-023-1-with_churchill_sisters-1

- avec le photographe Earl Leaf -
1956-03-03-BeverlyGlenBoulevard-press_party-026-with_earl_leaf-2a 
1956-03-03-BeverlyGlenBoulevard-press_party-026-with_earl_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-026-with_earl_leaf-2 
1956-03-03-BeverlyGlenBoulevard-press_party-030-with_earl_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-030-with_earl_leaf-2 1956-03-03-BeverlyGlenBoulevard-press_party-030-with_earl_leaf-3
1956-03-03-BeverlyGlenBoulevard-press_party-030-with_earl_leaf-1a  1956-03-03-BeverlyGlenBoulevard-press_party-030-with_earl_leaf-3a 

> Assise
1956-03-03-BeverlyGlenBoulevard-press_party-031-1 1956-03-03-BeverlyGlenBoulevard-press_party-033-3
 1956-movieland8561 1956-north_beverly-Page 1956 08 56 no source 1 1956-03-03-BeverlyGlenBoulevard-press_party-031-2 
1956-03-03-BeverlyGlenBoulevard-press_party-031-3  1956-03-03-BeverlyGlenBoulevard-press_party-032-by_mhg-2
1956-03-03-BeverlyGlenBoulevard-press_party-032-by_mhg-1 1956-03-03-BeverlyGlenBoulevard-press_party-033-1-by_earl_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-033-2
1956-03-03-BeverlyGlenBoulevard-press_party-034-1 1956-03-03-BeverlyGlenBoulevard-press_party-034-2-by_mhg-1 1956-03-03-BeverlyGlenBoulevard-press_party-034-2-by_mhg-1a
1956-03-03-BeverlyGlenBoulevard-press_party-035-1 1956-03-03-BeverlyGlenBoulevard-press_party-035-2-by_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-035-3
1956-03-03-BeverlyGlenBoulevard-press_party-035-4-by_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-035-5 1956-03-03-BeverlyGlenBoulevard-press_party-036-1-by_leaf-1
1956-03-03-BeverlyGlenBoulevard-press_party-036-1-by_leaf-2 1956-03-03-BeverlyGlenBoulevard-press_party-036-1-by_leaf-3 1956-03-03-BeverlyGlenBoulevard-press_party-036-1-by_leaf-4
1956-03-03-BeverlyGlenBoulevard-press_party-036-2 1956-03-03-BeverlyGlenBoulevard-press_party-037-1 1956-03-03-BeverlyGlenBoulevard-press_party-037-2
1956-03-03-BeverlyGlenBoulevard-press_party-037-3-by_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-037-3-by_leaf-2 

> Dans les escaliers
1956-03-03-BeverlyGlenBoulevard-press_party-040-1 1956-03-03-BeverlyGlenBoulevard-press_party-040-2
1956-03-03-BeverlyGlenBoulevard-press_party-041-1  1956-03-03-BeverlyGlenBoulevard-press_party-041-2
1956-03-03-BeverlyGlenBoulevard-press_party-041-2a  
1956-03-03-BeverlyGlenBoulevard-press_party-041-3-by_earl_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-042-1
1956-03-03-BeverlyGlenBoulevard-press_party-043-1 1956-03-03-BeverlyGlenBoulevard-press_party-043-1a 1956-03-03-BeverlyGlenBoulevard-press_party-044-1 
1956-03-03-BeverlyGlenBoulevard-press_party-045-1 1956-03-03-BeverlyGlenBoulevard-press_party-045-2-by_earl_leaf-1
1956-03-03-BeverlyGlenBoulevard-press_party-045-2-by_earl_leaf-1a 1956-03-03-BeverlyGlenBoulevard-press_party-045-3 1956-03-03-BeverlyGlenBoulevard-press_party-045-3c 
1956-03-03-BeverlyGlenBoulevard-press_party-050-1-by_earl_leaf-1 1956-03-03-BeverlyGlenBoulevard-press_party-051-1-by_earl_leaf-1
1956-03-03-BeverlyGlenBoulevard-press_party-051-1-by_earl_leaf-1a 1956-03-03-BeverlyGlenBoulevard-press_party-051-2
1956-03-03-BeverlyGlenBoulevard-press_party-052-1 1956-03-03-BeverlyGlenBoulevard-press_party-052-2
1956-03-03-BeverlyGlenBoulevard-press_party-053-1 1956-03-03-BeverlyGlenBoulevard-press_party-053-2 1956-03-03-BeverlyGlenBoulevard-press_party-053-2a 
1956-03-03-BeverlyGlenBoulevard-press_party-056-3 
1956-03-03-BeverlyGlenBoulevard-press_party-055-1 1956-03-03-BeverlyGlenBoulevard-press_party-056-1 1956-03-03-BeverlyGlenBoulevard-press_party-056-2 

