‘My Favorite Marilyn’
Article publié le 16/01/2014
By Jeff Ashworth and James Ellis
en ligne sur mag.newsweek.com
08 février 2015
Bannière 2015 Février
Marilyn Monroe le 13 septembre 1954
sur le tournage de "Sept ans de réflexion".
Photographie de Elliot Erwit.
02 novembre 2014
Marilyn Monroe, des années de réflexion
Marilyn Monroe, des années de réflexion
article publié sur liberation.fr
La galerie In Focus, à Cologne, expose au Château Kolvenburg-Billerbeck, en Allemagne, huit regards de photographes célèbres sur Norma Jeane Baker de 1945 à 1962. Une chronologie de l'absolue photogénie de l'actrice américaine.
«Marilyn Monroe, in the Vew of Master Photographers » jusqu'au 4 novembre. Commissariat de l'exposition : Burkhard Arnold. Kolvenburg. An der Kolvenburg 3. 48727 Billerbeck. Galerie In Focus, Cologne. www.infocusgalerie.com
En 1945, elle est alors une jeune modèle de 19 ans. Andre de Dienes est photographe de mode.
Photo Andre de Dienes. Courtesy In Focus Galerie. Cologne
En 1946. Le photographe Andre de Dienes suivra la star et son évolution jusqu'en 1953.
Photo Andre de Dienes. Courtesy In Focus Galerie. Cologne
En 1946. Bruno Bernard, plus connu sous le nom de Bernard of Hollywood, est le photographe des pin-up et du glamour. Il réalise des séances de photo-test dans son studio.
Photo Bruno Bernard. Courtesy In Focus Galerie. Cologne
En 1950, pour le magazine «Life» qui ne publiera pas cette image, estimant que Marilyn n'est pas assez connue, et attendra 1953 pour la mettre en une.
Photo Edward-Clark. Courtesy In Focus Galerie. Cologne
En 1953.
Photo Bruno Bernard. Courtesy In Focus Galerie. Cologne
En 1954. Sur le tournage de «Sept Ans de réflexion» de Billy Wilder, où de nombreux photographes ont immortalisé la scène devenue mythique.
Photo Bruno Bernard. Courtesy In Focus Galerie. Cologne
A New York, en 1954.
Photo Elliott Erwitt. Courtesy In Focus Galerie. Cologne
Avec son mari, Arthur Miller, en 1960. Eve Arnold, photographe de l'agence Magnum décédée en 2012, rencontre l'actrice en 1952.
Photo Eve Arnold. Courtesy In Focus Galerie. Cologne
A Los Angeles, en 1960. Eve Arnold et Marilyn Monroe collaboreront plus de dix ans ensemble.
Photo Eve Arnold. Courtesy In Focus Galerie. Cologne
En 1962. George Barris est un des derniers photographes à shooter la star.
Photo George Barris. Courtesy In Focus Galerie - Cologne
21 janvier 2014
‘My Favorite Marilyn’
The photographer who knew her best tell the stories behind the iconic images
Milton H. Greene, Joshua Green
Marilyn Monroe's looks and allure made her a desirable subject for photographers around the world, and several photographers built their careers by documenting hers. The only thing more fascinating than the unforgettable images of Marilyn they captured are the memories many of them took home when the sessions were over. For the first time in one place, the photographers responsible for some of Marilyn's most beloved pictures pick their personal favorites.
The Black Sitting - Milton Greene
When Milton first met Marilyn, she said, "You're just a boy." He famously replied, "Well, you're just a girl." Thus began a friendship that grew into a business partnership through Marilyn Monroe Productions. Milton's son and the steward of his archives, Joshua Greene, describes the photos he believes best exhibit his father's work:
To me, the most powerful, important pictures of their collaboration are the Black Sitting. It was never done for publication; it was done completely for their own self-serving needs. Milton was one of those guys who would shoot a roll or two. He didn't overshoot. The thing about the Black Sitting that was so amazing is, it lasted four hours and he shot 28 rolls... 12 frames per roll.
