20 décembre 2014

M comme Monroe, Gladys

Gladys Pearl Monroe
( 1902 - 1984 )
Mère de Marilyn Monroe

banner_gladys

Gladys Pearl Monroe (appelée aussi Gladys Baker, Gladys Mortensen, Gladys Eley) naît le 27 mai 1902 à Porfirio Diaz (aujourd'hui nommé Piedra Negra) au Mexique et est la première des deux enfants de Della Mae Hogan et Otis Elmer Monroe (les grands-parents de Marilyn). Son existence est déclarée civilement cinq jours après sa naissance (le 1er juin) à un juge civil mexicain. Son père, Otis, travaille dans les chemins de fer mexicains depuis 1901. Après la naissance de leur fille Gladys, la petite famille retourne aux Etats-Unis, menant une vie itinérante le long de la Côte Ouest, jusque dans le Nord des Etats-Unis pendant un an, puis s'installent à Los Angeles au printemps 1903 où son père décroche un emploi à la Pacific Electric Raimway. Ils vivent dans un petit bungalow d'une seule pièce dans la 37ème Rue Ouest (secteur sud du centre-ville). C'est là que naît le frère de Gladys, Marion Otis Elmer (l'oncle de Marilyn), en 1905. La famille vit dans une certaine précarité et n'a pas de foyer stable (ils vivent dans près de onze foyers différents -maisons ou appartements- entre 1903 et 1909). Gladys et Marion vivent ainsi leur enfance dans la pauvreté et l'insécurité, sans pouvoir se lier d'amitié avec des amis de leurs âges.

>> Certificats de naissance de Gladys
1900s-gladys-certificat_birth-1 1900s-gladys-certificat_birth-2 1900s-gladys-certificat_birth-3

 >> 1906 - Gladys, 4 ans
1906-gladys-4ans 

En 1907, la santé de son père Otis Elmer se dégrade. Porté sur la boisson et souffrant de troubles de la mémoire, son état s'empire rapidement: maux de tête, tremblements, instabilité émotionnelle avec des accès de rage, des crises de larmes et même des attaques cardiaques. L'été 1908, suite à une crise, Otis se retrouve à moitié paralysé. Admis à l'hôpital 'Southern California State Hospital' à Patton, en Californie, en novembre 1908, où sa mère Della espace de plus en plus ses visites car Otis ne reconnaît même plus son épouse, il y meurt, le 22 juillet 1909, à l'âge de 43 ans. Il était atteint de parésie, le stade ultime de la syphilis qu'il avait contracté au Mexique, à cause des piètres conditions d'hygiène. C'est ainsi que seulement âgée de 7 ans, Gladys se retrouve orpheline de père. Gladys souffrira beaucoup de l'absence de son père. Sans doute terrifiée par le fulgurent déclin mental de son mari, Della Mae racontera à ses enfants que leur père était devenu fou, à cause de l'alcool et de sa vie désordonnée. Pourtant, le dossier médical qu'on lui avait remis après la mort d'Otis, explique qu'il était décédé d'une maladie organique et non d'une maladie mentale.
Se retrouvant veuve à seulement 33 ans, sa mère
Della Mae vit une deuxième jeunesse en fréquentant de nombreux hommes qu'elle reçoit chez elle entre 1910 et 1911, avant de se marier le 7 mars 1912 avec Lyle Arthur Graves, un aiguilleur en chef à la Pacific Electric, où il avait travaillé avec Otis. Ils vont vivre dans la maison de Graves, au 324 bis South Hill Street dans la partie nouvelle du quartier d'affaires de Los Angeles. Lyle semble être un bon beau-père, offrant des cadeaux aux enfants de Della. Mais le couple ne tient pas, Otis étant aussi porté sur la boisson que son précédent mari, et ils divorcent le 17 janvier 1914.

>> 1912 - Gladys, 10 ans, et son frère Marion, 7 ans
245039_0    

>> 1916 - Gladys, 13 ans
 
1915-gladys-13ans 1915-gladys-13ans-2

A la fin de l'année 1916, Della Mae loue une chambre dans une pension de famille au 26 Westminster Avenue sur la toute nouvelle plage du district de Venice, en Californie, au sud de Santa Monica. Le propriétaire de la pension de famille s'appele John Baker et l'engage pour diriger sa propriété pendant qu'il s'occupe d'une salle de jeux sur la plage. Della envoie son fils Marion, âgé de 11 ans, vivre chez des cousins à San Diego car elle pense qu'un garçon doit être élevé par un homme, et seule Gladys reste vivre auprès de sa mère. Gladys est une jeune fille coquette, brillante, expansive, aux cheveux châtains clairs, parlant d'une voix limpide et haut perchée, au rire facile, et à la recherche d'attention des hommes mûrs (sans doute en lien avec son enfance, était-elle à la recherche d'une figure paternelle). Sa mère, Della, ne tarde pas à rester bien longtemps seule et elle fréquente un veuf, Charles GraingerCette nouvelle liaison rend Gladys malheureuse, qui se braque contre le nouveau compagnon de sa mère, en lui opposant un silence absolu, et se montrant de très mauvaise humeur. Gladys devient alors un boulet pour Della, qui avait peur de perdre Charles Grainger. C'est alors qu'elle décide de la marier.

1917-05-17-baker_wedding_certificat1Gladys, qui n'a alors que 14 ans, commence à avoir un certain succès auprès des hommes. Et c'est Jasper Newton "Jap" Baker (le fils de John Baker, qui est pompiste ou releveur de comptes à gaz selon les biographes) âgé de 26 ans, qui, aidé de Della Mae, certifie que Gladys était en âge de se marier, 18 ans (alors qu'elle n'en avait que 15) sous prétexte que les preuves de sa date de naissance ont disparu suite aux nombreux déménagements, et l'épouse le 17 mai 1917 (certificat de mariage ci-contre). En fait, Gladys était enceinte de deux mois au moment du mariage. Della assiste gaiement au mariage et donne sa chambre de Westminster Street aux jeunes mariés, pour, de son côté, emménager dans le bungalow de Charles Grainger. Gladys et Jasper Baker ont deux enfants: un fils Robert 'Jack' 'Kermit' Baker (le demi-frère de Marilyn) qui naît le 10 novembre 1917, et une fille Berniece Inez Gladys (la demie-soeur de Marilyn) qui naît le 30 juillet 1919.
A la naissance de Berniece, le couple donne l'adresse de Della Monroe (1410 Coral Canal Court) sur le certificat de naissance. C'est ainsi qu'à 17 ans, Gladys se retrouve épouse et mère de deux enfants. Cependant, suite à son enfance chaotique, l'exemple d'une vie mouvementée de sa mère, ayant connue de nombreux beaux-pères, et par son jeune âge (elle est encore adolescente), Gladys se montre peu maternelle avec ses enfants, dont l'envie serait plutôt de sortir pour aller s'amuser. Il lui arrive d'ailleurs de confier s
es enfants à des voisins pour sortir dans les bals et fêtes organisés sur les plages, pendant que son mari travaille de longues heures comme représentant de commerce.

>> vers 1917/1918 - Gladys, Robert Baker et une amie
1916-gladys_john_baker-2  

>> 1918 - Gladys, 16 ans
1918-gladys-1-1 1918-gladys-16ans

>> 30/07/1919 - Certificat de naissance de Berniece
1919-07-30-berniece

>> 1919 - Gladys avec ses enfants et sa mère Della Mae
1919-della_and_gladys-with_jackiehermitt_berniece-1 
1919-della_and_gladys-with_jackiehermitt_berniece-2

>> 1919 - Gladys avec Robert Baker et leurs enfants
1919-gladys_berniece_marion_jackie-1  1919-gladys_berniece_marion_jackie-1a 1919-gladys_berniece_marion_jackie-1b

  >> vers 1920 - Gladys et Robert Baker
1916-gladys_john_baker-1 

Au cours de l'année 1921, le couple part en voyage à Flat Lick, dans le Kentucky, ville d'où est originaire Jasper, pour rendre visite à la famille de celui-ci. Durant le trajet, pendant que Gladys et Robert se disputent, leur fils Jackie tombe de la voiture dans un virage et se blesse à la hanche. Robert, furieux, reproche à Gladys son manque d'attention. Pendant leur séjour à Flat Lick, Gladys part un jour en randonnée dans les bois avec Audrey, le frère cadet de Jasper. Bien que Jasper est bel homme, il est jaloux de son frère. Quand Gladys revient de la promenade, Jasper la frappe avec une bride dans le dos. Gladys s'enfuit et part en ville, où elle y montre son dos aux passants, en hurlant et pleurant qu'elle a peur de son mari. Finalement, elle revient et ils repartent ensemble avec les enfants pour retourner en Californie. Un jour, elle surprend son mari avec une autre femme dans la rue (d'après ce que rapportera plus tard Gladys à Berniece). C'en est trop pour Gladys qui finit par demander le divorce en 1921 selon les motifs suivants: "Cruauté extrême sous forme de mauvais traitements, d'insultes et de langages orduriers à son égard et en sa présence, de coups et blessures." John rétorque que sa femme a une conduite impudique et lascive.

Après avoir quitté le domicile conjugual, Gladys loue un bungalow au 46 Rose Avenue, à Venice, qu'elle partage avec sa mère Della Mae. Gladys avait signé le bail sous le nom de sa mère Della Monroe, et sous-loue deux des chambres, afin d'être payée comme gérante, ce qui lui permet de verser 100$ par mois aux propriétaires absents, Adele Weinhoff et Susie Noel.
Fin juin 1922, le dernier chèque du loyer n'avait pas été posté. Une dispute éclate entre Gladys et Della, chacune accusant l'autre de dilapider l'argent. N'ayant d'emploi ni l'une ni l'autre, l'essentiel de leurs revenus leur était versé par Charles Grainger, le compagnon de sa mère, et le reste consistant en une modeste somme qu'envoyait Jasper Baker. La courte expérience de colocataires entre mère et fille prend fin en juillet 1922, sous une menace d'expulsion. Della, avec la permission de Charles Grainger, part alors vivre dans un bungalow vide qu'il posséde à Hawthorn.

>> Gladys et sa mère Della Mae
1920s-della_mae_gladys_baby-1 1920s-della_mae_gladys_baby-2 1920s-gladys-1

1923-05-11-divorceLe divorce de Gladys et John est prononcé le 11 mai 1923 et Gladys obtient la garde des enfants (jugement de divorce ci-contre). Mais lors d'un week-end de garde, déjà bien avant que le divorce ne soit prononcé, Jasper ne ramène pas les enfants -Robert et Berniece- et les emmène dans sa ville d'origine Flat Lick dans le Kentucky, pour s'installer chez sa mère, pensant que les enfants recevront une meilleure éducation et de son côté, il espère recommencer sa vie.
Leur fils Robert, qui garde des séquelles de sa blessure à la hanche, boite. Il est hospitalisé dans un hôpital de Louisville et porte un plâtre à la jambe.
Quand à Gladys, qui souhaite récupérer ses enfants mais qui reste sans nouvelles, elle se rend à San Diego car elle pense que Jasper y a trouvé un emploi et s'y est installé. Puis elle reçoit un courrier de son ex beau-frère l'avertissant que Jasper et les enfants se trouvent à Flat Lick. Elle s'y rend donc en demandant de l'aide à sa belle-soeur Myrtle (la soeur de Jasper) qui non seulement refuse, mais va avertir Jasper. C'est alors que Jasper et sa mère cachent Berniece et avertissent les médecins de l'hôpital pour empêcher Gladys d'emmener son fils. Mais Gladys n'abandonne pas: elle s'installe à Louisville et y trouve un emploi de femme de ménage, en attendant que l'état de Robert s'améliore. Gladys va rester presqu'une année, vivant chez la famille Cohen (Margaret et John 'Jack' Cohen), où elle officie en tant que nounou de leur fille de trois ans, prénommée Norma Jeane (d'où l'origine du prénom de Marilyn Monroe et non pas Norma pour Norma Talmadge et Jean pour Jean Harlow comme bon nombre de biographes pensent). Il semblerait que Gladys aurait reporté tout son amour maternel sur la petite fille, allant jusqu'à projeter de la kidnapper pour l'emmener avec elle à Los Angeles.
De son côté, Jasper se remarie. S'avouant vaincue, ne pouvant voir ses enfants que de façon irrégulière, et réalisant qu'elle ne pourra jamais les récupérer définitivement, Gladys décide de repartir à Los Angeles et va finir par perdre de vue ses enfants.
Marilyn écrira plus tard: "Ma mère dépensa toutes ses économies pour récupérer les enfants. Finalement, elle les retrouvera dans le Kentucky où ils vivaient dans une belle maison. Leur père s'était remarié et vivait dans l'aisance. Elle le rencontra mais ne lui demanda rien, pas même d'embrasser les enfants qu'elle avait recherché pendant si longtemps."

mmfather1A Los Angeles, Gladys parvient à trouver un emploi dans la florissante industrie du cinéma: elle travaille six jours sur sept comme monteuse pour la Consolidated Film Industries, puis pour la Columbia et enfin pour la RKO. A la Consolidated Film Industries, elle se lie d'amitié avec une collègue, la surveillante Grace McKee. A la fin de l'été 1923, elles dédicent alors de partager un appartement au 1211 Hyperion Avenue (aujourd'hui le Silver Lake) à Los Angeles, à quelques kilomètres à l'Est de Hollywood. Gladys change d'apparence et teint ses cheveux en rouge cerise. Les deux femmes -Gladys et Grace- mènent une vie joyeuse de femmes célibataires, se promenant en ville et faisant beaucoup la fête. Un collègue de Gladys, Vernon S. Harbin dira que Gladys "avait la réputation d'être un pilier de bar". Mrs Leila Fields, qui travaillera avec Gladys à la RKO, dira d'elle: "C'était une belle femme, une des plus belles femmes que j'ai eu le privilège de rencontrer. Elle avait bon coeur, était une bonne copine et était toujours de bonne humeur avant sa maladie."
C'est aussi dans cette usine -la Consolidated Film Ind.- que Gladys rencontre un bel homme, Charles Stanley Gifford (le père "présumé" de Marilyn, portrait photographique ci-dessus), un véritable coureur de jupons, éléguant et distingué.

  >> Gladys au Noël de la Consolidated Film Industries
1920s-christmas_consolidated_film_industry-1 1920s-christmas_consolidated_film_industry-1b 1920s-christmas_consolidated_film_industry-1a

 

edward_mortenson Pendant l'été 1924, Gladys fréquente assidûment un homme, Edward Mortensen (photographie ci-contre) immigrant norvégien, bel homme qui est un bon parti, avec un travail stable. Ils se marient le 11 octobre 1924. Mais Gladys, sans doute trop frivole et incapable de partager une vie maritale, se lasse très vite de sa nouvelle vie; elle confie à Grace que la vie avec son mari est certes convenable, mais ennuyeuse à mourir et à peine quatre mois après son mariage, elle quitte le domicile conjugual le 26 mai 1925 pour aller revivre avec Grace. Le couple finit donc par divorcer. Et Gladys de reprendre sa vie légère faites d'aventures et d'amusement entre amis. Elle renoue quelques temps une liaison avec Charles Stanley Gifford.
En 1924, elle retourne tout de même dans le Kentucky afin de revoir ses enfants mais ces derniers sont restés trop longtemps éloignés de leur mère, et aussi probablement manipulés; pour eux, leur mère n'est qu'une étrangère. Gladys se résoud à laisser la garde définitive à leur père.