- photographies de Phil Stern -
1956-03-03-BeverlyGlenBoulevard-press_party-054-1-by_phil_stern-1 1956-03-03-BeverlyGlenBoulevard-press_party-054-1-by_phil_stern-1a 1956-03-03-BeverlyGlenBoulevard-press_party-054-1-by_phil_stern-1b

- avec Joshua Greene, le fils de Milton- 
photographies de Milton Greene
1956-03-03-BeverlyGlenBoulevard-press_party-060-by_mhg-1 1956-03-03-BeverlyGlenBoulevard-press_party-060-by_mhg-1a 1956-03-03-BeverlyGlenBoulevard-press_party-060-by_mhg-1b 
1956-03-03-BeverlyGlenBoulevard-press_party-061-1  1956-03-03-BeverlyGlenBoulevard-press_party-061-2-by_mhg-2 1956-03-03-BeverlyGlenBoulevard-press_party-061-2-by_mhg-1 
1956-03-03-BeverlyGlenBoulevard-press_party-062-1  1956-03-03-BeverlyGlenBoulevard-press_party-062-2


> planches contact
453245841

- par Earl Leaf -
by_earl_leaf-kaleioscope

-par Phil Stern -
by_phil_stern-stern_1955_01

-par Milton Greene -
mm 


> dans la presse
settimo 


 >> sources:
gettyimages.fr


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

03 septembre 2013

Marilyn Monroe: From Beginning to End

Marilyn Monroe, From Beginning to End :
Newly Discovered Photographs by Earl Leaf
from the Michael Ochs Archives
Author: Michael Ventura
Photographer: Earl Leaf

earl_leafDate de sortie: juin 1997
Broché 144 pages
Langue: anglais

Éditeur: Cassell Illustrated
Prix : 25 Euros
ISBN-10:
0713726865
ISBN-13: 978-0713726862 
Ou le commander ? sur amazon.fr

Description: Her platinum blonde hair and distinctive birthmark have become cultural icons. Her rise from small-town girl to glamorous film superstar, her torrid romances, and her untimely and mysterious death have captured the imagination of people around the world for decades. Now take a fresh look at the life and times of Marilyn Monroe through newly discovered photographs and fascinating text filled with quotes from Marilyn Monroe herself as well as from the people who knew and loved her. Taken from the body of work of Earl Leaf a famous paparazzo photographer of the fifties and sixties, the exquisite images in this volume offer the fascinating illustrated life story of an incredible woman. Although thousands of reels of film were devoted to Marilyn during her lifetime few professionals photographed her over the span of time that Earl Leaf did. He was with her in 1950 before stardom came and was still on the some in 1962 when her life hit the rocks. Because of this, his work offers an unforgettable glimpse into the life and career of an unforgettable woman. 


Vous avez le livre ? Do you have the book ?
Apportez votre critique, votre avis ou votre note (/10)

Posté par ginieland à 11:41 - - Commentaires [0] - Permalien [#]
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29 août 2013

8/07/1958 Conference de Presse pour Some Like It Hot

Le mardi 8 juillet 1958, une conférence de presse est organisée par la Fox au Beverly Hills Hotel pour présenter le tournage du film Some Like It Hot, avec les acteurs (Marilyn Monroe, Tony Curtis et George Raft), le réalisateur Billy Wilder, le producteur Harold Mirisch; ainsi que de nombreux journalistes comme Louella Parsons, Army Archerd et de nombreux photographes comme Earl Leaf.
Marilyn informa les journalistes que son mari Arthur Miller, resté à New York, la rejoindra à Los Angeles le week-end prochain.
Elle déclara: "C'est tout simplement merveilleux d'être de retour !"

On Tuesday, July 8, 1958, a press conference was organized by Fox at the Beverly Hills Hotel to present the filming of "Some Like It Hot", with the actors (Marilyn Monroe, Tony Curtis and George Raft), director Billy Wilder, producer Harold Mirisch, as well as many journalists as Louella Parsons, Army Archerd and many photographers like Earl Leaf.
Marilyn told the reporters that her husband Arthur Miller, stayed in New York, would join her in Los Angeles the next weekend.
She said that "it's simply wonderful to be back !"