Milton, Joe Eula - my father's friend who was there as a stylist - and Marilyn drank a bunch of red wine, listened to some great music and did this fantastic, amazing series of pictures using essentially a black velvet background over a daybed. The photos are very personal, and they show the sense of humor and sensibility that they shared and enjoyed together. It was just a bunch of kids playing in a playpen.
Also, you don't see any nudity. Nowhere in the photos were there ever straight naked photos. He just didn't do that. Milton did that on purpose so Marilyn wouldn't feel betrayed or inappropriate, and this is a woman who liked being naked and didn't mind shooting naked. But Milton was a classy guy, and it wasn't necessary. To him, it was more the suggestion of nudity than the nudity. And that's what makes them so sexy. This is a timeless picture of a woman looking beautiful, and that's why it holds up. -Joshua Greene
The Actor Photo - Zinn Arthur
A former big-band leader and celebrity in his own right, Arthur found a second career as a photographer to the stars and captured some of the most memorable images of Marilyn at work in Hollywood. He first photographed her on the set of 1956's Bus Stop. Arthur's friend Frank Whitney and Katherine Van Acker, curator of Arthur's archive at the Image Works, Inc., share their thoughts on his favorite photo:
As a collection, Zinn liked the Bus Stop shots because he (and Marilyn) considered it to be her best film, thanks to Joshua Logan's direction. Josh was Zinn's best friend, and Zinn was a great admirer of Josh and his talents as a director. Marilyn loved Josh and how he brought out the best in her, and because Zinn was Josh's friend, she loved Zinn by association. - Frank Whitney
When Zinn was going to show someone, he wanted to be sure it was flattering. He wasn't out to overly sensationalize them or to take an unflattering picture. Zinn genuinely liked Marilyn. He was an entertainer. He understood what it was to be an entertainer and liked shooting them at work. This is a real moment. Marilyn was talking to the director of photography, and Zinn snapped off a few pictures and captured her in a flattering, nice way. - Katherine Van Acker
The Bedsheet Photo - Douglas Kirkland
One of only a handful of living photographers to have shot Marilyn, Kirkland has worked on the sets of more than 100 motion pictures and has shot as many celebrities, from Elizabeth Taylor to Michael Jackson. He photographed Marilyn in 1961 for Look magazine.
This is my favorite photo of Marilyn because it was her favorite. When she saw this photo she said, "That girl is the kind of girl that any man would want to be in that bed with. Even a truck driver."
On the first night of the shoot, she said, "I want a bed and white silk sheet. I won't wear anything but that white silk sheet. And I want Dom Perignon champagne and Frank Sinatra records." You felt like it was the real Marilyn there. The person who was behind "Marilyn." And that was the person I found myself taking pictures with. It was very sensual.
We were flirting like crazy, that's what it really came down to. She asked that everybody leave the room because she "wanted to be alone" with me. The energy was extraordinary, and it went into those pictures. That's why the pictures have been as successful as they have been. She didn't hold back. She gave the camera everything. - Douglas Kirkland
The Misfits Photo - Elliott Erwitt
After serving as a photo assistant in the U.S. Army during the 1950s, Elliott Erwitt went on to become one of the premier photojournalists of his generation, capturing iconic images of
John F. Kennedy, Che Guevara and Marilyn Monroe, among others. He was on the set of The Misfits to take photos of Marilyn hard at work on what ended up being the actress's last film.
My favorite thing about shooting Marilyn was how friendly and cooperative she was. She didn't mind me hanging around and shooting her candidly, even in the more personal pictures I took.