>> Certificat de mariage avec Mortensen
1924-10-11-mortensen_wedding_certificate-1  1924-10-11-mortensen_wedding_certificate-2 

>> Gladys (2ème en partant de la droite) et des amies
avec annotation de Marilyn

1920s-gladys_friends-1a 
1920s-gladys_friends-1b 

>> vers 1924 - Portraits de Gladys
 1924-gladys-1-2 1924-gladys-1-1 1924-gladys-1-3
1924-gladys-1-4 1924-gladys-1-5 1924-gladys-1-various

A la fin de l'année 1925, Gladys se retrouve enceinte. Elle donne naissance à une petite fille qu'elle prénomme Norma Jeane Mortenson (future Marilyn Monroe) le 1er juin 1926. A l'hôpital, dont le séjour est payé grâce à une collecte de ses collègues, elle affirme que ses deux premiers enfants sont décédés. Elle déclare que le "père" de l'enfant est Martin Edward Mortensen, son précédent mari, mais il semblerait que le père soit Charles Stanley Gifford, son collègue qu'elle fréquente épisodiquement depuis 1923 et qui l'aurait abandonné dès qu'il aurait su qu'elle était enceinte. Cependant, des biographes citent d'autres pères potentiels, tous des collègues de Gladys: Harold Rooney, Clayton MacNamara, ou encore Raymond Guthrie qui avait fait une cour enflammée à Gladys au cours de l'année 1925.
Plusieurs années après, Gladys sympathisera avec une jeune infirmière Rose Anne Cooper qui rapportera les propos de Gladys: "Elle disait qu'elle avait été intime avec un certain nombre d'hommes et elle parlait de son passé, disant ouvertement que lorsqu'elle était jeune, elle était 'très sauvage' comme elle disait. Cependant, pour elle, le seul genre d'intimité pouvant mener à une grossesse était celle qu'elle avait partagé avec 'Stan Gifford'. Elle avait toujours été ennuyée par le fait que personne ne semblait vouloir la croire, mais que c'était la vérité. Elle disait que même sa propre mère ne la croyait pas. 'Tout le monde pensait que je mentais ou que je ne le savais pas. Je savais. J'ai toujours su', racontait-elle".
Elle ne réclamera jamais de soutien ni moral ni financier à Charles Stanley Gifford.
Marilyn Monroe racontera plus tard: "Elle ne parlait presque jamais sauf pour dire "Ne fais pas tant de bruit, Norma." Elle me disait ça même quand j'étais au lit le soir avec un livre. Même le bruit d'une page de livre qu'on tournait l'agaçait. Il y avait un objet dans l'appartement de ma mère qui me fascinait. C'était une photographie accrochée au mur. Il n'y avait rien d'autre sur les murs que cette photographie encadrée. Chaque fois que je rendais visite à mère, je restais plantée devant en retenant mon souffle tellement j'avais peur qu'elle m'ordonne d'arrêter de la regarder. Un jour, elle m'a surprise ainsi, mais elle ne m'a pas grondée, bien au contraire. Elle m'a fait monter sur une chaise pour que je la vois mieux. Elle m'a dit :"C'est ton père." J'étais tellement bouleversée que j'ai failli tomber de la chaise. C'était si bon d'avoir un père, de pouvoir regarder sa photo et de savoir que j'étais de lui. Et quelle merveilleuse photo, en plus ! Il était coiffé d'un grand chapeau mou qu'il portait incliné sur le côté. Il avait des yeux rieurs et pleins de vie et une petite moustache à la Clark Gable. Cette photo me réconfortait... J'ai demandé à ma mère comment il s'appelait. Elle ne m'a pas répondu. Elle est allée s'enfermer dans sa chambre." 

>> 01/06/1926 - Certificats et Acte de naissance de Norma Jeane
1926-06-01-birth_certificate-1    1926-06-01-birth_certificate-3  
1926-06-01-birth_certificate-2

Après la naissance de l'enfant, Gladys rentre chez elle avec son bébé, au 5454 Wilshire Boulevard. Mais le 13 juin 1926, soit douze jours après la naissance de Norma Jeane, Gladys place le bébé dans une famille d'accueil -les Bolender- qui vivent à Hawthorn, à environ 25 km de chez elle, et non loin d'où vit Della Mae. Gladys avait echoué dans son rôle de mère avec ses deux premiers enfants, et avec son travail à plein temps et son goût pour les plaisirs et sorties, elle est incapable d'élever une enfant. C'est d'ailleurs sa mère Della Mae qui lui a conseillé de placer le bébé chez une famille d'accueil, les Bolender, un couple sérieux et dévot qu'elle connait bien, puisqu'ils sont voisins. Cependant, cette situation semble n'être que temporaire pour Gladys: elle s'installe quelques temps chez les Bolender, avant de retourner vivre chez elle et de verser 25 Dollars par mois à la famille d'accueil. Elle rend aussi visite à sa fille le week-end, comme le racontera Wayne Bolender: "Gladys venait presque tous les samedis vers midi. Il lui arrivait de passer la nuit ici, mais généralement, elle avait un rendez vous le samedi soir ou bien elle était invitée à une soirée, auquel cas elle repartait pour Hollywood au bout de quelques heures." Marilyn racontera plus tard que quand sa mère venait la voir, jamais elle ne lui montrait une marque d'affection; elle lui parlait à peine, ne l'embrassait pas et ne lui souriait pas: "C'était la belle dame qui souriait jamais. Je l'avais vue souvent auparavant mais je ne savais pas exactement qui elle était. Quand je lui ai dit:"Bonjour Maman", elle m'a regardée avec stupeur. Elle ne m'avait ni embrassée ni prise dans ses bras, elle ne m'avait jamais tellement parlé."
Sans doute les Bolender aurait peut être voulu adopter Norma Jeane, comme ils l'ont fait avec d'autres enfants dont ils s'occupaient, mais Gladys s'y est opposée, espérant reprendre un jour sa fille.
Le 18 août 1926, le divorce d'avec Mortenson est prononcé.

>> 1926 - Gladys et Norma Jeane
1926-gladys_with_nj-1-2 21604_0717_9_lg  1926-gladys_with_nj-1-3

Au début de l’année 1927, Gladys s'installe chez sa mère Della Mae qui rencontre de sérieux problèmes de santé; elle est notamment atteinte de fréquentes infections respiratoires. Malgré le surcroît de transport en trolley pour aller à son travail, Gladys s'occupe de sa mère et se retrouve ainsi aussi dans la même rue des Bolender, ce qui lui permet alors de voir plus fréquemment sa fille.
La maladie du coeur de sa mère s'aggrave rapidement, suivie d'une profonde dépression: elle souffre de délires, d'euphorie, de sautes d'humeur, de colères et d' hallucinations. Elle est hospitalisée au Norwalk State Hospital  le 4 août 1927 où on lui diagnostique une myocardite aiguë (inflammation du coeur et des tissus environnants ) et elle y décède le 23 août 1927, à l'âge de 51 ans, d'un arrêt cardiaque pendant une crise de folie. Gladys s'occupe des funérailles, faisant enterrer sa mère auprès du premier mari de celle-ci et père de Gladys, Otis Elmer Monroe, au Rose Hill Cemetery, à Whittier. Gladys sombre dans la déprime, mais parvient à faire face au deuil et reprend son activité de monteuse pour les studios de cinéma (à la Columbia et à la RKO).

>> 1928, Santa Monica - Gladys et sa fille Norma Jeane,
son frère Marion avec sa femme Olive et leur fille Ida May
 21604_0717_6_lg  1900s_NJFamily_Gladys00100  21604_0717_8_lg
1928-santa_monica-2-olive_gladys-2  1928_nj_beach_01_1 
1928_nj_beach_02_7 1928_onbeach2 
1928_nj_beach_02_2 1928_onbeach 1928_nj_beach_02_3a
1928_nj_beach_03_1 
1928-santa_monica-3-gladys_olive-1  

Pendant sept ans, Norma Jeane va rester chez les Bolender, recevant la visite de sa mère qui de temps en temps, la prenait pour un week-end. En 1933, lorsque Norma Jeane est atteinte de la coqueluche, Gladys va rester quelques jours chez les Bolender, puis quelques temps après, elle retire sa fille de chez les Bolender car la petite restait inconsolable après la mort de son chien Tippy, tué par un voisin. Marilyn se souviendra: "Un jour, ma mère est venue me voir. J'étais en train de faire la vaisselle. Elle me regardait sans dire un mot. Quand je me suis retournée, j'ai été surprise de voir ses yeux pleins de larmes. Elle m'a dit: "Je vais faire construire une maison et nous y vivrons toutes les deux. Elle sera peinte en blanc et il y aura un petit jardin derrière."
Elles vivent ensemble dans l'appartement de Gladys au 6021 Afton Place, situé près des studios de Hollywood où elle travaille comme monteuse en free-lance avec son amie Grace. Gladys et Grace emmènent parfois Norma Jeane visiter les studios d'Hollywood, mais aussi au cinéma pour aller voir les derniers films sortis. La même année, en 1933, Gladys obtient un prêt de 5000 Dollars de la Mortgage Guarantee Company de Californie pour acheter une maison meublée de six pièces, dont trois chambres, au 6812 Arbol Street, près de Hollywood Bowl. Dans la maison, il y a aussi un piano demie-queue blanc de la marque Franklin (ayant appartenu à l'acteur Fredric March) qui a séduit Gladys. Pour faire face aux charges, Gladys loue une chambre de la maison à un couple d'anglais, George Atkinson, sa femme et leur fille. Pour Norma Jeane, c'est un nouveau mode de vie, elle expliquera plus tard: "La vie devint désinvolte et tumultueuse, c'était un changement radical après ma première famille. Quand ils travaillaient, ils travaillaient dur, et le reste du temps, ils s'amusaient. Ils aimaient danser et chanter, ils buvaient et jouaient aux cartes et avaient un tas d'amis. A cause de mon éducation religieuse, j'étais affreusement choquée -j'étais persuadée qu'ils finiraient tous en enfer. Je passais des heures à prier pour eux."
A cette époque, Norma Jeane ressent les premiers attraits vers le cinéma. Pendant les vacances scolaires, elle reste des heures dans les salles de cinéma, comme elle le racontera plus tard: "J'étais assise, toute la journée, quelques fois une partie de la nuit -face à l'écran tellement grand pour une petite fille comme moi, toute seule, et j'adorais ça. Rien ne m'échappait de ce qui se passait - et il n'y avait pas de pop-corn à l'époque."
Le 17 août 1933, le fils de Gladys, Robert 'Jackie Kermit' Baker qui vit dans le Kentucky avec son père, décède à l'âge de 16 ans des suites d'une infection rénale. Le garçon était atteint d'une tuberculose osseuse déclarée après son accident à la hanche quand il était petit. Gladys n'avait plus aucun contact avec ses enfants de son premier mariage. Robert 'Jackie' n'a donc jamais revu sa mère et n'a jamais su l'existence de sa demie-soeur Norma Jeane.

>> 1933, Californie - Gladys
1933-california-gladys-1 
1933 - Gladys et sa fille Norma Jeane
1933_NJ_01_1_with_gladys 

Le 29 mai 1933, le grand-père de Gladys qu'elle n'a jamais connu, Tilford Hogan, s'est pendu. Gladys prend peur: son père et sa mère sont morts dans des hôpitaux psychiatriques, après des phases de démence; elle reste donc persuadée que ces problèmes sont héréditaires et que sa santé mentale est en jeu. Peu à peu, elle entre en dépression et est soignée par médicaments. En janvier 1934, Gladys fait une crise d'hystérie, tremblante et recroquevillée sous l'escalier. Les Atkinson se voient obligés d'appeler une ambulance qui emmène de force Gladys à l'hôpital Los Angeles General Hospital. Cet événement va marquer Norma Jeane à jamais; Marilyn se souviendra plus tard: "Soudain, il y eu un bruit épouvantable dans l'escalier, à côté de la cuisine. Je n'avais jamais rien entendu d'aussi effrayant. Des coups et des bruits sourds qui semblaient ne jamais devoir s'arrêter. J'ai dit :"Il y a quelque chose qui tombe dans l'escalier." L'anglaise m'a empêcher d'aller voir. Son mari est sorti et il est revenu dans la cuisine au bout d'un certain temps en disant: "J'ai fait appeler la police et une ambulance." J'ai demandé si c'était ma mère et il m'a répondu :"Oui, mais tu ne peux pas la voir." Je suis restée dans la cuisine et j'ai entendu des gens arriver et essayer d'emmener ma mère. Personne ne voulait que je la voie. Tout le monde me disait: "Sois mignonne, petite, reste dans la cuisine. Elle va bien. Ce n'est rien de grave!" Mais je suis sortie quand même et j'ai jeté un coup d'oeil dans l'entrée. Ma mère était là, debout. Elle hurlait et elle riait en même temps. Ils l'ont emmenée à l'hopital spychiatrique de Norwalk. Celui où on avait emmené le père de ma mère et ma grand mère quand ils avaient commencé à hurler et à rire ( ..) J'ai longtemps continué à entendre le bruit épouvantable dans les escaliers, avec ma mère qui hurlait et riait pendant qu'ils l'entrainaient hors du havre familial qu'elle avait tenté de construire pour moi". En février 1934, Gladys est autorisée à rentrer chez elle, mais elle est à nouveau hospitalisée pendant plusieurs mois dans un asile de Santa Monica, puis transférée au Los Angeles General Hospital et en décembre, elle rejoint le Norwalk State Hospital. Gladys va passer les quarante années suivantes entre diverses institutions. Il semble qu'elle souffrait de troubles mentaux et ne pouvait mener une vie normale hors d'un encadrement spécialisé. Cependant, les soins apportés à cette époque étaient quelques peu rudimentaires et il est possible qu'un traitement non adapté n'ait fait qu'empirer son état.
Durant cette période difficile, les Atkinson et Grace McKee s'occupent alternativement de Norma Jeane, qui parvient à voir sa mère lors de rares week-end où Gladys est autorisée à sortir; lorsque c'est le cas, Gladys, Grace et Norma Jeane vont déjeuner à l'Ambassador Hotel. Marilyn confiera: "Je veux tout simplement oublier tout le malheur, toute la misère qu'elle a eus dans sa vie, et tous ceux que j'ai eus dans la mienne. Je ne peux pas oublier, mais j'aimerais essayer. Quand je suis Marilyn Monroe et que je ne pense pas à Norma Jeane, cela marche quelquefois."
Le 15 janvier 1935, Gladys est déclarée aliénée, souffrant de schizophrénie paranoïde, par les médecins du Norwalk State Hospital. Le rapport du médecin chef déclare : "Sa maladie se caractérise par des préoccupations religieuses et par une dépression profonde et une certaine agitation. Cet état semble chronique".

Le 25 mars 1935, Grace McKee devient la représentante légale de Gladys, par décision de la Cour Supérieure de Justice de Californie. Le bilan de la situation financière de Gladys est dressé: elle dispose de 60$ sur son compte en banque, de 90$ en chèques non endossés sur une assurance, d'un meuble de radio (d'une valeur de 25$ dont 15 n'ont pas été payés et sont dus au magasin); ses dettes s'élèvent à 350$ sur une Plymouth et de 200$ d'arriérés sur le piano blanc.
Pour combler les dettes, Grace revend la voiture à son précédent propriétaire, vend le piano pour 235$, et revend le crédit de la maison.