 >> En extérieur
1958_07_08_beverly_hills_hotel_SLIH_party_010_1 1958_07_08_beverly_hills_hotel_SLIH_party_011_1 

> Marilyn avec les journalistes
(Louella Parsons / Army Arched)
1958_07_08_beverly_hills_hotel_SLIH_party_020_with_louella_parsons_1  1958_07_08_beverly_hills_hotel_SLIH_party_030_with_army_archerd_journalist_1 

> Photographies de Earl Leaf
1958_07_08_beverly_hills_hotel_SLIH_party_031_1_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_031_2_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_031_3_by_leaf
1958_07_08_beverly_hills_hotel_SLIH_party_031_4_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_031_5_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_031_6_by_leaf
1958_07_08_beverly_hills_hotel_SLIH_party_031_7_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_031_8_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_031_9_by_leaf


>> L'équipe assis sur des fauteuils
> Photographies de Earl Leaf 
1958_07_08_beverly_hills_hotel_SLIH_party_041_1_by_earl_leaf_1 1958_07_08_beverly_hills_hotel_SLIH_party_041_3_by_earl_leaf_1 1958_07_08_beverly_hills_hotel_SLIH_party_042_1
1958_07_08_beverly_hills_hotel_SLIH_party_041_2_by_earl_leaf_1  1958_07_08_beverly_hills_hotel_SLIH_party_043_1_with_harold_mirisch
1958_07_08_beverly_hills_hotel_SLIH_party_044_1 1958_07_08_beverly_hills_hotel_SLIH_party_040_by_earl_leaf_1 1958_07_08_beverly_hills_hotel_SLIH_party_045_1_by_earl_leaf_1
1958_07_08_beverly_hills_hotel_SLIH_party_045_2_by_earl_leaf_2 1958_07_08_beverly_hills_hotel_SLIH_party_045_3_with_harold_mirisch_1 1958_07_08_beverly_hills_hotel_SLIH_party_045_3_with_harold_mirisch_1a
 1958_07_08_beverly_hills_hotel_SLIH_party_045_4a
1958-89386272_o 1958_07_08_beverly_hills_hotel_SLIH_party_045_5_by_earl_leaf
1958_07_08_beverly_hills_hotel_SLIH_party_048_5 1958_07_08_beverly_hills_hotel_SLIH_party_048_5a

1958_07_08_beverly_hills_hotel_SLIH_party_046_1 1958_07_08_beverly_hills_hotel_SLIH_party_046_2a
1958_07_08_beverly_hills_hotel_SLIH_party_046_2
1958_07_08_beverly_hills_hotel_SLIH_party_046_1a
1958_07_08_beverly_hills_hotel_SLIH_party_048_2 1958_07_08_beverly_hills_hotel_SLIH_party_046_3
1958_07_08_beverly_hills_hotel_SLIH_party_047_1 1958_07_08_beverly_hills_hotel_SLIH_party_047_2 1958_07_08_beverly_hills_hotel_SLIH_party_047_3 
1958_07_08_beverly_hills_hotel_SLIH_party_048_1 1958_07_08_beverly_hills_hotel_SLIH_party_048_3 1958_07_08_beverly_hills_hotel_SLIH_party_048_3a 1958_07_08_beverly_hills_hotel_SLIH_party_048_4


>> Marilyn prend la pose
1958_07_08_beverly_hills_hotel_SLIH_party_050_1 1958_07_08_beverly_hills_hotel_SLIH_party_050_2 1958_07_08_beverly_hills_hotel_SLIH_party_050_2a 1958_07_08_beverly_hills_hotel_SLIH_party_050_3

> Photographies de Earl Leaf
1958_07_08_beverly_hills_hotel_SLIH_party_051_1_by_leaf_1 1958_07_08_beverly_hills_hotel_SLIH_party_051_3_by_leaf
1958-Some_like_115a
1958_07_08_beverly_hills_hotel_SLIH_party_051_4_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_051_2 1958_07_08_beverly_hills_hotel_SLIH_party_052_1_by_leaf
1958_07_08_beverly_hills_hotel_SLIH_party_052_2_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_052_4 1958_07_08_beverly_hills_hotel_SLIH_party_052_3_by_leaf