This photograph is my favorite, because it was a monumental task assembling all of these incredibly busy people together for the picture. I was taking publicity stills on the set of The Misfits and wanted to gather all the principal players in one photo. Photographing Marilyn was always easy once she arrived for the shot. The trick was getting her to show up on time. She was always difficult to pin down, which only adds to my pride at gathering her with all these stars for this photo. Now it's a record of the combination of talents present at the time. There was never any secret to get a good picture of Marilyn: Just aim the camera, shoot and let Providence do the rest. - Elliott Erwitt
The Pool Photo - Lawrence Schiller
In 1962, Marilyn was in freefall. She wanted to prove her value to 20th Century Fox and keep her name in the magazines. Lawrence Schiller, a 25-year-old photojournalist whose star was on the rise, was hired by Paris Match magazine to shoot her latest film, which would turn into a stunt of Marilyn's design: In one scene from the film, while swimming, she decided to be photographed nude, and off came her bathing suit. It would be their last collaboration.
A photographer is either a witness to something or he is a collaborator at an event. In this instance, I was both. The exploitation of the pictures was the reason she decided to do the scene nude. She could have done the scene with a flesh-colored bathing suit on and it would have worked perfectly, but she went further because she needed to achieve something else.
This photo became one of my favorites of Marilyn because years later it became my 8-year-old daughter's favorite. I showed her my photos and asked, "What do you think? Which is your favorite?" She chose this one. I said, "Why?" She said, "Because that's a picture that says everything but shows nothing." - Lawrence Schiller
"Marilyn Monroe's Lost Scrapbook,"
a Newsweek special issue, is on sale at Walmart, Barnes & Noble
and on newsstands nationwide.
09 septembre 2013
Elliott Erwitt's Kolor
Elliott Erwitt's Kolor
Auteur: Elliott Erwitt
Date de sortie: 3 octobre 2013
Relié 368 pages
Dimension: 37 x 28,2 x 4,4 cm
Langue: Anglais, Allemand, Français, Italien, Espagnol
Éditeur: teNeues Verlag GmbH + Co KG
Prix : 93 Euros
ISBN-10: 3832795774
ISBN-13: 978-3832795771
Ou le commander ? sur amazon.fr
Description: Des photographies couleurs prises par Elliot Erwitt, publiées pour la première fois. Avec un chapitre consacré à Marilyn (11 photographies) sur le tournage de The Seven Year Itch et des Misfits.
> Extraits pages:
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28 août 2013
The Contact Sheet
The Contact Sheet
Author: Steve Crist
Date de sortie: avril 2008
Relié 192 pages
Langue: anglais
Éditeur: AMMO Books, LLC
Prix : 29 Euros
ISBN-10: 0978607694
ISBN-13: 978-0978607692
Ou le commander ? sur amazon.fr
Description: Ce livre n'est pas consacré à Marilyn Monroe, mais présente le travail de divers photographes: Elliott Erwitt, Robert Doisneau, Paul Fusco, Dorothea Lange, Alex Prager, Nan Goldin, etc...
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07 août 2013
15/09/1954 NYC - Sur le tournage de The Seven Year Itch partie 2
Sept ans de réflexion
Sur le tournage - scène 11
Date: le 15 septembre 1954, à une heure du matin.
Lieu: entre la 51 et 52st Street, au croisement de Lexington Avenue.
Scène: il s'agit d'une scène mythique, l'une des plus célèbres de l'histoire du cinéma, qui reste sans doute la "scène la plus vue au monde", celle où la robe blanche de Marilyn se soulève entraînée par l'air d'une grille de métro. La presse en parla comme de "l'exhibition la plus intéressante depuis Lady Godiva".
Date: September 15, 1954, at one o'clock.
Location: between 51 and 52st Street on the corner of Lexington Avenue.
Scene: it is a mythical scene, one of the most famous in the history of cinema, which is probably the "most scene view in the world," the one where the white dress of Marilyn Monroe rises, driven by the blow of the subway grate. The press spoke of as "the most interesting exhibition since Lady Godiva".
Marilyn Monroe, Tom Ewell, le réalisateur Billy Wilder (homme en noir, chapeau noir), Johnny Graham (homme en costume, chapeau et cigar), manager de production de la Côte Est qui organisa la logistique pour le tournage des scènes à New York, et Natasha Lytess, la coach de Marilyn.