>> 25/03/1935 - Décision de la Cour: Grace tutrice des biens de Gladys
et situation financière de Gladys:
1935-03-25-grace_guardian-1 1935-03-25-grace_guardian-2 1935-03-25-grace_guardian-bilan 

>> Etat des finances de Gladys - 28/09/1936
1936-09-28-report_account-1 1936-09-28-report_account-2 1936-09-28-report_account-3
1936-09-28-report_account-4 1936-09-28-report_account-5 1936-09-28-report_account-6
1936-09-28-report_account-7 1936-09-28-report_account-8 

En 1938, Gladys tente de s'enfuir du Norwalk State Hospital. Elle racontera avoir reçu des appels téléphoniques de Martin Edward Mortensen, son précédent époux, ce qui est impossible car celui-ci est décédé dans un accident de moto neuf ans auparavant. Cependant, il existe un homonyme, un homme se nommant aussi Martin Edward Mortensen, vivant à Riverside Country en Californie, qui revendiquera bien longtemps après la paternité de Marilyn et pour lequel on retrouvera dans ses affaires après sa mort, le 10 février 1981, des documents le liant à Gladys (les papiers de mariage et divorce, mais aussi le certificat de naissance de Norma Jeane).
Après cette tentative d'évasion qui a échouée, Gladys est transférée au Agnew State Asylum, un établissement adapté pour les personnes souffrant d'hallucinations schizophrénique, situé à San José, près de San Francisco. C'est à partir de ce moment que Norma Jeane verra que très peu sa mère. Un jour, Grace emmène Norma Jeane à la pension de la clinique où vit Gladys: cette dernière ne lui adresse pas la parole jusqu'au moment de partir, où elle dit à sa fille: "Tu avais de si jolis petits pieds".

Durant l'Hiver 1938, Gladys écrit une lettre à sa fille Berniece, l'envoyant à Flat Lick chez les parents de Jasper. Mais ces derniers étant décédés, le facteur a transmis la lettre au frère de Jasper qui vit aussi à Flat Lick, qui la renvoie à son tour à Jasper qui vit désormais à Pineville, en Louisianne. Dans cette lettre, Gladys explique à Berniece qu'elle a une demi-soeur, Norma Jeane, âgée de douze ans, qui vit chez les Goddard (Grace McKee s'est mariée à Ervin Goddard en 1935). Gladys supplie aussi Berniece de la sortir de l'Agnew State Hospital, et lui donne l'adresse de sa tante (la soeur de Della Monroe), Dora Hogan Graham, qui vit à Portland, dans l'Oregon. Berniece répond à sa mère en lui informant qu'elle a contacté diverses personnes (dont Dora) et qu'elle va tout tenter pour la faire sortir.

>> Etat des finances de Gladys - 07/02/1940
1940-02-07-report_account-1 1940-02-07-report_account-2 1940-02-07-report_account-3
1940-02-07-report_account-4 1940-02-07-report_account-5 

>> 1940s - Gladys et Grace (McKee) Goddard
1940s-gladys_grace-1 

>> 1940s, Reno - Gladys
1940s-gladys-reno-1

En 1945, Dora Hogan Graham, qui vit à Portland, intervient auprès des autorités pour qu'on laisse sortir Gladys, qui en retour, accepte de vivre avec sa tante pendant un an. L'été 1945, l'hôpital 'Agnew State Hospital' la laisse alors sortir avec 200$ et deux robes, déclarant que Gladys ne représente plus un danger ni pour elle, ni pour les autres. Gladys part vivre chez sa tante Dora et trouve du travail en faisant le ménage et effectuant des soins non-médicaux à des patients en convalescence et invalides. Elle s'habille de blanc, comme une infirmière. Dora écrit une lettre à Berniece en lui racontant que Gladys s'intéresse beaucoup à la Science Chrétienne, et qu'elle souhaite soigner des gens malades sans l'apport de la médecine.
En novembre et décembre 1945, Norma Jeane voyage dans l'Ouest des Etats-Unis avec le photographe André DeDienes pour un reportage photographique: ils vont jusque dans le désert de Mojave et dans le Nevada. Lors de leur passage dans l'Oregon, ils font une halte à Portland pour rendre visite à Gladys où ils arrivent les bras chargés de cadeaux. Mais après des années passées dans des institutions, Gladys est devenue totalement asociale, fermée sur elle-même et très amaigrie. Ces retrouvailles vont marquer profondément Norma Jeane: e
lle embrasse sa mère et lui montre les photos prises par Dedienes. Gladys reste murée dans son silence, vissée dans son fauteuil. DeDienes racontera plus tard: "La rencontre entre la mère et la fille manquait de chaleur. Elles n'avaient rien à se dire. Mrs Baker était une femme d'un âge incertain, émaciée et apatique, ne faisant aucun effort pour nous mettre à l'aise. Norma Jeane faisait bonne figure. Elle avait déballé nos cadeaux: une écharpe, du parfum, des chocolats. Ils restèrent où nous les avions posés, sur la table. Il y eut un silence. Puis Mrs Baker cacha son visage dans ses mains et sembla nous oublier complètement. C'était très pénible. Apparement, ils l'avaient laissée sortir trop tôt de l'hopital." Déboussollée, Norma Jeane s'agenouille auprès de sa mère qui finit par lui murmurer: "J’aimerais tellement vivre avec toi Norma Jeane." Retenant ses larmes, Norma Jeane embrasse sa mère et lui laisse son adresse et son numéro de téléphone avant de partir. En reprenant la route avec Dedienes, elle restera inconsolable, ne cessant de pleurer. En effet, Gladys reste plus ou moins une étrangère pour Norma Jeane qui ne l'a, finalement, que très peu connue. De plus, Norma Jeane vient de signer un contrat de modèle et aspire à faire carrière. Elle se sent donc incapable de prendre soin de Gladys qui souffre de problèmes mentaux.

Gladys insiste et ne cesse d'implorer sa fille Norma Jeane lui réclamant de l'aide. En avril 1946, Norma Jeane cède et envoie de l'argent à sa mère pour qu'elle la rejoigne à Los Angeles. Elles partagent deux petites chambres louées par Norma Jeane, en dessous de chez "tante" Ana Lower, sur Nebraska Avenue. Gladys n'est pas en forme; elle est obsédée par la Science Chrétienne et découvre, par le biais des pouvoirs guérisseurs d'Ana Lower, les possibilités de l'esprit sur la maladie et étudie ainsi dévotement de nombreux livres sur ce thème. Elle assiste aussi aux services de l'Eglise tous les dimanches. Eleanor 'Bebe' Goddard (la fille de Doc Goddard, le mari de Grace McKee) racontera: "Elle errait et était imprévisible. Elle était docile mais absente."
Un jour, Gladys, toute de blanc vêtue, se rend à l'agence de modèle de sa fille (BlueBook) et déclare à la directrice Emmeline Snively, en lui saisissant la main: "Je suis simplement venue vous remercier personnellement pour tout ce que vous avez fait pour Norma Jeane. Vous lui avez offert une nouvelle vie."
En août 1946, Berniece se rend à Los Angeles avec sa fille Mona Rae pour rendre visite à sa famille. A leur arrivée à l'aéroport de Burbank, Norma Jeane, Grace McKee, Ana Lower et Gladys sont venues les accueillir.

>> Août 1946, Santa Monica - Gladys et ses filles
(Berniece et Norma Jeane) et sa petite fille Mona Rae
 1946_NJ_with_family_santamonicabeach_020_1 1946_NJ_with_family_santamonicabeach_030_1  

1946-08-berniece_gladys_nj-1  1946-08-berniece_gladys-1

>> Août 1946, Los Angeles, dans un restaurant chinois:
Berniece, Mona Rae, Grace, Norma Jean, Ana Lower et Gladys.
1946-08-LA-berniece_monarae_grace_friend_nj_ana_gladys

Après plusieurs semaines, Gladys rechute et doit à nouveau rejoindre l'hôpital Norwalk State Asylum. Grâce à ses salaires gagnés en tant que modèle, Norma Jeane envoie de l'argent pour améliorer la prise en charge de sa mère.
Gladys entretient une correspondance épistolaire avec Margaret Cohen (la mère de la petite Norma Jeane qu'elle gardait à Louisville en 1923); elle lui confie, dans une de ses lettres envoyée l'été 1946: "Mes propres filles ne me comprennent pas, elles n'essayent même pas". Gladys lui demande aussi des nouvelles de Norma Jeane Cohen, âgée désormais de 26 ans, souhaitant reprendre contact avec elle.
En février 1948, Gladys sort de l'hôpital et emmènage chez Ana Lower; elle trouve un emploi de femme de ménage.
Le 30 mai 1948, Gladys écrit une lettre à Berniece, lui reprochant notamment le fait qu'elle ne lui ait pas annoncée la mort de Tante Ana Lower, décédée le 14 mars, mais aussi car Berniece n'a pas répondu à sa dernière lettre:

>> Juin 1948 - Lettre de Gladys à Grace
1948-06-gladys_letter_to_grace  

>> Lettre non datée de Gladys à Norma Jeane
(merci à Eduardo)

gladys_letter-1 

Le 20 avril 1949, Gladys épouse John Stewart Eley, un électricien originaire de Boise, dans l'Idaho. Norma Jeane apprend la nouvelle par une lettre que lui a envoyée Grace. Mais John est déjà marié et son épouse vit à Boise.
En 1951, Marilyn demande à Inez Melson, l'administratrice de ses affaires, de faire des visites régulières à Gladys, pour s'assurer de son bien être tandis qu'elle continue à fréquenter diverses institutions. En 1952, Inez Melson persuade Marilyn qu'elle la désigne comme tutrice légale de Gladys. Gladys travaille dans une clinique privée à Homestead Lodge, près de Pasadena.
Le 23 avril 1952, John Stewart Eley meurt d'une affection cardiaque à l'âge de 62 ans et Gladys se retrouve veuve. La semaine suivante, l'existence de la mère de Marilyn est révélée par le journaliste Erskine Johnson: Marilyn a toujours dit qu'elle était orpheline; mais avec le scandale du calendrier où elle a posé nue en 1949 et qui fait surface cette année là, des journalistes curieux enquêtent et découvrent que sa mère n'est pas morte, contrairement à ce qu'a encore déclaré Marilyn la semaine précédente dans une interview pour Redbook, et que celle-ci a fréquenté des institutions psychiatriques. Marilyn accorde alors une interview, publiée le 3 mai 1952, qu'elle a préparée avec Sidney Skolsky, et y déclare notamment: "Je n'ai jamais connu ma mère intimement et, depuis que je suis adulte, je suis entrée en contact avec elle. A présent, je l'aide et veux continuer à l'aider tant qu'elle aura besoin de moi." Puis Marilyn reçoit alors une lettre implorante de sa mère: "Chère Marilyn, Je t'en prie, ma chère fille, j'aimerais avoir de tes nouvelles. Je n'ai que des soucis ici, et j'aimerais bien partir le plus vite possible. Je préfèrerais avoir l'amour de mon enfant que sa haine. Tendrement, ta mère." Gladys continue à entretenir aussi des relations avec sa fille Berniece: elle lui rend visite en Floride au cours de l'année 1952.

>> 1952, Floride - Berniece, Gladys et Mona Rae
1952-florida-berniece_gladys_monarae-1 

Le 9 février 1953, d'après les conseils de Grace McKee, Marilyn fait transférer Gladys dans un établissement plus confortable, l'institution privée Rockhaven Sanatorium, à Verduga City, afin de protéger sa mère contre les journalistes trop curieux; Marilyn paie alors 300$ par mois pour les frais d'hospitalisation.
Marilyn racontera: "Longtemps, j'ai eu peur de m'apercevoir que je ressemblais à ma mère et que je finirais comme elle dans un asile de fous. Quand je déprime, je me demande si je vais craquer, comme elle. Mais j'éspère devenir plus forte."

>> 22/03/1956 - chèque de 600 Dollars de Marilyn
adressé à Inez Melson pour l'hospitalisation de Gladys
(merci à Eduardo)

1956-03-22-check 

En 1959, Marilyn assure définitivement l'avenir financier de sa mère par un fonds de fidéicommis (qui désigne une disposition juridique -souvent testamentaire- par laquelle un bien est versé à une personne via un tiers). Pour Noël 1959, Gladys envoie ses souhaits à Marilyn, signant toujours du nom de son dernier époux décédé: "Loving Good Wishes, Gladys Pearl Eley":

>> Noël 1959 - Carte de voeux de Gladys pour Marilyn:
1959-12-gladys_letter_to_mm

Au cours du premier trimestre 1960, pendant que Marilyn tourne le film "Le Milliardaire" ("Let's Make Love"), elle donne une interview au journaliste George Belmont, à qui elle évoque notamment son enfance et sa mère. Elle déclare alors que sa mère est "morte".
Le 5 août 1962, le monde entier apprend le décès de Marilyn Monroe. Gladys en est très affectée; elle ne se rend pas à l'enterrement et fera plusieurs tentatives de suicide. Le 22 août 1962, elle écrit une lettre à Inez Melson, la remerciant de son soutien et rappelant qu'elle avait enseigné la science chrétienne à Norma Jeane: "I am very greatefull for your kind and gracious help toward Berniece and myself and to dear Norma Jeane. She is at peace and at rest now and may our God bless her and help her always. I wish you to know that I gave her (Norma) Christian Science treatment for approximately a year."

>> 22/08/1962 - Lettre de Gladys à Inez Melson:
1962-08-22-gladys_letter_to_inez

Un jour, en 1963, elle s'enfuit de Rockhaven Sanatorium; elle est retrouvée le lendemain, dans une église de San Fernando Valley, serrant dans ses mains une bible et un livre de prières de la Science chrétienne.
Inez Melson déclarera: "La mère de Marilyn se consacrait toute entière à sa religion, la Science chrétienne, et était principalement préoccupée par le mal. C'est là que se situait ses dysfonctionnements. Elle pensait avoir fait quelque chose de mal dans sa vie, et qu'elle serait punie pour cela."

>> 1963 - Gladys
1963-gladys-1-1 1963-gladys-1-2  

Le 27 avril 1966, elle est transférée au Camarillo State Hospital où elle y reste un an. Elle reçoit régulièrement la visite de Inez Melson:

>> 1966 - Gladys et Inez Melson
-photographies-

1966-gladys_with_berniece-1 1966-gladys_with_berniece-3 1966-gladys_with_berniece-2
-captures-
1966-gladys_inez_melson-cap01 1966-gladys_inez_melson-cap02 1966-gladys_inez_melson-cap03

1966-gladys_inez_melson-cap04 1966-gladys_inez_melson-cap05 1966-gladys_inez_melson-cap06
1966-gladys_inez_melson-cap07 1966-gladys_inez_melson-cap08 1966-gladys_inez_melson-cap09
1966-gladys_inez_melson-cap10 1966-gladys_inez_melson-cap11 1966-gladys_inez_melson-cap12
-video-

En 1967, elle part vivre chez sa fille Berniece en Floride.
En 1970, c'est sous le nom de Gladys Eley qu'elle intègre la maison de retraite Collins Court Home, à Gainesville en Floride. Aux journalistes curieux qui tentent de l'approcher pour qu'elle leur évoque sa célèbre fille Marilyn, elle leur répond: "Ne me parlez pas de cette femme !". En 1972, elle déclare à James Haspiel, un fan de Marilyn qui l'a connu et suivi pendant de nombreuses années: "Je n'ai jamais voulu qu'elle fasse ce métier !"
En 1980, c'est Lawrence Cusak qui devient son tuteur légal.
Le 11 mars 1984, c'est à l'âge de 81 ans que Gladys meurt d'une crise cardiaque; elle est incinérée.