>> Cocktail
1958_07_08_beverly_hills_hotel_SLIH_party_049_1 1958_07_08_beverly_hills_hotel_SLIH_party_049_2 1958_07_08_beverly_hills_hotel_SLIH_party_049_3
1958_07_08_beverly_hills_hotel_SLIH_party_053_1 1958_07_08_beverly_hills_hotel_SLIH_party_053_2 1958_07_08_beverly_hills_hotel_SLIH_party_053_4 
1958_07_08_beverly_hills_hotel_SLIH_party_053_5 1958_07_08_beverly_hills_hotel_SLIH_party_054_1 1958_07_08_beverly_hills_hotel_SLIH_party_054_1_2
1958_07_08_beverly_hills_hotel_SLIH_party_054_2 1958_07_08_beverly_hills_hotel_SLIH_party_054_3 1958_07_08_beverly_hills_hotel_SLIH_party_054_3a
1958_07_08_beverly_hills_hotel_SLIH_party_060_1
1958-slih-hushhush9604
1958_07_08_beverly_hills_hotel_SLIH_party_060_2 1958_07_08_beverly_hills_hotel_SLIH_party_061_1
1958_07_08_beverly_hills_hotel_SLIH_party_054_4
1958-slih_press-1-1  1958-slih_press-1-2  
1958-slih_press-2-1  1958-slih_press-2-2  1958-slih_press-2-3 
1958-slih_press-3-1  1958-slih_press-3-2 
1958-slih_press-4-1  1958-some1 
1958_07_08_beverly_hills_hotel_SLIH_party_054_5  1958_07_08_beverly_hills_hotel_SLIH_party_062_1
1958_07_08_beverly_hills_hotel_SLIH_party_063_2 1958_07_08_beverly_hills_hotel_SLIH_party_063_4 1958_07_08_beverly_hills_hotel_SLIH_party_063_5 
1958_07_08_beverly_hills_hotel_SLIH_party_063_1 1958_07_08_beverly_hills_hotel_SLIH_party_063_6b 1958_07_08_beverly_hills_hotel_SLIH_party_063_6
 1958_07_08_beverly_hills_hotel_SLIH_party_063_6c 1958_07_08_beverly_hills_hotel_SLIH_party_063_7a  
  1958_07_08_beverly_hills_hotel_SLIH_party_063_9 1958-slih_press-4-2 1958-112_PressConferenceForSomeLikeItHot_1958
1958-slih_press-5-1  1958-slih_press-5-2 
1958_07_08_beverly_hills_hotel_SLIH_party_063_8
  1958-slih-topsecret4593   
1958_07_08_beverly_hills_hotel_SLIH_party_064_1_with_harold_mirisch 1958_07_08_beverly_hills_hotel_SLIH_party_064_2_with_wilder
1958_07_08_beverly_hills_hotel_SLIH_party_064_2_with_wilder_2
1958 1958_07_08_beverly_hills_hotel_SLIH_party_064_4 

> Photographie de Frank Worth
1958_07_08_beverly_hills_hotel_SLIH_party_063_6a 

> Photographies de Earl Leaf
1958_07_08_beverly_hills_hotel_SLIH_party_053_3_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_063_3_by_leaf   
1958_07_08_beverly_hills_hotel_SLIH_party_063_7_by_leaf_with_george_raft 

> Marilyn avec Earl Leaf (à droite)
1958_07_08_beverly_hills_hotel_SLIH_party_064_3_with_earl_leaf_1 


 >> Banquet
> Photographies de Earl Leaf
1958_07_08_beverly_hills_hotel_SLIH_party_070_1_with_wilder 1958_07_08_beverly_hills_hotel_SLIH_party_071_1 
1958_07_08_beverly_hills_hotel_SLIH_party_070_1a 1958_slih_conf 1958_07_08_beverly_hills_hotel_SLIH_party_071_2_by_leaf
1958_07_08_beverly_hills_hotel_SLIH_party_071_3 1958_07_08_beverly_hills_hotel_SLIH_party_071_4
 1958_07_08_beverly_hills_hotel_SLIH_party_072_2 
1958 1958_07_08_beverly_hills_hotel_SLIH_party_072_1
1958_07_08_beverly_hills_hotel_SLIH_party_073_2_by_leaf 1958_07_08_beverly_hills_hotel_SLIH_party_073_3 
1958_07_08_beverly_hills_hotel_SLIH_party_073_4
1958_07_08_beverly_hills_hotel_SLIH_party_073_1 