>> Photographies de George Barris
>> Photographies de Sam Shaw
>> Photographie de Matthew Zimmerman
>> Photographie de Sam Goldstein
>> Photographies de Weegee
>> Photographie de Tom Caffrey 
>> Photographies de Kas Heppner
>> Photographies de Frank Worth 
>> Photographies de Milton Greene
>> Photographies de George S. Zimbel
>> Photographies de Elliot Erwitt
>> Photographies de Garry Winogrand
>> Photographies de Charles Hagedorn 
>> Photographies de John Randolph Hearst
>> Photographies de Bill Kobrin 
>> collection de Frieda Hull 
>> Photographies de Bruno Bernard
Extraits du journal de Bruno Bernard:
- Le magazine Redbook engagea Bruno Bernard pour couvrir le tournage de Marilyn dans The Seven Year Itch.
- New York - 14/09/1954. Si cela n'avait pas été pour mon travail (la couverture de Redbook) et Marilyn, dix chevaux ne m'auraient pas traîné sur le tournage de Seven year Itch. Zut. J'ai attendu trois heures au milieu des odeurs transpiration et des cris de la foule et d'une bande de paparazzis (...). Soudain, la foule a poussé un formidable hurlement. Marilyn apparaissait en chair et en os. Lorsque Billy Wilder, le metteur en scène, a dit "On tourne", Marilyn est sortie du théâtre, a fait quatre pas sur la gauche avant de s'arrêter juste au-dessus d'une grille d'aération. A ce moment précis, on doit imaginer qu'un métro quitte la station, l'air qu'il déplace soulevant la jupe de Marilyn. Pour mieux contrôler l'action, les accessoiristes ont disposé un ventilateur directement sous la grille. Dans certaines prises, la jupe blanche de Marilyn s'est soulevée au point de lui couvrir le visage, à la grande joie des spectateurs hystériques. D'après le scénario, Marilyn doit simplement dire: "Ah, quel soulagement ! N'est-ce pas délicieux ?!" tandis qu'elle prend plaisir à sentir cet air frais.
La scène a été refaite trente fois parce que Marilyn se trompait à chaque fois dans son texte. Sous sa robe, elle ne portait qu'une petite culotte de soie blanche transparente. (...) DiMaggio, qui se trouvait juste en face de moi et près de walter Winchell, regardait le spectacle. Je me rendais nettement compte que la gêne de DiMaggio tournait à la fureur. Je me frayais rapidement un chemin à travers la foule, dans l'espoir de le calmer. Mais, avant que je n'arrive près de lui, il avait déjà quitté les lieux très en colère. Winchell (...) m'a dit que DiMaggio était parti "apaiser son tempérament de macho italien au Toot's Shor's". Roy Croft nous rejoignit: "Nous devrions plutôt nous réjouir qu'elle porte au moins quelque chose dessous".
L'absence de DiMaggio ne la troubla pas, et la déesse de l'amour poursuivit ses interminables prises devant son public new-yorkais extasié.
- J'ai vraiment besoin de faire ces photos de Joe et Marilyn pour boucler mon article. Depuis le couloir de leur appartement du Saint Regis, je peux entendre les éclats d'une querelle passionnée suivie par des pleurs hystériques. Je suis parti et je n'ai pas fait mes photos. (...) J'étais abbatu et silencieux. Rencontrant Roy dans l'ascenceur, il tenta de me consoler: "Tout n'est pas perdu. Comme il y avait trop de bruits de fond en extérieur, Wilder a décidé de refaire toute la scène à Hollywood."
>> sources:
- Livres: Bernard of Hollywood's Marilyn / De Norma Jean à Marilyn, de Susan Bernard / Marilyn among friends, Sam Shaw / L'Encyclopédie d'Adam Victor / Marilyn Monroe et les caméras, de Georges Belmont / Les trésors de Marilyn Monroe, de Jenna Glatzer / Les vies secrètes de Marilyn Monroe, d'Anthony Summers.
All photos are copyright and protected by their respective owners.
copyright text by GinieLand.