>> Années 1980s - Gladys
1980s-gladys-1-1  1980s-gladys-1-2
1980s-gladys-1-1a  1983-gladys-1-1


> sources pour l'article:
Livres:
Marilyn Monroe, L'encyclopédie, de Adam Victor The secret life of Marilyn Monroe, de J. Randy Taraborelli / Marilyn Monroe de Roger Baker
Sur le blog:
enfance de Marilyn évoquée dans l' Interview de Georges Belmont
Sur le web: biographie d'Yria sur le forum mmonline /
article "family" sur marilynmonroesplace / fiche Gladys sur findagrave , sur geni , sur imdb


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

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14 novembre 2014

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


 Documents papiers


Lot 708: MARILYN MONROE RECEIVED LETTER REGARDING BOND
 A Marilyn Monroe received letter. The envelope is addressed to Marilyn Monroe at 1215 Lodi Place in Los Angeles from Opal M. Clark and postmarked July 22, 1948. A note to Monroe reads in full, “Here is your bond Norma – please sign the enclosed receipt + return to me. Hope all is well with you. With love – Opal.” At the time, Monroe was living at the Hollywood Studio Club, a residence for women in the film industry.
4 1/4 by 9 1/2 inches
Winning bid: $384 - Estimate: $150 - $300
juliens-mmauction2014-lot708


Lot 709: MARILYN MONROE EMPLOYMENT RECORDS
 A group of seven Marilyn Monroe employment documents from Twentieth Century-Fox Studios. The documents date from 1947 to 1949 and include two employment opening and four employment closing notices as well as one change of rate card. These cards represent Monroe’s first forays into film work. Notable are the cards filled out during her work on The Dangerous Years (20th Century, 1947), indicated on the opening and closing cards as being for a “Sol Wurtzel Prod.,” and a starting card dated August 27, 1949, for her role as Clara in the film A Ticket to Tomahawk (20th Century, 1950), indicating that Monroe flew to the filming location with a closing card from this film dated October 21, 1949, stating that filming was finished. One closing card indicates her first firing from Fox. Dated August 25, 1947, the card explains “Option Not Exercised” after only a year; the studio opted not to take Monroe under contract again at that time. Monroe changed her name from Norma Jeane to Marilyn Monroe when she got her contract with Fox in August 1946. Monroe’s salary during this period ranged from $125 to $200 per week.
4 by 6 inches
Winning bid:$2,560 - Estimate: $2,000 - $3,000
juliens-mmauction2014-lot709


 

Lot 718: MARILYN MONROE SIGNED CHECK
 A Marilyn Monroe signed check dated September 15, 1957, check number 35, in the amount of $12.12 paid to the New York Telephone Company from a Marilyn Monroe Productions Inc. account with Colonial Trust Company. The check information is typed and signed by Monroe in blue ink. Below her signature is her title with Marilyn Monroe Productions Inc., President.
3 by 8 1/4 inches
 Winning bid:$7,040 - Estimate: $2,500 - $3,000
juliens-mmauction2014-lot718 


 Lot 720: MARILYN MONROE FILM SYNOPSIS FROM ARCHIVE
 A five-page screenplay synopsis for the unproduced film "Miss Nobody" written by Garson Kanin. The typed document heading reads “ Original Screenplay – 140pp.” and “Henry F. Greenberg/ May 5, 1950.” It is presumed Monroe was approached to participate in the production.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid:$192 - Estimate: $200 - $400
juliens-mmauction2014-lot720


 Lot 722: MARILYN MONROE TELEPHONE COMPANY DOCUMENTS
 A Marilyn Monroe telephone bill and other telephone company related documents. Items include an April 1951 telephone bill for $180.41 (when adjusting for inflation that is almost $1600 in the 2013 economy); a bill pay reminder; an itemized list of long-distance calls from the phone company (undated); a rate information card addressed to "M. Monroe," postmarked May 1961; and other telephone company related items.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$448 - Estimate: $200 - $400
juliens-mmauction2014-lot722 


 Lot 725: MARILYN MONROE LETTER FROM CARY GRANT
 A Cary Grant typed, signed letter to Marilyn Monroe. The undated letter, written on Grant's personal stationery, followed a recent trip by Grant and his wife to visit troops in Japan and Korea. The letter was accompanied by a gift Grant was asked by a soldier to take to Monroe. Grant also offers his assistance if Monroe should also go visit the troops in Asia. The pair worked together on the film Monkey Business (20th Century, 1952). A notation on verso is written in pencil in an unknown hand.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$3,840 - Estimate: $400 - $600
juliens-mmauction2014-lot725 


Lot 728: MARILYN MONROE EMPLOYMENT RECORDS
 A 22-piece collection of Marilyn Monroe’s earning records from 20th Century Fox. The quarterly records span from 1946 to 1953 beginning after Monroe’s first contract with Fox in August 1946. The weekly accounting of Monroe’s salary illustrates the actress’ rise in star power throughout her career at Fox. In 1953, 20th Century Fox released three Monroe films: How to Marry A Millionaire, Gentlemen Prefer Blondes and Niagra. The records reflect two different employee numbers for Monroe, 63015 and 661616, most likely due to the break in her contract with Fox.
Each, 5 1/2 by 11 inches
 Winning bid:$6,250 - Estimate: $5,000 - $7,000
juliens-mmauction2014-lot728


Lot 739: JANE RUSSELL HANDWRITTEN LETTER TO MARILYN MONROE
 A Jane Russell handwritten letter to Marilyn Monroe. The 10-page letter is written on onionskin paper. Russell starts the letter "Dear Little One" and signs it "Old Jane." In the letter, Russell addresses rumors of Monroe's divorce from Joe DiMaggio and encourages Monroe to rely on religion to help her through this rough period. She discusses Hollywood marriages, including her own, and gives her opinion on fellow actresses' marriages. In part, Russell writes, "I've never written such a letter - But I love you very dearly + I don't want you to be unhappy ever... ."
PROVENANCE From the lost archive of Marilyn Monroe
Winning bid: $3,200 - Estimate: $500 - $700
juliens-mmauction2014-lot739a juliens-mmauction2014-lot739b


 

Lot 747: MARILYN MONROE LETTER RECEIVED WHILE IN KOREA
 A typed letter sent to Marilyn Monroe by Major General Lionel McGarr. Dated February 16, 1954, McGarr thanked Monroe for her appearance, stating that she provided relaxation and a boost for morale. Monroe entertained troops in Korea February 16-19, 1954, while on her honeymoon with Joe DiMaggio. Accompanied by the original hand-delivered transmittal envelope typed “Miss Marilyn Monroe/ ‘Marilyn Monroe VIP Show'/ Korea.”
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid: $768 - Estimate: $300 - $500
juliens-mmauction2014-lot747 


Lot 748: MARILYN MONROE ENCLOSURE CARDS AND MESSAGES
 A group of Marilyn Monroe received floral enclosure cards and other personal cards from friends and family members, including Freddie Fields, “all the boys at M.C.A.," Patsy & Rose D’Amore, “Judy & Jay,” “Aunt Allis,” “Sydney,” Arthur O’Connell, Vernon Scott and others, with personal messages to Monroe. Accompanied by a note written in an unknown hand on Beverly Hills Hotel stationery regarding “M. McCarthy” and a typed message dated November 8, 1954, for Mrs. DiMaggio regarding a cousin. This note has a handwritten notation that reads “he is ??”.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 6 3/4 by 5 1/4 inches
Winning bid: $576 - Estimate: $400 - $600
juliens-mmauction2014-lot748 


Lot 749: MARILYN MONROE LETTER FROM SID ROSS
 A two-page handwritten letter from Sid Ross to Marilyn Monroe. Written on American Airlines stationery, postscript on a third page. The letter expresses Ross’ regret that Monroe couldn’t meet with him and goes on to offer her advice, including “Don’t be the baseball; be the bat.” Accompanied by the original transmittal envelope postmarked May 17, 1953. Ross wrote an article about Monroe in 1952, and his brother, photographer Ben Ross, had three sittings with Monroe in the early 1950s.
PROVENANCE From the lost archive of Marilyn Monroe
10 1/4 by 7 1/4 inches
 Winning bid: $640 - Estimate: $200 - $400
juliens-mmauction2014-lot749 


Lot 750: MARILYN MONROE LETTERS FROM LOTTE GOSLAR
 A pair of letters received by Marilyn Monroe from her teacher and friend, mime Lotte Goslar. Both letters are from January 1954. One is a single-sided handwritten note. The other is handwritten on two-pages, double sided, in which Goslar congratulates Monroe on her marriage to Joe DiMaggio.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 10 1/2 by 7 1/4 inches
Winning bid: $448 - Estimate: $600 - $800
juliens-mmauction2014-lot750 


 

Lot 752: MARILYN MONROE LETTER FROM JOE DiMAGGIO
 A Joe DiMaggio three-page handwritten letter to Marilyn Monroe postmarked October 9, 1954. DiMaggio dates the letter as "Saturday - a.m." and greets Marilyn "Dear Baby." The letter came to Marilyn on the heels of her October 6th announcement to the press that she and DiMaggio were divorcing. In the letter DiMaggio discusses watching the announcement. The letter reads in part, "Don't know what you're thoughts are about me, - but I can tell you I love you sincerely, - way deep in my heart, irregardless of anything." Accompanied by original transmittal envelope addressed to the house the couple shared in Beverly Hills, California.
PROVENANCE From the lost archive of Marilyn Monroe
Winning bid:$78,125 - Estimate: $2,000 - $4,000
juliens-mmauction2014-lot752


Lot 753: MARILYN MONROE LETTER FROM TOM NEAL
 A five-page handwritten letter to Marilyn Monroe from actor Tom Neal. Neal reminds Monroe where they had met previously and offers her support and encouragement during her divorce from Joe DiMaggio. Citing his time in the media spotlight due to his love triangle with Barbara Payton and Franchot Tone, Neal writes in part “Marriage is rough enough without taking on an added burden of marrying someone who doesn’t understand the film industry.” Accompanied by the original transmittal envelope postmarked October 1954.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
 Winning bid:$512 - Estimate: $300 - $500
juliens-mmauction2014-lot753


Lot 754: MARILYN MONROE LETTER FROM SAM SHAW
 A 16-page letter from Sam Shaw to Marilyn Monroe. Handwritten on small notebook paper. Shaw has labeled two pages “7.” He discusses an art opening that he went to and Monroe’s marriage to and divorce from Joe DiMaggio. Accompanied by the original transmittal envelope postmarked December 3, 1954.
PROVENANCE From the lost archive of Marilyn Monroe
7 1/4 by 4 1/4 inches
 Winning bid:$1,562.50 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot754


Lot 755: MARILYN MONROE SEVEN YEAR ITCH TELEGRAM
 A Western Union telegram sent to Marilyn Monroe by Twentieth Century-Fox Studios dated December 23, 1954. The telegram summons Monroe to meet with Lew Schreiber regarding The Seven Year Itch (20th Century, 1955) on December 28, 1954.
PROVENANCE From the lost archive of Marilyn Monroe
10 by 8 inches
Winning bid:$ 1,280 - Estimate: $400 - $600 
juliens-mmauction2014-lot755


Lot 758: MARILYN MONROE LETTER FROM SAM SHAW
 A three-page handwritten letter from Sam Shaw to Marilyn Monroe. The letter discusses a film Shaw has just seen and a postscript that continues on to the back of the third page discussing Monroe’s interest in collecting art. Below the postscript Shaw has drawn a caricature of Monroe with paintings in frames. Accompanied by original transmittal envelope postmarked December 8, 1954.
PROVENANCE From the lost archive of Marilyn Monroe
12 1/2 by 8 inches
Winning bid: $1,125 - Estimate: $800 - $1,200
juliens-mmauction2014-lot758a juliens-mmauction2014-lot758b


Lot 759: MARILYN MONROE LETTER FROM SAM SHAW
 A 12-page handwritten letter from Sam Shaw to Marilyn Monroe. In the letter, Shaw offers his advice for dealing with the press and Monroe’s public image. On the back of the last page Shaw has drawn a caricature of his family with the text “We all love Marilyn/ the Shaws.” Reads in part “I found a shot of you that we both liked...I think this photo puts me in Milton’s class.” Shaw has included a newspaper clipping of Monroe dancing with Clark Gable. Accompanied by two envelopes, the first is stamped without postmark, the second is postmarked December 9, 1954.
PROVENANCE From the lost archive of Marilyn Monroe
9 by 6 inches
Winning bid: $1,125 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot759a juliens-mmauction2014-lot759b
juliens-mmauction2014-lot759c 


Lot 760: MARILYN MONROE 1954 LETTER FROM SAM SHAW
 A one-page handwritten letter from photographer, artist and producer Sam Shaw to Marilyn Monroe. Shaw chastises Monroe for sending neither a hello nor a goodbye note to him and references Shaw giving Monroe’s address to Dame Edith Sitwell. With a drawing on reverse of a grave with a shovel and a tombstone that reads “Here lies his [drawing of a heart] and luve [sic] gone but no [sic] forgotten.” Accompanied by original transmittal envelope postmarked December 10, 1954.
PROVENANCE From the lost archive of Marilyn Monroe
9 by 6 inches
Winning bid:$ 2,187.50 - Estimate: $800 - $1,200
juliens-mmauction2014-lot760a juliens-mmauction2014-lot760b


Lot 761: MARILYN MONROE 1954 LETTER FROM HER LAWYER
 A letter written to Marilyn Monroe from her lawyer, Lloyd Wright Jr. The two-page typed, signed letter, dated October 26, 1954, discusses contracts, endorsements, with references to ghostwriter Ben Hecht and a payment due to Alfred Hayes. Accompanied by original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid: $500 - Estimate: $300 - $500
juliens-mmauction2014-lot761 


Lot 763: MARILYN MONROE CARD FROM MARLON BRANDO
 An enclosure card handwritten to Marilyn Monroe from Marlon Brando. The small card has an image of Asian-inspired scene of a boat in a body of water. Reads in full, “Happy birthday Marylin [sic] from Marlon.”
PROVENANCE From the lost archive of Marilyn Monroe
3 by 4 inches
 Winning bid: $1,920 - Estimate: $400 - $600
juliens-mmauction2014-lot763 


Lot 764: MARILYN MONROE LETTERS FROM HENRY ROSENFELD
A group of three letters from Henry Rosenfeld to Marilyn Monroe, undated, written on lined notepaper. One note addressed “darling” informs Monroe of a present that Rosenfeld purchased for her on the occasion of her birthday. He closes the note, “I want you to be happy above everything else in the world. Always and always, Henry.” Rosenfeld, a wealthy New York dress manufacturer, met Monroe in 1955. They became close, and at some point he proposed to Monroe. The proposal came to nothing, but the pair remained friends.
PROVENANCE From the Collection of Lois Banner
and Lot 756, "Julien's Summer Sale," Julien's Auctions, Las Vegas, June 26, 2009
12 by 8 inches
Winning bid: $384 - Estimate: $200 - $400
juliens-mmauction2014-lot764a juliens-mmauction2014-lot764b 


Lot 767: MARILYN MONROE LETTER FROM CHERYL CRAWFORD
 A letter written to Marilyn Monroe by producer/director Cheryl Crawford. The letter is typed, signed and contains a handwritten postscript. In the letter, Crawford expresses a desire to work with Monroe on future productions. Typed on Crawford’s personal stationery and dated June 8, 1955. Earlier in the year, Crawford introduced Monroe to Lee Strasberg.
PROVENANCE From the lost archive of Marilyn Monroe
10 1/2 by 7 1/2 inches
 Winning bid: $320 - Estimate: $400 - $600
juliens-mmauction2014-lot767


Lot 768: MARILYN MONROE 20TH CENTURY FOX CONTRACT DISPUTE LETTER
 A letter from Twentieth Century-Fox Executive Manager Lew Schreiber to Marilyn Monroe. The single-page typed, signed letter, dated December 16, 1954, is in regard to the disagreement between Monroe and the studio over her contract. In January 1955, Monroe formally announced the formation of Marilyn Monroe Productions Inc.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
 Winning bid: $1,250 - Estimate: $800 - $1,200
juliens-mmauction2014-lot768 