 > captures
1958_SLIH_cocktail_cap_010 1958_SLIH_cocktail_cap_020 1958_SLIH_cocktail_cap_030
1958_SLIH_cocktail_cap_040 1958_SLIH_cocktail_cap_050 1958_SLIH_cocktail_cap_060
1958_SLIH_cocktail_cap_070 1958_SLIH_cocktail_cap_080 1958_SLIH_cocktail_cap_090


> video
sur Budget Films  


> dans la presse
1958_SLIH_party_press_article1 1958_SLIH_party_press_article2 1958_SLIH_party_press_mag_cinemonde_1961


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

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21 juillet 2012

Photos promos pour River... scène 3

La rivière sans retour
Photos Publicitaires

Marilyn Monroe pose en studio.
Photographies de Bruno Bernard

ronr_sc03_studio_marilyn_010_1 ronr_sc03_studio_marilyn_010_1a ronr_sc03_studio_marilyn_010_2
ronr_sc03_studio_marilyn_010_3 ronr_sc03_studio_marilyn_010_4_by_bruno_bernard_1 ronr_sc03_studio_marilyn_010_4_by_bruno_bernard_1c
ronr_sc03_studio_marilyn_012_1 ronr_sc03_studio_marilyn_012_2a ronr_sc03_studio_marilyn_012_3
ronr_sc03_studio_marilyn_012_2b ronr_sc03_studio_marilyn_012_3c
ronr_sc03_studio_marilyn_013_1 ronr_sc03_studio_marilyn_013_1_signed2 ronr_sc03_studio_marilyn_013_1_signed1
ronr_sc03_studio_marilyn_020_1a ronr_sc03_studio_marilyn_020_1c ronr_sc03_studio_marilyn_020_2
ronr_sc03_studio_marilyn_020_3 ronr_sc03_studio_marilyn_020_3a ronr_sc03_studio_marilyn_021_1_by_bruno_bernard_1 film_ronr_RDA00020890 
ronr_sc03_studio_marilyn_022_1 ronr_sc03_studio_marilyn_022_2c ronr_sc03_studio_marilyn_022_2

> couvertures de magazines
ronr_sc03_studio_mag_filmskisvet ronr_sc03_studio_mag_puff ronr_sc03_studio_mag_regard
ronr_sc03_studio_mag_see ronr_sc03_studio_marilyn_021_2 1990_01_raro_italie 


> En backstage, par Earl Leaf
ronr_sc03_studio_marilyn_011_1_by_earl_leaf_1 ronr_sc03_studio_marilyn_011_2 ronr_sc03_studio_marilyn_011_2a ronr_sc03_studio_marilyn_011_2b 

26 février 2011

4/11/1953 Première How to marry a millionaire

1953_11_04_htmam_premiere_001Le 4 novembre 1953, a lieu la première du film How to marry a millionaire (Comment épouser un milionnaire?) au Fox-Wilshire Theater à Hollywood. Le film est tourné en cinémascope couleur et l'événement est fortement médiatisé par la présence de nombreux journalistes, reporters et photographes; ainsi qu'une foule de badaux qui sont sur place. De nombreuses personnalités assistent à la première: Debbie Reynolds, Mitzi Gaynor, Rock Hudson, Shelley Winters. Les participants au film arrivent en voiture seul ou par deux: le réalisateur Jean Negulesco est accompagné de sa femme; Lauren Bacall est aux bras d'Humphrey Boggart; puis le scénariste Nunnally Johnson avec Marilyn Monroe. Ils posent avec plaisir pour les photographes et Marilyn se montre plus que jamais disponible autant envers les journalistes, répondant aux micros des reporters, mais aussi des photographes en posant longuement, que du public composé d'anonymes, en signant des autographes. Très en beauté, Marilyn porte la même robe en dentelle blanche que lors de son show tv en septembre au Jack Benny Show.
Nunnally Johnson se souvient d'une soirée plutôt désopilante: "Dès son arrivée chez nous (chez Johnson et sa femme), Marilyn demande un bourbon-soda. Puis, alors que pourtant nous devions dîner tôt et légèrement, elle en demande un autre. Elle était à la fois surexcitée et très angoissée à la perspective de cette soirée. Je ne la savais pas à ce point naïve et spontanée; et je fus stupéfait de voir l'importance qu'elle accordait à cette première: pour elle, c'en était presque insupportable. Nous nous préparons à monter dans la voiture -une limousine louée, avec chauffeur- et elle demande un troisième verre, sans soda cette fois. Gentlemen jusqu'au bout, Boggart et moi bûmes avec elle pendant le trajet. Il n'y avait pas trio plus aimable que nous dans tout l'Etat de Californie quand nous fîmes notre entrée dans le théâtre (...). Pour tout dire, elle était complètement paf. Au moment même où le film commençait, il a fallu qu'elle aille aux toilettes. Ma femme l'a accompagnée car il était clair que Marilyn avait besoin d'aide. Ronde comme elle était dans une robe ultra étroite, qu'elle s'était faite coudre sur elle. Ce n'a pas été rien, je vous assure (ma femme m'a raconté la scène après), de lui faire faire pipi, puis de la remettre dans un état convenable pour qu'elle retourne à sa place. Quand on se fait coudre dans sa robe, on ne devrait jamais trop boire."