23 juin 2013
13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 1
Sept ans de réflexion
Sur le tournage - scène 15
Le 13 septembre 1954, Marilyn Monroe tourne ce qui sera la scène finale du film "Sept ans de réflexion", celle où elle est en peignoir dans l'appartement de Richard Sherman (Tom Ewell); et lui lance ses chaussures par la fenêtre. Il s'agit de la première scène tournée en extérieur, à New York, dans l'appartement situé au 164 East 61 Street. Près de 1000 personnes (des photographes, gens de la presse et beaucoup de passants et de fans), se sont amassés devant l'immeuble.
In September, 13, 1954, Marilyn Monroe shoots what will be the final scene of "The Seven Year Itch", the one where she is in a white robe in the apartment of Richard Sherman (Tom Ewell); and she throws his shoes from out the window. This is the first scene shot on location in New York, in an apartment located at 164 East 61 Street. Nearly 1,000 people (photographers, press people and a lot of shoppers and fans), were raised in front of the building.
> 1ère partie:
- Tournage de la scène
-Marilyn à la fenêtre
> photographies de George Barris
> photographies de Bob Henriques
> photographies de Garry Winogrand 
> photographies de Myron Ehrenberg 
> photographies de Milton H. Greene
> photographie de Sam Schulman
> photographies de Sam Shaw 
> photographie de Walter Jacobsen 
> photographie de Elliott Erwitt 
> planche contact
> dans la presse
> captures
> video
> video (color footage in Kodachrome by Jules Schulback)
> source captures:
Documentaires "The Legend of Marilyn Monroe", "Marilyn in Manhattan".
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
22 juin 2013
13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 2
Sept ans de réflexion
Sur le tournage - scène 15
Le 13 septembre 1954, Marilyn Monroe devant l'immeuble au 164 East 61 Street, à New York, où elle tourne une scène du film "Sept ans de réflexion".
In September, 13, 1954, Marilyn Monroe in front of the the building at 164 East 61 Street, in New York, where she shoots a scene of the movie "The Seven Year Itch".
> 2ème partie: Devant l'immeuble
> photographies de Sam Shaw
> photographies de George Barris
- avec Billy Wilder 
> photographies de Bob Henriques 
> photographies de Elliott Erwitt
> captures
> video
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
21 juin 2013
13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 4
Sept ans de réflexion
Sur le tournage - scène 15
Le 13 septembre 1954, Marilyn Monroe à la fenêtre de l'appartement situé au 164 East 61 Street, à New York, où elle tourne une scène du film "Sept ans de réflexion".
In September, 13, 1954, Marilyn Monroe at the window of the apartment located at 164 East 61 Street, in New York, where she shoots a scene of the movie "The Seven Year Itch".
> 4ème partie: A la fenêtre - dans l'appartement
> photographies de George Barris
> photographies de Bob Henriques 
> photographies de Elliott Erwitt
> photographie de Garry Winogrand
> photographie de Sam Shaw 
> dans la presse 
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
19 juin 2013
13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 5
Sept ans de réflexion
Sur le tournage - scène 15
Le 13 septembre 1954, Marilyn Monroe tourne ce qui sera la scène finale du film "Sept ans de réflexion", celle où elle est en peignoir dans l'appartement de Richard Sherman (Tom Ewell). Il s'agit de la première scène tournée en extérieur, à New York, dans l'appartement situé au 164 East 61 Street.
In September, 13, 1954, Marilyn Monroe shoots what will be the final scene of "The Seven Year Itch", the one where she is in a white robe in the apartment of Richard Sherman (Tom Ewell). This is the first scene shot on location in New York, in an apartment located at 164 East 61 Street.
> 5ème partie: Marilyn sur le sofa
> Marilyn avec Natasha Lytess
> photographies de George Barris
> photographies de Bob Henriques 
> photographies de Elliott Erwitt 
> photographies de Tom Caffrey
> photographies de Garry Winogrand
> photographies de Sam Shaw 
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