Lot 769: MARILYN MONROE LETTER FROM HENRY GRUNWALD
A typed and signed letter to Marilyn Monroe from Henry Grunwald hand dated "Dec. 30., 1956." The letter reads in part, "It's not the story I had wanted to do on you, of course, but I think it did you justice... ." The letter was written when Grunwald was a senior editor at TIME magazine.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid: $896 - Estimate: $200 - $400
juliens-mmauction2014-lot769 


Lot 770: MARILYN MONROE RECEIVED CORRESPONDENCE
 A group of three notes sent to Marilyn Monroe. The first is a handwritten note regarding a shooting schedule, In an unknown hand signed simply with a heart.The note reads in part, "RELAX - rest and go over the scenes we worked on last Saturday." Written on the back of a TIME magazine memo sheet. The second is a handwritten note believed to have been written by photographer Zinn Arthur to Milton Greene and Monroe. Reads in full, "Milt Thanks for Tryin'. Marilyn - You're a damn good actress and my hat goes off to you - Zinn (Sin)." The third appears to be a typed telegram inviting Monroe to an event at the Ambassador Hotel.
PROVENANCE From the lost archive of Marilyn Monroe
4 by 8 1/2 inches
Winning bid: $320 - Estimate: $400 - $600 
juliens-mmauction2014-lot770


Lot 771: MARILYN MONROE LETTER FROM PAT NEWCOMB
 A two-page typed memo to Marilyn Monroe from Pat Newcomb. Typed on Arthur P. Jacobs Public Relations stationery and dated May 21, 1956. Newcomb wrote regarding the importance of personally reaching out to journalists who had written about Monroe. Handwritten note and sign-off from Newcomb.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid: $384 - Estimate: $200 - $400
juliens-mmauction2014-lot771a juliens-mmauction2014-lot771b 


Lot 773: MARILYN MONROE RIPPED CARD FROM AMY GREENE
 A handwritten card from Amy Greene to Marilyn Monroe that has been ripped in half. On the front of the card is printed “Mrs. Milton Greene.” Dated November 10, 1954, the card gives Greene’s good wishes for Monroe's recovery and an invitation to recuperate from her surgery with the Greenes. Accompanied by a note to “Sidney” on the front of the envelope, also ripped in half, with instructions to deliver the note to Marilyn.
PROVENANCE From the lost archive of Marilyn Monroe
Original size, 3 by 4 inches
Winning bid: $125 - Estimate: $400 - $600
juliens-mmauction2014-lot773a juliens-mmauction2014-lot773b 


Lot 774: MARILYN MONROE LETTER AND CARD FROM JAMES HASPIEL
 A Marilyn Monroe received letter from superfan James Haspiel. The handwritten letter is dated June 9, 1956, and reads in part, “I hope you didn’t mind that wild ride back from the airport – it was wonderful seeing you again, + I guess we all got carried away… .” Accompanied by a “Good-Bye” card from “The Monroe Six” and original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid: $384 - Estimate: $100 - $200
juliens-mmauction2014-lot774a juliens-mmauction2014-lot774b


Lot 775: MARILYN MONROE BIRTHDAY AND GET WELL CARDS
 A group of seven greeting cards sent to Marilyn Monroe. The cards have birthday and get well messages. Birthday greetings: belated birthday card signed “Delosky” (undated); a belated birthday greeting from Dan Hanrahan, who has included his business card and a lengthy handwritten message (June 1961); and a birthday greeting from Betty Doktor (June 1961). Get well wishes from The Monroe Six (April 1956); Anne McDowell (April 1956); Mr. & Mrs. Henry Peterson (May 1961); and Frank Young (May 1961). Most accompanied by the original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 8 3/4 by 7 3/4 inches
Winning bid:$ 2,187.50 - Estimate: $200 - $400
juliens-mmauction2014-lot775


Lot 776: MARILYN MONROE LETTER AND CARD FROM DELOS SMITH JR.
 A double sided typed letter from Delos Smith Jr. to Marilyn Monroe. Smith wrote in reaction to a TIME magazine article and Delos own discussions with a TIME editor. Smith goes on to gossip about other Hollywood stars and praising Monroe’s appearance at The Actors Studio. Smith signed the letter “Happy Mothers Day, Delos.” Accompanied by a greeting card with a handwritten note from Smith. He signed the card “Bring that old Bus to a Stop and hurry home. Love Delos.” With original transmittal envelope postmarked May 6, 1956.
PROVENANCE From the lost archive of Marilyn Monroe
Larger, 9 by 6 inches
Winning bid: $256 - Estimate: $200 - $400
juliens-mmauction2014-lot776a juliens-mmauction2014-lot776b juliens-mmauction2014-lot776c


Lot 777: MARILYN MONROE LETTER FROM PAT NEWCOMB
 A typed, signed letter from Pat Newcomb to Marilyn Monroe; Milton Greene was cc’d. Dated April 24, 1956, the letter is in regard to an event for Nunnally Johnson. Typed on Arthur P. Jacobs Public Relations stationery, Newcomb references recent doctor’s orders have clamped down on Monroe’s social life in order to “complete the picture in good health.” The film Newcomb refers to was Bus Stop (20th Century, 1956), Monroe’s first film under new contract with 20th Century Fox and her newly formed company, Marilyn Monroe Productions.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid: $320 - Estimate: $400 - $600
juliens-mmauction2014-lot777


Lot 778: MARILYN MONROE RECEIVED LETTERS
 A group of three letters received by Marilyn Monroe. The first is a handwritten letter dated January 6, 1956, that reads in part, “I think it’s wonderful that you stood your ground and got your way.” Signed indistinctly. Accompanied by original transmittal envelope with a New York return address from “Rella.” The second is a greeting card from June Alpino with an invitation for Monroe to join her at the circus and a gift to give Monroe from a third party. Alpino has included a small black and white photograph of herself. The third is a five-page letter from “Jeanie” handwritten on Disneyland Hotel stationery. The letter mentions Jeanie and her husband Frank going to spring training and laments the fact that she hasn’t seen Monroe in more than a year. Accompanied by original transmittal envelope postmarked March 26, 1956.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 11 by 8 1/2 inches
Winning bid: $375 - Estimate: $200 - $400
juliens-mmauction2014-lot778a juliens-mmauction2014-lot778b
juliens-mmauction2014-lot778c juliens-mmauction2014-lot778d juliens-mmauction2014-lot778e 


 

Lot 779: MARILYN MONROE WESTERN COSTUME SHIPPING RECEIPTS
 A pair of shipping inventory receipts from Western Costume Company. Both are dated May 28, 1956, regarding the leasing of costume items to Marilyn Monroe Productions. Each notes that the statement should be sent to “Milton Green” [sic]. These items were most likely used in Bus Stop (20th Century, 1956), which began shooting in May.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid: $320 - Estimate: $100 - $200
juliens-mmauction2014-lot779 

 


Lot 783: MARILYN MONROE "THAT OLD BLACK MAGIC" DOCUMENTS
 A pair of papers with the typed lyrics of the song "That Old Black Magic," one on Chateau Marmont stationery with handwritten corrections and two smaller half sheets with the typed lyrics stapled together. Marilyn Monroe sang "That Old Black Magic" in the film Bus Stop (20th Century, 1956). The documents are presumed to have been used to rehearse or during filming of the scene.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 10 1/2 by 7 1/4 inches
Winning bid: $768 - Estimate: $800 - $1,200
juliens-mmauction2014-lot783 


Lot 784: MARILYN MONROE LETTER FROM PARADE PUBLICATIONS
 A typed, signed letter to Marilyn Monroe from Bob Jennings, a staff writer at Parade Publications Inc. Dated March 6, 1956, Jennings' letter refers to an article Jennings was writing about Korea that included Monroe. Accompanied by original transmittal envelope with numerous markings on the outside, including one that reads “important take care this afternoon!”
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
 Winning bid:$ 1,152 - Estimate: $200 - $400
juliens-mmauction2014-lot784 


Lot 785:  MARILYN MONROE PRESCRIPTION FROM LEE SEIGEL
 A Marilyn Monroe slip of paper with two prescriptions written by Fox studio physician Lee Seigel dated April 6, 1956. The prescriptions are for Diamox and Achenalin. Both appear to be prescribed for an eye issue.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid:$375 - Estimate: $200 - $300
juliens-mmauction2014-lot785 

 


Lot 786: MARILYN MONROE LETTER FROM HER ANALYST
  A handwritten letter from psychotherapist Margaret Herz Hohenberg to Marilyn Monroe on Hohenberg’s stationery and dated May 10, 1956. The letter concerns the accompanying account statement and a recent telephone session. Also present is the original transmittal envelope addressed to Monroe at Chateau Marmont. Monroe began to see Hohenberg in 1955 at the recommendation of Milton Greene.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 10 1/2 by 7 1/4 inches
Winning bid:$768 - Estimate: $600 - $800
juliens-mmauction2014-lot786


 

Lot 790: MARILYN MONROE HANDWRITTEN NOTES
 A pair of Marilyn Monroe handwritten notes. The first is pencil on lined legal paper that appears to be a Lee Strasberg quote; the page is titled “Lee S.” The second is written in pencil on a blank sheet of paper and reads “My Darling, my darling, my poppy.”
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 12 1/2 by 8 inches
Winning bid:$ 4,687.50 - Estimate: $2,000 - $4,000
juliens-mmauction2014-lot790 


Lot 791: MARILYN MONROE 1956 BIRTHDAY CARD FROM PETER LEONARDI
 A belated birthday card sent to Marilyn Monroe from Peter Leonardi. The card appears to be postmarked June 2, 1956. This would make it after Monroe’s break from Leonardi at a time when it was proposed Monroe had written in her journals that she was afraid of him and thought “… Peter wants to be a woman – and would like to be me – I think…” (see Fragments p. 96 and Marilyn: The Passion and the Paradox by Lois Banner (p. 289-290).
PROVENANCE From the lost archive of Marilyn Monroe
5 by 5 inches
Winning bid: $128 - Estimate: $100 - $200
juliens-mmauction2014-lot791 


Lot 793: MARILYN MONROE SAHARA HOTEL DOCUMENTS
 A group of Marilyn Monroe Sahara Hotel documents. Dated 1956, the documents relate to Monroe’s stay at the Sahara Hotel in Phoenix, Arizona. Items include two telegrams sent to Monroe at the hotel, three hotel message slips, and a letter to Monroe written on Sahara Hotel stationery from Dr. S. Purple, with original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
Sizes vary
 Winning bid: $896 - Estimate: $200 - $400
juliens-mmauction2014-lot793a juliens-mmauction2014-lot793b juliens-mmauction2014-lot793c  


Lot 794: MARILYN MONROE ARCHIVE DOCUMENTS
 A group of correspondence received by or regarding Marilyn Monroe, including a 1956, letter from Inez Melson to Florence Thomas; a March 10, 1956 letter from “Olive” to “Jean”; eight hotel telephone message slips from March and May 1956; several phone messages on scraps of paper; a handwritten note left for Monroe by Ted Harper; an invitation to The Original Wine House with handwritten note on verso from proprietor Bob Purvis; empty transmittal envelopes addressed to Monroe; and two newspaper clippings about Monroe.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 4 by 10 inches
Winning bid:$1,152 - Estimate: $300 - $500 
juliens-mmauction2014-lot794 

 


Lot 795: MARILYN MONROE RECEIVED AND KEPT LETTERS
 A pair of letters received by Marilyn Monroe. The first is from Fred Libby written on Pan American World Airways stationery, addressed to Mr. & Mrs. Arthur Miller, dated July 6, 1956. Libby congratulates the pair on their recent wedding, and he says he hopes to meet Mr. Miller someday. The second letter is addressed to Monroe from a chiropractor named Jacob Kaufman. Kaufman had never met Monroe, but after hearing of her frequent illnesses, he felt compelled to write her with his advice. Accompanied by original transmittal envelope postmarked March 7, 1960.
PROVENANCE From the lost archive of Marilyn Monroe
10 1/2 by 7 1/4 inches
 Winning bid:$256 - Estimate: $100 - $200
juliens-mmauction2014-lot795a juliens-mmauction2014-lot795b 


Lot 796: MARILYN MONROE LOVE NOTE FROM ARTHUR MILLER
 A small note handwritten by Arthur Miller to Marilyn Monroe dated "Wed., April 4 - 1:12 p.m." The note reads in part, "I am deeply happy. And agonized that you're not in reach." Signed simply "A."
PROVENANCE From the lost archive of Marilyn Monroe
3 by 5 inches
 Winning bid:$2,560 - Estimate: $600 - $800
juliens-mmauction2014-lot796 


Lot 798: MARILYN MONROE CARD FROM ARTHUR MILLER
 An Arthur Miller handwritten card to Marilyn Monroe dated "Christmas 1955." The front of the card is a cartoon of two despondent characters. Printed text reads, "No, I'm more depressed than you are." Under the text Miller has handwritten "You're not either." The salutation on the card reads "For Marilyn." It goes on to discuss the present that accompanied the card. Also present is the original envelope that reads simply "For Noodle."
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$1,280 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot798a  juliens-mmauction2014-lot798b 


Lot 799: MARILYN MONROE LOVE LETTER FROM ARTHUR MILLER
 An Arthur Miller typed and handwritten love letter to Marilyn Monroe. In the letter Miller addresses Monroe as "Dearest Wife" although their wedding was a month away and his divorce not yet final. Miller has signed the letter "Art," and below his signature he has written, "Please - if I have ever made you cry, or made you one ounce sadder even for a second - forgive me. My perfect girl." Accompanied by original transmittal envelope dated April 30, 1956.
PROVENANCE From the lost archive of Marilyn Monroe
Winning bid:$6,875 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot799 


Lot 800: MARILYN MONROE LOVE LETTER FROM ARTHUR MILLER
 A typed, signed love letter from Arthur Miller to Marilyn Monroe dated April 26, 1956. The letter reads in part, "The publicity is beginning to break evidently. Winchell this morning says I call you long distance all the time...I just worry that Bob and Jane won't be getting any kind of shock out of all this that will make it harder when they meet you." The letter discusses other details of Miller's life at that time. Signed, "kiss you, Art." Miller enclosed a letter from friend Norman Rosten that reads in part, "What are your plans? We won't tell, but we're curious. Even Mary is curious. What's his rush for a divorce, she asked me last week? (As though this was brand new)." Rosten's letter also discusses the press and appears to refer to the pressure on Miller by the House Un-American Activities Committee. Also present is a London review of The Crucible and the original transmittal envelope to Monroe.  Please note that this lot comes with a single transmittal envelope.  Two were shown in the printed catalog.
PROVENANCE From the lost archive of Marilyn Monroe
Winning bid:$3,520 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot800 


Lot 801: ARTHUR MILLER LETTERS FROM HIS CHILDREN
 A pair of letters from Arthur Miller's children mailed by Miller to Marilyn Monroe. The first letter is a single page typed from Robert Miller and dated April 23, 1956. The second is a double-sided handwritten letter from Miller's daughter Jane. Both state they miss their father, thank him for gifts he recently gave them, and share the events of their recent days. Both also state they are sending him their footprint (not present). Jane and Robert are Miller's children with his first wife, Mary Grace Slattery. Accompanied by the original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$100 - Estimate: $300 - $500
juliens-mmauction2014-lot801a  juliens-mmauction2014-lot801b 