 >> Marilyn se prépare,
avec sa coiffeuse
Gladys Rasmussen
et son maquilleur Whitey Snyder
1953_htm_coiffure 
1953_11_04_htmam_premiere_backstage_01_1 1953_11_04_htmam_premiere_backstage_02_1 
1953_11_04_htmam_premiere_backstage_03_1   1953_HTMprem 

1953_htm_whiney_2 1953-54 Scandal 1953_htm_whiney_1 
1953_11_04_htmam_premiere_backstage_04_1 1953_11_04_htmam_premiere_backstage_04_2 1953_11_04_htmam_premiere_backstage_05_1

1953  

>> L'arrivée de Marilyn
1953_11_04_htmam_premiere_010_01 1953_11_04_htmam_premiere_010_01a 1953_11_04_htmam_premiere_010_02
1953_11_04_htmam_premiere_010_03 1953_11_04_htmam_premiere_010_04 1953_11_04_htmam_premiere_010_05

1953-htm-0689609_779869215419087_6279574406330001393_n 1953-htm-2-1 1953-htm-2 
1953-htm_prem 

>> Marilyn et Lauren Bacall
1953_11_04_htmam_premiere_011_01 1953_11_04_htmam_premiere_011_02 1953_11_04_htmam_premiere_011_03
1953_htm_by_murray_garrett_1 1953_htm_by_murray_garrett_1b 1953_htm_by_murray_garrett_2
1953_11_04_htmam_premiere_011_05 1953_11_04_htmam_premiere_011_06
1953_11_04_htmam_premiere_011_04 1953_11_04_htmam_premiere_011_06a

>> Marilyn avec Nunnally Johnson et Lauren Bacall
1953_11_04_htmam_premiere_012_01 1953_11_04_htmam_premiere_012_04a 1953_11_04_htmam_premiere_012_05a
1953_11_04_htmam_premiere_012_02 1953_11_04_htmam_premiere_012_03_1 1953_11_04_htmam_premiere_012_03_2
1953_11_04_htmam_premiere_012_04 
1953_11_04_htmam_premiere_012_05
 1953_11_04_htmam_premiere_012_06 1953_11_04_htmam_premiere_012_06a
 1953_htm_prem1 1953_htm_prem2
1953_11_04_htmam_premiere_012_08 1953_11_04_htmam_premiere_012_09

1953_11_04_htmam_premiere_012_07_1 1953_11_04_htmam_premiere_012_07_2 1953_11_04_htmam_premiere_012_07_3

>> Marilyn avec NunnallyJohson, Lauren Bacall et Humphrey Bogart
1953_11_04_htmam_premiere_013_01 1953_11_04_htmam_premiere_013_02_1
1953_11_04_htmam_premiere_013_02_2 1953_11_04_htmam_premiere_013_02_3
1953_11_04_htmam_premiere_013_02_4 1953_11_04_htmam_premiere_013_03 1953_11_04_htmam_premiere_013_04
1953_11_04_htmam_premiere_014_01 1953_11_04_htmam_premiere_014_02 1953_11_04_htmam_premiere_014_03_2
1953_11_04_htmam_premiere_014_03_1   1953_Gala010_BlackDress_00200  
1953_11_04_htmam_premiere_014_04 1953_11_04_htmam_premiere_014_05
1953_11_04_htmam_premiere_014_06
1953-htm-f647f9c8d11f6f8b422da71229305427 1953_11_04_htmam_premiere_014_05a

>> videos


>> Captures
1953_11_04_htmam__prem_cap_02_01 1953_11_04_htmam__prem_cap_02_02 1953_11_04_htmam__prem_cap_02_03_debbie_reynolds
1953_11_04_htmam__prem_cap_02_04 1953_11_04_htmam__prem_cap_02_05_mitzi_gaynor 1953_11_04_htmam__prem_cap_02_06
1953_11_04_htmam__prem_cap_02_07_jean_negulesco 1953_11_04_htmam__prem_cap_02_08 1953_11_04_htmam__prem_cap_02_09
1953_11_04_htmam__prem_cap_02_10_rock_hudson 1953_11_04_htmam__prem_cap_02_11 1953_11_04_htmam__prem_cap_02_12_shelley_winters_1
1953_11_04_htmam__prem_cap_02_13 1953_11_04_htmam__prem_cap_02_14 1953_11_04_htmam__prem_cap_02_15
1953_11_04_htmam__prem_cap_01_01 1953_11_04_htmam__prem_cap_01_02 1953_11_04_htmam__prem_cap_01_03
1953_11_04_htmam__prem_cap_01_04 1953_11_04_htmam__prem_cap_01_05 1953_11_04_htmam__prem_cap_01_06
1953_11_04_htmam__prem_cap_01_07 1953_11_04_htmam__prem_cap_01_08 1953_11_04_htmam__prem_cap_01_09
1953_11_04_htmam__prem_cap_01_10 1953_11_04_htmam__prem_cap_01_11 1953_11_04_htmam__prem_cap_01_12
1953_11_04_htmam__prem_cap_01_13 1953_11_04_htmam__prem_cap_01_14 1953_11_04_htmam__prem_cap_01_15
1953_11_04_htmam__prem_cap_01_16 1953_11_04_htmam__prem_cap_01_17 1953_11_04_htmam__prem_cap_01_18

>> Marilyn et Shelley Winters
1953-prem_htm  

>> Marilyn et les reporters
1953_11_04_htmam_premiere_016_01 1953_htm_by_murray_garrett_5
1953_11_04_htmam_premiere_017_01 1953_11_04_htmam_premiere_017_01a 1953_11_04_htmam_premiere_018_02a
1953_11_04_htmam_premiere_018_01b 1953_11_04_htmam_premiere_018_02b
1953_11_04_htmam_premiere_018_01 1953_11_04_htmam_premiere_018_01a 1953_11_04_htmam_premiere_018_02
 

 >> Marilyn et ses fans 
1953_11_04_htmam_premiere_autograph_01_1 1953_11_04_htmam_premiere_autograph_01_2 1953_11_04_htmam_premiere_autograph_02_3
1953_11_04_htmam_premiere_autograph_02_1  1953_htm_autograph 
1953-htm_prem-76 What Marilyn Wants copy 1a
1953_11_04_htmam_premiere_autograph_02_2 1953_htm_2
1953_11_04_htmam_premiere_autograph_03_1 1953_htm_fans 1953_11_04_htmam_premiere_autograph_03_2

>> Photocall et interview de Marilyn et Lauren Bacall
1953_11_04_htmam_premiere_photocall_01 1953_11_04_htmam_premiere_photocall_02 1953_11_04_htmam_premiere_photocall_03
1953_11_04_htmam_premiere_photocall_06 1953-htmprem 1953_htmprem1 
1953-11-04-htm_prem-6  1953-11-04-htm_prem-7 
  ... rejointes par Humphrey Bogart
1953_11_04_htmam_premiere_photocall_04
1953-11-04-htm_prem-14 1953_11_04_htmam_premiere_photocall_05 
1953_11_04_htmam_premiere_photocall_04a 1953_11_04_htmam_premiere_photocall_04b 1953_11_04_htmam_premiere_theater_01_2

>> Marilyn dans le théâtre
avec Nunnally Johnson
1953_11_04_htmam_premiere_theater_01_1 1953_11_04_htmam_premiere_theater_01_3
1953_11_04_htmam_premiere_theater_01_4 1953_htm_1
1953_11_04_htmam_premiere_theater_03_3 1953_11_04_htmam_premiere_theater_03_1 1953_11_04_htmam_premiere_theater_03_2
1953_11_04_htmam_premiere_theater_03_4 1953_11_04_htmam_premiere_theater_03_7 1953_11_04_htmam_premiere_theater_03_4b
1953_11_04_htmam_premiere_theater_02 1953_11_04_htmam_premiere_theater_03_8
1953_11_04_htmam_premiere_theater_03_5 1953_11_04_htmam_premiere_theater_03_6 1953_htm_dos
1953_11_04_htmam_premiere_theater_04_1 1953_htm_by_darlene_hammond_1