Lot 802: MARILYN MONROE LOVE LETTER FROM ARTHUR MILLER
 An Arthur Miller two-page typed signed love letter to Marilyn Monroe dated May 9, 1956. The letter begins "Dearest, Best Person" and reads in part, "It is your suffering in the past that I respect and even bow down to. I see i often as a kind of trial to which you were cruelly put...You were placed in the jaws of this society without the protection of a family, a name, an identity; it is quite as though you were the pure victim...I do know how desperately you want to shake loose from all the dragging horrors of the past." Miller discusses his initial attraction to Monroe, his divorce, and his love for her. Accompanied by the original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$5,312.50 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot802 


Lot 803: MARILYN MONROE LOVE LETTER FROM ARTHUR MILLER
 An Arthur Miller four-page typed and handwritten love letter to Marilyn Monroe dated April 29, 1956. The letter provides insight into Miller's feelings about Monroe just before their wedding. Reads in part" "But what can I do? I love you. When I love somebody I love them, I want them to be near me, to bear my children, to be my wife. You think I am so clean, so faultless, so incapable of untruth that in comparison you are defiled? I have sinned, Marilyn; I am no better than you in any way. I can hate every man you were ever with but I can't hate you." On the third page Miller has affixed a piece of petrified wood and signed the letter "Your lover, slave, friend, father, son, and Pest, Art." The fourth page, written later that same day, is additionally signed "Art." Accompanied by original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$7,040 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot803


Lot 804: MARILYN MONROE LOVE LETTER FROM ARTHUR MILLER
 An Arthur Miller two-page typed and handwritten love letter to Marilyn Monroe dated May 9, 1956. Miller begins the letter relaying frustration with his soon to be ex-wife Mary Grace Slattery and goes on to tell Monroe that he has disclosed their relationship to his parents and his concerns about his family and children. Miller also references the film "Viva Zapata" (20th Century, 1952), a film that Monroe wanted to work on but was denied by the studio. Miller enclosed sage in the letter and writes below his signature "A little sage brush for your pillow." He additionally asks, "And where is your footprint!!!" Accompanied by the original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$4,160 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot804


Lot 806: MARILYN MONROE LOVE LETTER FROM ARTHUR MILLER
 An Arthur Miller three-page typed, signed love letter to Marilyn Monroe dated May 7, 1956. Miller discusses his upcoming divorce, tension between Monroe and Milton Greene, plans for Monroe to visit him in Reno, and their plan to introduce Monroe to Miller's children. Miller also discusses a recent argument the pair had: "I was separated from you, leaving you in a world of men lusting for you. I wanted you to be reminded that I am desirable...Nevertheless, it was still more alarming to you than it should have been -- your reaction was out of proportion... ." Accompanied by the original transmittal envelope addressed to Monroe at Hotel Chateau Marmont in Hollywood.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$4,160 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot806


Lot 807: MARILYN MONROE LOVE LETTER FROM ARTHUR MILLER
 An Arthur Miller handwritten love letter dated May 11, 1956. Written on two lined pages. Salutation is to "Dearest Wife." Reads in part, "I am walking around in a daze of love...I wanted to buy a wedding ring but they don't have really nice ones here - I looked... ." Miller goes on to discuss an apartment he would like to rent, recent negative articles, and his love for her. Accompanied by original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
Winning bid:$12,160 - Estimate: $1,000 - $2,000
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Lot 808: MARILYN MONROE LOVE LETTER TO ARTHUR MILLER
 A Marilyn Monroe single-page handwritten letter to Arthur Miller, presumably unsent. In the undated letter Monroe is responding to an earlier letter she received from Miller. The letter reads in part, "...there was no choice to make - the same road was always before me. So when you speak of my nobility it really wasn't so noble... ." Accompanied by two sheets of blank paper found with this letter.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$43,750 - Estimate: $4,000 - $6,000
juliens-mmauction2014-lot808 


Lot 810: MARILYN MONROE PUBLICITY DOCUMENTS FOR THE PRINCE AND THE SHOWGIRL
 Marilyn Monroe’s copies of publicity reports for the film “The Sleeping Prince,” which was the working title of The Prince and the Showgirl (Warner Bros., 1957). One document is titled “Projected Logistical Report/ Publicity” and contains 45 pages of information. The second is a 14-page document titled “Publicity and Promotion Budget for U.K.” Both cover pages list the people cc’d on the documents. Next to Monroe’s name is a check mark, indicating that these were her personal copies.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid:$640 - Estimate: $100 - $200
juliens-mmauction2014-lot810a  juliens-mmauction2014-lot810b 


Lot 811: MARILYN MONROE LETTER FROM PAT NEWCOMB
 A typed letter to Marilyn Monroe from Pat Newcomb. The letter is cc’d to Milton Greene, undated, typed on Newcomb’s stationery. Newcomb asks if Monroe can meet with a journalist who has flown in from London. She also mentions mailing Monroe her swimsuit and asks if she can bring her anything else.
PROVENANCE From the lost archive of Marilyn Monroe
8 1/2 by 5 1/2 inches
Winning bid:$384 - Estimate: $200 - $400
juliens-mmauction2014-lot811 


Lot 813: MARILYN MONROE HANDWRITTEN NOTE TO VERA
 A Marilyn Monroe handwritten note to "Vera." Written in pencil on a tablet of unlined white paper. The note was presumably never sent. The note reads in part, "...I never had a friend before this - I mean one that was a girl..."
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid:$3,520 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot813 


Lot 817: ARTHUR MILLER LETTERS FROM HIS CHILDREN
 A group of four letters, two drawings, and one postcard from two of Arthur Miller’s children, Bobby and Jane, to their father and Marilyn Monroe and one letter from Jane to their pets. Most addressed “To Daddy,” one to “MMM” from Bobby Miller. Those letters that are dated are from 1958 and 1959.
PROVENANCE From the Collection of Lois Banner
and Partial Lot 816, "Julien's Summer Sale," Julien's Auctions, Las Vegas, June 26, 2009
Largest, 9 by 6 inches
Winning bid:$ 128  -  Estimate: $200 - $400
juliens-mmauction2014-lot817 


Lot 818: MARILYN MONROE SENT ARTHUR MILLER MANUSCRIPT
 An Arthur Miller typed manuscript sent to Marilyn Monroe. The seven-page draft of an article that Miller wrote for LIFE magazine is about his then wife and the series of photographs she took with Richard Avedon posing as five different actresses: Lillian Russell, Marlene Dietrich, Clara Bow, Jean Harlow and Theda Bara. The manuscript contains a number of handwritten corrections. The final article was rewritten and ultimately titled "My Wife Marilyn" and appeared alongside Avedon's photographs in the December 22, 1958, issue of LIFE magazine. Accompanied by original transmittal envelope.
PROVENANCE From the Collection of Lois Banner
11 by 8 1/2 inches
Winning bid:$ 6,250  -  Estimate: $5,000 - $7,000
juliens-mmauction2014-lot818 


Lot 819: MARILYN MONROE STATEMENT AND WARNER BROTHERS TELEGRAM
 A telegram received by Marilyn Monroe from Warner Brothers, dated May 24, 1957. The two-page telegram is in regard to Monroe’s former business partner, Milton Greene, receiving a credit on the film The Prince and the Showgirl (Warner Bros., 1957). Accompanied by an undated typed statement by Monroe regarding the situation with Greene, condemning his leadership of Marilyn Monroe Productions and his attempt to receive an Executive Producer credit for this film.
PROVENANCE From the Collection of Lois Banner
Winning bid: $384 - Estimate: $600 - $800
juliens-mmauction2014-lot819a  juliens-mmauction2014-lot819b 


Lot 820: MARILYN MONROE RECEIVED LETTERS
 A pair of letters sent to Marilyn Monroe. The first is from Alex North, a neighbor in Connecticut; accompanied by transmittal envelope. The second is from Herb Martin and is written on the back of a copy of a newspaper article that mentions Martin. Both letters express a desire to see Monroe.
PROVENANCE From the lost archive of Marilyn Monroe
10 1/2 by 7 1/4 inches
Winning bid: $75 - Estimate: $100 - $200
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Lot 825: LETTERS BY AND REGARDING MARILYN MONROE'S MOTHER
 A group of letters written by and regarding Marilyn Monroe's troubled mother, Gladys Eley (previously Monroe, Baker, and Mortenson). Group includes letters written by Eley while institutionalized at Rockhaven Sanitarium in Verdugo City (Montrose), California, circa late 1950s to early 1960s. Several of the letters are stamped but not postmarked, believed to have been saved from the mail by Inez Melson, who was appointed guardian of Eley. The letters reveal insight into Eley's schizophrenia. The handwritten letters are addressed to The President of the United States, Mother Church – The First Church of Christ Scientist, and a letter that was mailed to Melson from Eley. Also present is a letter from Bernice Miracle, Marilyn's sister, to Melson. Those that are dated are from the early 1960s.
PROVENANCE From the Collection of Lois Banner
and Lot 131, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Sizes vary
Winning bid:$6,400 - Estimate: $3,000 - $5,000
juliens-mmauction2014-lot825 


Lot 826: MARILYN MONROE RECEIVED POSTCARDS
 Three Marilyn Monroe received postcards. The first, with an image of the Golden Gate Bridge, was sent to Monroe in Idaho in May 1956. Possibly sent by Peter Lawford, initialed indistinctly as “PL” or “RL.” The second, sent from “G,” is a postcard of La Promenade des Anglais in Nice. Sent to Monroe in May 1961. The card reads in part, “Hope your ‘Killer Kut’ is still in good shape," indicating that "G" stands for hairstylist George Masters. The third is a card sent in 1956 from Suzanne, who writes, “I hadn’t heard from you in 2 weeks so I played hookey.”
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 4 by 6 inches
Winning bid:$500 - Estimate: $300 - $500
juliens-mmauction2014-lot826a juliens-mmauction2014-lot826b


Lot 827: MARILYN MONROE LETTER FROM MAY REIS
 A handwritten letter from May Reis to Marilyn Monroe. The letter is written on Renvyle House Hotel stationery, dated May 10, 1961. Reis writes about her stay in Ireland and travels; signed simply “May.” Reis was Monroe’s personal secretary and friend. Accompanied by original transmittal envelope.
PROVENANCE From the lost archive of Marilyn Monroe
10 1/2 by 8 inches
Winning bid:$1,000 - Estimate: $300 - $500
juliens-mmauction2014-lot827 


Lot 828: MARILYN MONROE MEDICAL INVOICES
 A group of Marilyn Monroe medical invoices that includes invoices from Dr. D. Russell Anderson, Dr. Margaret Herz Hohenberg, dentist Paul Kniss, Dr. Edward J. Simons, and one from the offices of Dr. Myron Prinzmetal and Dr. Rexford Kennamer, among others; seven items total.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid:$ 437.50 - Estimate: $400 - $600
juliens-mmauction2014-lot828 


Lot 829: MARILYN MONROE FAN MAIL
 A group of more than 75 letters, photographs, religious tracts and postcards sent to Marilyn Monroe by her fans. The letters span from 1956 to 1961. The letters, mailed by Monroe's fans from around the world, offer advice, matchmaking, and get well wishes and make requests.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 11 by 8 1/2 inches
Winning bid:$4,062.50 - Estimate: $100 - $200
juliens-mmauction2014-lot829 juliens-mmauction2014-lot832b 


Lot 830: MARILYN MONROE SCRAPBOOK FROM FAN
 A scrapbook given to Marilyn Monroe by a dying fan. The 30-page book contains inspirational images and text, both handwritten and pasted in. Most of the entries are religious in nature. Accompanied by a letter from the fan.
PROVENANCE From the lost archive of Marilyn Monroe
9 by 6 inches
Winning bid:$192 - Estimate: $300 - $500
juliens-mmauction2014-lot830 


Lot 831: MARILYN MONROE FAN MAIL
 A group of more than 100 letters, cards and postcards sent to Marilyn Monroe by her fans. The letters, which span from 1954 to 1962, were mailed from fans around the world, including a card in a mailing tube from Lyle & Scott LTD in Scotland that was signed by approximately 900 employees of the clothing manufacturer.
PROVENANCE From the lost archive of Marilyn Monroe
Sizes vary
 Winning bid:$3,200 - Estimate: $100 - $200
juliens-mmauction2014-lot831a juliens-mmauction2014-lot832b 


Lot 832: MARILYN MONROE FAN MAIL
 A group of approximately 90 letters sent to Marilyn Monroe by her fans. The majority of the letters were sent to Monroe posthumously in the second half of 1962. The letters were mailed from fans around the world.
PROVENANCE From the lost archive of Marilyn Monroe
Largest envelope, 7 by 4 inches
 Winning bid:$4,375 - Estimate: $100 - $200
juliens-mmauction2014-lot832a  juliens-mmauction2014-lot832b 


Lot 833: MARILYN MONROE RECEIVED NOTE
 A Marilyn Monroe received typed note signed “Norm,” believed to be from Norman Rosten. The humorous undated note reads in part, “Thanks for your sweet darlin’ wire: it all helped carry me through the valley of the shadow...Did you ever think that some people just gotta stay alive?” Rosten goes on to mention recent reviews.
PROVENANCE From the lost archive of Marilyn Monroe
4 by 6 inches
Winning bid:$ 512 - Estimate: $200 - $400
juliens-mmauction2014-lot833 


Lot 834: MARILYN MONROE POSTCARD FROM NORMAN ROSTEN
 A postcard to “Marilyn Miller” from Norman Rosten sent from Alaska. The image on the front of the card is of a nude Inuit woman in the snow. Signed simply “N,” postmarked January 26, 1959. Stamp has been cut away. Rosten wrote Marilyn: An Untold Story in 1973.
PROVENANCE From the Collection of Lois Banner
5 1/2 by 3 1/2 inches
 Winning bid:$256 - Estimate: $100 - $200
juliens-mmauction2014-lot834a  juliens-mmauction2014-lot834b 


Lot 835: MARILYN MONROE SIGNED CHECK TO HEDDA ROSTEN
 A Marilyn Monroe signed check from a Marilyn Monroe Productions Inc. account with Colonial Trust Company in New York City. Numbered 240, dated February 5, 1960, and written to Hedda Rosten in the amount of $65.85. The typed check also details in the upper right corner taxes removed from the gross amount due Rosten of $75.00. Rosten and her husband, Norman, were friends of Monroe’s, and Hedda was also employed by Monroe as a private secretary. Endorsed by Hedda Rosten on verso.
3 1/8 by 8 1/2 inches
Winning bid: $5,120 - Estimate: $2,000 - $4,000
juliens-mmauction2014-lot835 


Lot 941: MARILYN MONROE NEW YORK POST RELATED DOCUMENTS
 A Marilyn Monroe received letter from the New York Post and a typescript copy of a New York Post article. The typed signed letter is from New York Post columnist Max Lerner, dated May 10, 1961, and written on New York Post stationery. The typescript is of an article written by New York Post gossip columnist Earl Wilson circa 1961. Titled “Marilyn’s not A-Marryin’ ” and is typed on three pages.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid:$192 - Estimate: $200 - $400
juliens-mmauction2014-lot941a  juliens-mmauction2014-lot941b


Lot 950: MARILYN MONROE POSTCARDS FROM PAT NEWCOMB
 A pair of postcards handwritten to Marilyn Monroe by Pat Newcomb and sent to Monroe’s address, 882 North Doheny Drive in Los Angeles. Both cards were mailed in 1961, one sent from New Delhi with an image of the Taj Mahal, the other from Hong Kong with an image of the city. The addressee on both cards is “Marge Stengel.”
PROVENANCE From the Collection of Lois Banner
3 1/2 by 5 1/2 inches
 Winning bid:$320 - Estimate: $300 - $500
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Lot 951: MARILYN MONROE TELEGRAM FROM PRODUCER ANN MARLOWE
 A telegram to Marilyn Monroe from producer Ann Marlowe again offering Monroe a part in the teleplay Rain . Monroe appears to have dictated a response to her secretary, who wrote in pencil, “I would only consider it if Lee Strasberg directed it.” Dated June 21, 1960.
PROVENANCE From the Collection of Lois Banner
4 1/2 by 6 1/2 inches
Winning bid:$512 - Estimate: $600 - $800
juliens-mmauction2014-lot951


Lot 952: MARILYN MONROE LETTERS FROM MCA MANAGEMENT
 A group of three letters received by Marilyn Monroe from MCA Management Ltd. The first is dated May 17, 1955, and was sent to Monroe in New York. The second is dated May 3, 1961 and is accompanied by a confidential letter typed on 20th Century Fox stationery addressed to George Chasin regarding a role for Monroe in a film adaptation of the book Zuleika Dobson by Max Beerbohm. The third is from Chasin, dated May 2, 1961, regarding two screenplays delivered via messenger to Monroe’s bungalow at the Beverly Hills Hotel, where she was recovering from sinus trouble.
PROVENANCE From the lost archive of Marilyn Monroe
9 by 6 1/4 inches
Winning bid:$192 - Estimate: $800 - $1,200
juliens-mmauction2014-lot952a juliens-mmauction2014-lot952b juliens-mmauction2014-lot952c
juliens-mmauction2014-lot952d 


Lot 953: MARILYN MONROE LETTER FROM 20TH CENTURY FOX
 A typed, signed letter from 20th Century Fox to Marilyn Monroe Productions. Dated March 4, 1959, the letter directs Monroe to appear at the studio on April 14, 1959, to begin work on "Time and Tide," later re-titled Wild River (20th Century, 1960). Monroe was ultimately replaced by Lee Remick.
PROVENANCE From the Collection of Lois Banner
11 by 8 1/2 inches
 Winning bid:$875 - Estimate: $400 - $600
juliens-mmauction2014-lot953


Lot 954: MARILYN MONROE LETTERS REGARDING FILM ROLES
 A pair of Marilyn Monroe received letters regarding potential film projects. The first is a three-page typed, signed letter from director Melvin Frank regarding Monroe starring in The Road to Hong Kong (UA, 1962). The undated letter, typed on Beverly Hills Hotel stationery, reads in part, “I wanted to thank you again for reading our script and tell you how curiously frustrated and bumbling I felt on the phone last night… .” Signed “Mel.” The second is a two-page handwritten letter from producer Harold Hecht. The letter is in regard to an unproduced film, "Lucy Crown" that Hecht would like Monroe to star in. Accompanied by original envelope.
PROVENANCE From the lost archive of Marilyn Monroe
10 1/2 by 7 1/4 inches
Winning bid: $512 - Estimate: $400 - $600
juliens-mmauction2014-lot954a juliens-mmauction2014-lot954b 


Lot 955: MARILYN MONROE LETTERS FROM INDUSTRY INSIDERS
 A group of four letters sent to Marilyn Monroe by members of the entertainment industry. The first is a typed, signed letter from agent Freddie Fields dated May 20, 1961. It references a script that is no longer present. The second is a typed, signed letter from agent Johnny Maschio typed on Showcase Enterprises, Inc stationery and dated April 28, 1961. Maschio asks Monroe to contact him, emphasizing "It is very important." The third letter is a typed signed solicitation from casting director Owen McLean on Twentieth Century-Fox stationery. The fourth is a typed letter, written on Twentieth Century Fox stationery, is dated May 29, 1956 that appears to be signed "Harry." It reads "Marilyn: The post art turned out fine. Thanks for your gracious help."
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 11 by 8 1/2 inches
 Winning bid:$640 - Estimate: $400 - $600
juliens-mmauction2014-lot955a  juliens-mmauction2014-lot955b  juliens-mmauction2014-lot955c
juliens-mmauction2014-lot955d  juliens-mmauction2014-lot955e


Lot 956: MARILYN MONROE DOCTOR'S NOTES
 A pair of handwritten doctor’s notes left for Marilyn Monroe. The first is a single double-sided sheet signed indistinctly by a doctor. The message states that the doctor left two prescriptions for Monroe with Dr. Hohenberg and gives directions on how to use the medication. The second is a small single-sided note written in an unknown hand, also about medication and notes about a doctor.
PROVENANCE From the lost archive of Marilyn Monroe
9 by 6 inches
Winning bid:$384 - Estimate: $300 - $500
juliens-mmauction2014-lot956


Lot 957: MARILYN MONROE NOTE WRITTEN ON L.A. INSTITUTE FOR PSYCHOANALYSIS NOTE PAPER
 A Marilyn Monroe retained note written on a small piece of paper from the Los Angeles Institute for Psychoanalysis. The note refers to a Dr. Walter Greenson. Written in an unknown hand.
PROVENANCE From the lost archive of Marilyn Monroe
5 1/4 by 4 1/4 inches
Winning bid:$437.50 - Estimate: $200 - $400
juliens-mmauction2014-lot957 


Lot 958: MARILYN MONROE PRESCRIPTION CENTER RECEIPTS AND INVOICE
 Marilyn Monroe carbon copy receipts from The Prescription Center in Beverly Hills, California. Both are dated April 22, 1961, but with separate amounts. The second receipt bears Monroe’s signature on the carbon. One receipt is primarily for prescriptions, the other for makeup and personal care items. Accompanied by an invoice from The Prescription Center.
PROVENANCE From the lost archive of Marilyn Monroe
6 by 4 inches
Winning bid:$2,240 - Estimate: $400 - $600
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Lot 960: MARILYN MONROE LIST OF MEDICATIONS
 A typed sheet of instructions for Marilyn Monroe’s medications. The sheet is titled “Marilyn is to take Pills as follows.” It is undated and does not name, only describes the size of the medications.
PROVENANCE From the lost archive of Marilyn Monroe
11 by 8 1/2 inches
Winning bid:$768 - Estimate: $500 - $700
juliens-mmauction2014-lot960 


Lot 961: MARILYN MONROE TELEGRAMS FROM DOCTOR AND MILTON GREENE
 A pair of telegrams received by Marilyn Monroe. The first is an urgent message from Monroe’s doctor to call, May 19, dated 1956. The second is from one-time business partner Milton Greene delivered to Monroe while she was a patient at Cedars of Lebanon Hospital, dated November 12, 1954. Greene writes that he cannot wait to be with Monroe and that he has great news. Accompanied by two Western Union transmittal envelopes.
PROVENANCE From the lost archive of Marilyn Monroe
5 3/4 by 8 inches
Winning bid:$1,024 - Estimate: $400 - $600
juliens-mmauction2014-lot961


Lot 962: MARILYN MONROE RECEIVED TELEGRAMS
 A group of three telegrams sent by friends and colleagues to Marilyn Monroe. The first is from “May,” presumed to be May Reis, that offers Monroe get well wishes. The second is from Harold Mirisch. It reads “As long as we cannot talk to each other on the telephone how about you and I having dinner Monday night love = Harold Mirisch.” The third is from Nedda Logan sent to Monroe at the Chateau Marmont on May 17, 1956. Logan raves about Monroe’s performance in Bus Stop (20th Century, 1956) which her husband directed.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 5 3/4 by 8 inches
Winning bid:$768 - Estimate: $300 - $500
juliens-mmauction2014-lot962


Lot 963: MARILYN MONROE MEDIA TELEGRAMS
 A pair of telegrams regarding Marilyn Monroe. The first was sent to Monroe on November 23, 1954 from the Showmen’s Trade Review regarding Monroe being named Female Money Making Star for 1954. The second is a two page telegram from The Daily Mirror in London sent to Pat Newcomb with interview questions for Monroe.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 5 3/4 by 8 inches
Winning bid:$448 - Estimate: $300 - $500
juliens-mmauction2014-lot963


Lot 965: MARILYN MONROE FINANCIAL DOCUMENTS
 Marilyn Monroe financial documents relating to loans. A William Morris interoffice memo cover sheet on the first document is dated “2/13/51” with details of expenditures in 1949 and 1950. The second document concerns a $74,000 loan dated May 29, 1962, only three months before Monroe’s death. Five pages total.
PROVENANCE From the Collection of Lois Banner
Largest, 11 by 8 1/2 inches
 Winning bid:$256 - Estimate: $400 - $600
juliens-mmauction2014-lot965a  juliens-mmauction2014-lot965e
juliens-mmauction2014-lot965b juliens-mmauction2014-lot965c juliens-mmauction2014-lot965d


Lot 966: MARILYN MONROE STATEMENT REGARDING GÉRARD PHILIPE
 A Marilyn Monroe statement regarding the death of actor Gérard Philipe. Handwritten in an unknown hand on the back of a Beverly Hills Hotel notecard in blue ink. Monroe laments that she never had the opportunity to work with the French actor. Marked in pencil “Statement, Radio 1 – Europe.” Philipe died in 1959 just shy of his 37th birthday.
PROVENANCE From the Collection of Lois Banner
3 1/2 by 5 1/2 inches
 Winning bid:$437.50 - Estimate: $100 - $200
juliens-mmauction2014-lot966a juliens-mmauction2014-lot966b


Lot 967: MARILYN MONROE RECEIVED INVITATIONS
 A group of three invitations sent to Marilyn Monroe. The first is a card believed to have accompanied flowers sent to Monroe at the Beverly Hills Hotel. The card invites Monroe and Pat (presumably Pat Newcomb) for a quiet evening free of "shop talk." Signed "Minerva (Nelli)." The second, written on Beverly Hills Hotel stationery, reads in part, "I just traveled 6000 miles to see you and find out how you are." It is signed "Henry." The third is written on a Beverly Hills Hotel card inviting Monroe to dine. Signed "Jack Halperin." All are accompanied by unpostmarked transmittal envelopes.
PROVENANCE From the lost archive of Marilyn Monroe
3 1/2 by 5 1/2 inches
 Winning bid:$192 - Estimate: $400 - $600
juliens-mmauction2014-lot967 


Lot 968: MARILYN MONROE CHECKS, INVOICES, BILLS AND RECEIPTS
 A group of Marilyn Monroe invoices, bills and two checks. The group includes a pair of checks from the Colonial Trust Company of New York, the first is blank except for the check number “21,” the other is dated April 14, 1956, and has been made out to Dr. C. Russell Anderson but is unsigned, written in an unknown hand; a Jurgensen’s Grocery Company invoice from April 1961 and promotional flyer, return envelope and original transmittal envelope; an invoice from Beverly Hills Music Company dated May 1961 for 28 LPs purchased by Monroe, with itemized slip, return envelopes and original transmittal envelope; an invoice from Au Petit Jean restaurant from April 1961, with original transmittal envelope; and insured postage receipts from the United States Post Office from 1956.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 5 3/4 by 11 inches
Winning bid:$768 - Estimate: $200 - $400
juliens-mmauction2014-lot968a  juliens-mmauction2014-lot968e 
juliens-mmauction2014-lot968b juliens-mmauction2014-lot968c juliens-mmauction2014-lot968d


Lot 969: MARILYN MONROE HOTEL TELEPHONE MESSAGES
 A group of 20 hotel telephone message slips for Marilyn Monroe. Messages date from May 1 to May 6, 1961, and include messages from George Chasin, Norman Brokaw, José Ferrer, Frank Rosenberg, Henry Rosenfeld, and George Masters, among others. Accompanied by four Beverly Hills Hotel door hangers.
PROVENANCE From the lost archive of Marilyn Monroe
3 1/2 by 5 1/2 inches
Winning bid:$640 - Estimate: $400 - $600
juliens-mmauction2014-lot969 


Lot 970: MARILYN MONROE HOTEL TELEPHONE MESSAGES
 A group of 20 hotel telephone message slips for Marilyn Monroe. Messages date from May 8 to May 15, 1961, and include messages from George Chasin, Jay Kanter, Mr. Gillerof (presumed to be Sydney Guilaroff), Henry Rosenfeld, Sidney Skolsky, and Julie [sic] Styne, among others. Accompanied by four Beverly Hills Hotel door hangers.
PROVENANCE From the lost archive of Marilyn Monroe
3 1/2 by 5 1/2 inches
Winning bid:$896 - Estimate: $400 - $600
juliens-mmauction2014-lot970 


Lot 971: MARILYN MONROE HOTEL TELEPHONE MESSAGES
 A group of 20 hotel telephone message slips for Marilyn Monroe. Messages date from May 8 to May 15, 1961, and include messages from George Chasin, Jay Kanter, Mr. Gillerof (presumed to be Sydney Guilaroff), Henry Rosenfeld, Sidney Skolsky, and Julie [sic] Styne, among others. Accompanied by four Beverly Hills Hotel door hangers.
PROVENANCE From the lost archive of Marilyn Monroe
3 1/2 by 5 1/2 inches
Winning bid:$896 - Estimate: $400 - $600
juliens-mmauction2014-lot971


Lot 972: MARILYN MONROE HOTEL TELEPHONE MESSAGES 
A group of 20 hotel telephone message slips for Marilyn Monroe. Messages date from May 15 to May 20, 1961, and include messages from George Chasin, Harold Mirisch, Sidney Cassipell, Melvin Frank,and Rupert Allan among others. Accompanied by three Beverly Hills Hotel door hangers.
PROVENANCE From the lost archive of Marilyn Monroe
3 1/2 by 5 1/2 inches
 Winning bid:$1,024 - Estimate: $400 - $600
juliens-mmauction2014-lot972 


Lot 973: MARILYN MONROE HOTEL TELEPHONE MESSAGES
 A group of 20 hotel telephone message slips for Marilyn Monroe. Messages date from May 21 to June 1, 1961, and include messages from Agnes Flanagan, Donald Barry, Ben Gary, Minna Wallis, Ernie Kovak [sic], Ben Platt Jr. and Clifton Webb, among others. Accompanied by three Beverly Hills Hotel door hangers.
PROVENANCE From the lost archive of Marilyn Monroe
3 1/2 by 5 1/2 inches
Winning bid:$768 - Estimate: $400 - $600
juliens-mmauction2014-lot973 


Lot 974: MARILYN MONROE HOTEL TELEPHONE MESSAGES
 A group of 20 hotel telephone message slips for Marilyn Monroe. Messages date from June 1 to June 12, 1961, and include messages from Ted Jordan, Dr. Krohn, Harrison Carroll, George Chasin, Clifton Webb and Mr. Guilaroff (presumed to be Sydney Guilaroff), among others. Accompanied by three Beverly Hills Hotel door hangers.
PROVENANCE From the lost archive of Marilyn Monroe
3 1/2 by 5 1/2 inches
Winning bid:$768 - Estimate: $400 - $600
juliens-mmauction2014-lot974 


Lot 975: MARILYN MONROE GROUP OF HOTEL MESSAGES
 A group of 17 hotel telephone and package delivery message slips for Marilyn Monroe. Messages date from May to June 1961 and include messages from Norman Brokaw, Richard Conte, George Chasin, Bill Penzer, Miss Wallace (believed to refer to Minna Wallis), Ted Jordan and Harold Mirisch, among others. Thirteen of the messages are accompanied by or still affixed to Beverly Hills Hotel door hangers.
PROVENANCE From the lost archive of Marilyn Monroe
 Winning bid: $640 - Estimate: $400 - $600
juliens-mmauction2014-lot975