 >> Le départ de  Marilyn
1953_11_04_htmam_premiere_theater_05_1 
1953_11_04_htmam_premiere_theater_05_2 1953_11_04_htmam_premiere_theater_05_3
1953_11_04_htmam_premiere_theater_05_4 1953_11_04_htmam_premiere_theater_05_5


 >> Photos de Earl Leaf
1953_htm_by_earl_leaf_1
1953_Earl_Leaf_shooting_MM_00 1953_Earl_Leaf_shooting_MM_01

>> Photos de Darlene Hammond
1953_htm_by_darlene_hammond_1 1953_htm_by_darlene_hammond_1a
1953_htm_by_darlene_hammond_4 1953_htm_by_darlene_hammond_3 1953_htm_by_darlene_hammond_2

 >> Photos de Murray Garrett
1953_htm_by_murray_garrett_1 1953_htm_by_murray_garrett_1a 1953_htm_by_murray_garrett_2
  1953_htm_by_murray_garrett_3 murray_garrett_05
 
1953_htm_by_murray_garrett_4 1953_htm_by_murray_garrett_5 

 >> Photos de Frank Worth
logo-frank_worth-1953-prem_htm2 logo-frank_worth-1953-prem_htm1 logo-frank_worth-1953-prem_htm3 


Après la première au théâtre, une grande soirée est organisée chez le réalisateur Jean Negulesco, où participent entre autres, Mitzi Gaynor et Robert Mitchum. Marilyn confiera alors que "c'est la plus belle soirée de ma vie. C'est comme lorsque j'étais petite et que je rêvais qu'il m'arrivait des choses merveilleuses. Maintenant, elles sont arrivées."

1953_jean_negulesco_party_01 1953_jean_negulesco_party_03 1953_jean_negulesco_party_bacall_clifton_web_1a
 
1953_htm_by_darlene_hammond_4 1953_htm_by_darlene_hammond_3 1953_htm_by_darlene_hammond_2
1953_jean_negulesco_party_face1 1953_jean_negulesco_party_face2 1953_jean_negulesco_party_face3
1953_jean_negulesco_party_face4 1953_jean_negulesco_party_face5 1953_jean_negulesco_party_face6 

 >> Rock Hudson, Terry Moore, Robert Mitchum et Marilyn
1953_09_Party01_withMitchum_0010 1953 1953_Htmam152
1953_htm_party
1953_htm_1b 1953_09_Party01_withMitchum_0011a 1953_htm_1c 

>> Marilyn avec Rock Hudson et Robert Mitchum
  1953_htm_1a

>> Marilyn et Jean Negulesco
1953_jean_negulesco_party_negulesco_1 1953_jean_negulesco_party_negulesco_1a 

- Photo de Jean Howard -
1953-11-04-hollywood-premiere_HTMAM-party-at_Negulesco_home-by_jean_howard-1

 >> Marilyn avec Clifton Webb et Lauren Bacall
1953_jean_negulesco_party_bacall_clifton_web_1
1953 1953_jean_negulesco_party_bacall_clifton_web_2 


>> dans la presse
1953_nov_jeannegulesco_party 

 


> Sur le web: 
> voir l'article sur wiki


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copyright text by GinieLand.

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27 mai 2010

Mai 1950 Marilyn en tailleur chez Hyde par Leaf

Marilyn Monroe chez Johnny Hyde en 1950,
portant un tailleur veste jupe 
 Photographies d' Earl Leaf

1950_0011857 lot1117-H3257-L78860426 1950_0011858
1950_0011859
1951-MM_8X10_Apartment_SMALL 1950_00118581

Posté par ginieland à 12:37 - - Commentaires [0] - Permalien [#]
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12 mai 2010

Mai 1950 Marilyn en robe chez Hyde par Leaf

Marilyn Monroe chez Johnny Hyde en 1950,
portant la robe de promo du film As young as you feel 
 Photographies d' Earl Leaf

ph_leaf_0436_1_lg  lot517-220464_0   1951_AsYoungAsYouFeel_Promo_011_030 

1950_E ph_leaf_marilyn_566783_le_style_des_blondes_iconiques_marlyn_637x0_3 1951_AsYoungAsYouFeel_Promo_011_010
film_0011860 lot1121-H3257-L78854952 1951_bv485a 
1951_AsYoungAsYouFeel_Promo_012_010 film_0011861 1951_asyoungasyoufeel_promo_0158741

Posté par ginieland à 14:05 - - Commentaires [2] - Permalien [#]
Tags : , , ,