 Lot 976: MARILYN MONROE GROUP OF NOTES, MESSAGES AND HANDWRITTEN PROSE
 A Beverly Hills Hotel note pad with a notation on the top page together with more than 30 loose pages from a similar note pad. The pages contain phone messages, including ones from George Chasin, Glenn Ford, Frank Sinatra, Josh Logan and Sandy Meisner; telephone numbers; notations; appointment reminders; and a single sheet with handwritten prose that has been crossed out but appears to be in Monroe’s hand. It reads, “All day long he stayed/ with me; and one sailed in perfect calmness… .”
PROVENANCE From the lost archive of Marilyn Monroe
5 1/2 by 4 inches
Winning bid:$14,080 - Estimate: $600 - $800
juliens-mmauction2014-lot976 


 Lot 977: MARILYN MONROE FINANCIAL DOCUMENTS
 A folder of Marilyn Monroe's financial documents relating to loans from City National Bank in Beverly Hills, California. The documents date from 1961 to 1962 and include file copies of typed letters from Monroe's lawyer Milton Rudin and of letters sent from Monroe's secretary as well as deposit receipts. Correspondence discusses transfers, deposits and financial arrangements made on behalf of Monroe. Folder has a typed label that reads “MARILYN MONROE 1961-1962/ CITY NATIONAL BANK OF BEVERLY HILLS.”
PROVENANCE From the Collection of Lois Banner
Largest, 11 by 8 1/2 inches
 Winning bid:$1,152 - Estimate: $400 - $600
juliens-mmauction2014-lot977 


 Lot 978: MARILYN MONROE CHASEN'S RESTAURANT DOCUMENTS
 A group of Marilyn Monroe documents relating to Chasen’s restaurant. The first is an invitation dated May 3, 1961, with a handwritten note that reads “Chasin,” which could refer to Monroe’s agent or that it came from him. Found with: Chasen's restaurant invoice and credit form from May 1962; a Chasen's card with Monroe’s typed name; and a telegram invitation for an event with French director Christian–Jacque.
PROVENANCE From the lost archive of Marilyn Monroe
Largest, 8 1/2 by 4 1/2 inches
Winning bid:$448 - Estimate: $100 - $200

juliens-mmauction2014-lot978a 
juliens-mmauction2014-lot978b juliens-mmauction2014-lot978c juliens-mmauction2014-lot978d 


 Lot 979: MARILYN MONROE CARD FROM DELOS SMITH JR.
 A handwritten card from Delos V. Smith Jr. to Marilyn Monroe. The card, with an image of a Native American man in front of a tipi, reads in full, “New Teepee?/ Enjoy Heapee!/ Little Peepee,” with original transmittal envelope postmarked April 1961. Envelope has additional writing and post office notations. Together with two envelopes addressed to Monroe from Smith.
PROVENANCE From the lost archive of Marilyn Monroe
3 by 5 inches
Winning bid:$256 - Estimate: $300 - $500
juliens-mmauction2014-lot979 


 Lot 984: MARILYN MONROE REAL ESTATE DOCUMENT
 A Marilyn Monroe signed, typed purchase offer for Monroe's Los Angeles home on Helena Drive. This is the only home Monroe ever purchased. The document dated January 9, 1962, and contains a purchase price of $52,500. Monroe would die just eight months later.
15 by 9 1/4 inches
Winning bid:$ 17,500 - Estimate: $7,000 - $9,000
juliens-mmauction2014-lot984a  juliens-mmauction2014-lot984b


 Lot 986: MARILYN MONROE RECEIPTS
 A pair of receipts from the Mart on Santa Monica Boulevard. One is dated July 31, 1962, for the purchase of a tapestry; the second, undated, is for the purchase of a table. Both are marked paid on August 1, 1962. Accompanied by a business card from the Mart. Monroe seems to have been actively decorating the house she had purchased only a few months earlier. Five days after visiting the Mart, Monroe passed away.
Each, 6 by 3 1/2 inches
Winning bid:$1,625 - Estimate: $1,300 - $1,600

juliens-mmauction2014-lot986 


 Lot 987: MARILYN MONROE AUTO INSURANCE DOCUMENT
A Marilyn Monroe automobile insurance document with effective date March 23, 1962, issued by Fireman’s Fund Insurance Company through Ebenstein and Company. The endorsement portion of the document states that Monroe is excluded as a driver under this policy. Five pages total.
PROVENANCE From the Collection of Lois Banner
12 1/2 by 8 1/2 inches
Winning bid: $1,600  - Estimate: $800 - $1,200
juliens-mmauction2014-lot987 juliens-mmauction2014-lot987a


Lot 989: MARILYN MONROE FUNERAL CARD
 An original card from the funeral of Marilyn Monroe on Wednesday, August 8, 1962, at the Westwood Village Mortuary in Los Angeles. The front of the card bears an image of the Bok Singing Tower. The inside reads in part, "In Memory of/ Marilyn Monroe/ Born June 1st, 1926/ Passed Away/ August 5th, 1962,” with the details of her funeral service. Facing page is printed with Psalm 23. Accompanied by a photocopy of an information packet about the services for Monroe that includes the eulogy given by Lee Strasberg, a list of invited guests, and a letter to those not invited to the service.
5 1/2 by 3 1/4 inches
Winning bid: $2,560 - Estimate: $1,000 - $2,000
juliens-mmauction2014-lot989 juliens-mmauction2014-lot989a

09 février 2014

6/08/1962 Organisation des funérailles

 Le matin du lundi 6 août 1962Berniece Miracle (la demie-soeur de Marilyn) arrive de Gainesville, au Texas, où elle vit, à l'aéroport de Los Angeles. C'est Inez Melson (la conseillère financière de Marilyn) qui vient la chercher à l'aéroport.
On Monday morning, August 6, 1962, Berniece Miracle (Marilyn's half-sister) arrives from Gainesville, Texas, where she lives, at Los Angeles. This is Inez Melson (Marilyn's financial advisor) who joins her at the L.A. airport.

> Berniece Miracle avec Inez Melson
1962-08-06-international_airport_berniece_arrive_from_gainseville 

Elles se rendent au cimetière de Westwood Village pour finaliser l'organisation des funérailles de Marilyn avec Joe DiMaggio.
They go to the Westwood Village Mortuary to make final arrangments for the funeral services with Joe DiMaggio.

> Berniece Miracle avec Inez Melson
1962-08-06-westwood-berniece_ines-1  1962-08-06-westwood-berniece_ines-1-press  1962-08-06-westwood-berniece_ines-1a 
1962-08-06-westwood-berniece_ines-2  1962-08-06-westwood-berniece_ines-3 

> Berniece Miracle
1962-08-06-westwood-berniece_miracle-1a  1962-08-06-westwood-berniece_miracle-1 
1962-08-06-westwood-berniece_miracle-2  1962-08-06-westwood-berniece_miracle-3 

Joe DiMaggio se rend au cimetière de Westwood Village Memorial Park pour organiser les funérailles de Marilyn Monroe (qui se tiendront le 8 août), en compagnie de Milton Rudin (l'avocat de Marilyn).
Joe DiMaggio goes to Westwood Village Memorial Park to make arrangments for the funeral of Marilyn Monroe (which will be held in August, 8) with Milton Rudin (the Marilyn's lawyer).

> Joe DiMaggio et Inez Melson
1962-08-06-westwood-joe-1  1962-08-06-westwood-joe-1a 
1962-08-06-westwood-joe-1-press  1962-08-06-westwood-joe-2

> Joe DiMaggio (photo de Lawrence Schiller)
1962-08-06-westwood-joe-by_schiller-1 

> Joe DiMaggio et Milton Rudin
1962-08-06-westwood-joe_milton_rudin-1  1962-08-06-westwood-joe_milton_rudin-1a 


Inez Melson et son mari se rendent à la maison de Marilyn, au Fifth Helene Drive, pour trier les effets personnels de la star. Melson se souvient que la table de nuit était encore encombrée de divers flacons: "Nous en trouvions sans cesse: des somnifères, du nembutal et du seconal". Soucieuse de la réputation de Marilyn, Mrs Melson détruit alors les pillules, en les jetant dans les toilettes et en emportant le reste pour les mettre à la poubelle. Elle a par la suite beaucoup regretté son geste. 
Inez Melson and her husband go to Marilyn's house at Fifth Helena Drive, to sort the belongings of the celebrity. Melson remembers that the night table was still cluttered with various bottles: "We found it constantly: sleeping pills, nembutal and seconal." Concerning about the reputation of Marilyn, Mrs. Melson then destroyed pills, throwing them in the toilet and taking the rest to put in the trash. She has later deeply regretted her actions. 


Eunice Murray est interviewée par des journalistes: "Je n'ai jamais vu Marilyn Monroe pleurer" et elle ajoute: "Marilyn n'a jamais parlé de la mort".
Eunice Murray talks to press: "I never saw Marilyn Monroe cry." She also says "Marilyn never mentioned death."

1962-08-09-eunice_murray-1 


En début d'après-midi, à 14 heures, le corps de Marilyn Monroe est transféré de la morgue au cimetière de Westwood, où auront lieu les funérailles.
At 2 pm, the body of Marilyn Monroe is wheeled from the Los Angeles County morgue and taken to Westwood Village Mortuary, Los Angeles, where funeral services will be held. 

1962-08-06-morgue_leaving_to_westwood-1 1962-08-06-morgue_leaving_to_westwood-noguchi-1 1962-08-06-morgue_leaving_to_westwood-noguchi-2 
morgue-LA-1 
1962-08-06-depouille_marilyn_conduite_westwood_village_mortuary_at_2pm  1962-08-06-crypt-unidentified_man-by_schiller  1962-08-06-westwood 


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

7/08/1962 Préparation des funérailles

Le mardi 7 août 1962, la police de Los Angeles et celle de New York font l'inventaire des fourrures et des bijoux de Marilyn Monroe. Ils sont stockés temporairement aux postes de police pour être conservés en sécurité.
On Tuesday, August 7, 1962, Los Angeles Police and New York Police made an inventory of Marilyn Monroe's furs and jewelry . They are temporarily stored at police stations to be kept safe. 

> Los Angeles
1962-08-07-police-furs-1

> New York
1962-08-07-police-furs-2  1962-08-07-police-furs-2-press


Au Grauman's Chinese Theatre de Los Angeles, des petites filles mettent leurs mains dans les empreintes laissées par Marilyn (le 26 juin 1953).
At Grauman's Chinese Theatre in Los Angeles, little girls put their hands in the handprints left by Marilyn (in June, 26, 1953).

1962-08-07-graumans 


Joe Jr., le fils de Joe DiMaggio, arrive à Santa Monica avec son costume pour assister le lendemain aux funérailles de Marilyn.
Joe Jr., the son of Joe DiMaggio, arrived in Santa Monica with his costume to attend the day after the funeral of Marilyn.

1962-08-07-santa_monica-joe_jr_arrive-1  1962-08-07-santa_monica-joe_jr_arrive-2 


Dans la journée, Eunice Murray (la gouvernante de Marilyn), Inez Melson (la conseillère financière de Marilyn) et Berniece Miracle (demie-soeur de Marilyn) se retrouvent à la maison de Marilyn, au Fifth Helena Drive dans le quartier de Brentwood de Los Angeles, pour choisir la tenue que Marilyn portera pour ses funérailles. Quand Berniece demande où se trouvent les robes bleues de Marilyn, Eunice Murray lui explique que Marilyn ne portait plus de bleu depuis longtemps. Eunice choisit une robe vert pâle de Pucci suspendue dans la penderie, qui était la robe préférée de Marilyn.
In the afternoon, Eunice Murray (Marilyn's housekeeper), Inez Melson (financial advisor of Marilyn) and Berniece Miracle (half-sister of Marilyn) are meeting in Marilyn's house at Fifth Helena Drive at Brentwood, in Los Angeles to choose the outfit that will wear Marilyn for her funeral. When Berniece asks where are the Marilyn's blue dresses, Eunice Murray explains that Marilyn was not wearing color blue since a long time. Eunice chooses a Pucci pale green dress hanging in the closet, which was the favorite dress of Marilyn.

> Eunice Murray au 5 Helena Drive
-photographies de Gene Anthony-
1962-08-eunice  1962-08-07-brentwood-eunice_murray-1 
1962-08-07-brentwood-eunice_murray-4 1962-08-07-brentwood-eunice_murray-5 
1962-08-07-brentwood-eunice_murray-2 
1962-08-07-brentwood-eunice_murray-3  1962-08-07-brentwood-eunice_murray-6  1962-08-07-brentwood-eunice_murray-7

 > Eunice Murray accueille Berniece Miracle et Inez Melson
1962-08-07-brentwood-berniece_melson_murray-1   

> Berniece Miracle ressort avec les affaires vérifiées par la police
1962-08-07-brentwood-berniece-1 
1962-08-07-brentwood-berniece-2 

> Berniece Miracle avec Inez Melson
 
1962-08-07-brentwood-berniece_melson-2  1962-08-07-brentwood-berniece_melson-3 

Après qu'elles soient sorties de la maison, la police pose à nouveau les scellés sur la porte.
After they have gone out the house, the police once again raises the seals on the main door.

1962-08-07-brentwood-berniece_melson-1  1962-08-07-brentwood_police_seal-1  1962-08-07-police_seal

La robe verte de chez Pucci choisie pour l'inhumation de Marilyn était la robe qu'elle avait portée le 22 février 1962 à la conférence de presse au Hilton de Mexico:
The green dress from Pucci which has been chosen for the burial of Marilyn was the dress that she wore in February, 22, 1962 at the press conference at the Hilton in Mexico City:

Mexico__colorized   1962_mexico_dress   1962_45  


Puis Berniece se rend au cimetière Westwood Village Mortuary, où elle s'entretient avec le révérend Floyd Darling.
Berniece then goes to the Westwood Village Mortuary Cemetery , where she speaks with the Rev. Floyd Darling. 

1962-08-07-westwood-beriece_reverend_floyd_darling-2 
1962-08-07-westwood-berniece_reverend_floyd_darling-1  

Joe DiMaggio reste 4 à 5 heures seul dans la pièce avec le corps de Marilyn.
Joe DiMaggio stays 4 to 5 hours alone in the room with the body of Marilyn.


On prépare la chapelle du cimetière de Westwood où aura lieu la cérémonie des funérailles.
The chapel of the Westwood cimetery where the ceremony will be held is prepared.

1962-08-07-westwood_Memorial_Chapel-1


L'emplacement où reposera Marilyn Monroe est décidé: elle sera inhumée dans la crypte au marbre rose du "corridor of Memories" n°24 du cimetière de Wetswood Village Memorial Park.
The place where Marilyn Monroe will be rested is decided: she will be intered in a pink marble crypt at Corridor of Memories, #24, at the Wetswood Village Memorial Park Cimetery.

1962-08-07-westwood_memorial_park-1  1962-08-07-westwood_memorial_park-1a  1962-08-07-westwood-crypt-2 
1962-08-07-westwood-crypt-1


Le cercueil dans lequel elle reposera a été fabriqué par la société de cercueil Belmont à Shadyside, dans l'Ohio. C'est un cercueil que l'on a appelé la "Cadillac des cercueils" - en argent antique de gros calibre, de fermeture hermétique, en bronze doublé à l'intérieur d'un tossi de satin de couleur champagne-soie.
The casket in which she will rest was
manufactured by the Belmont casket company in Shadyside, Ohio. It's a casket known at that time as the "Cadillac of caskets" – a hermetically sealing antique-silver-finished 48-ounce (heavy gauge) solid bronze "masterpiece" casket lined with champagne-colored satin-silk.

1962-08-07-westwood-cercueil-2  1962-08-07-westwood-cercueil-1 


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

03 décembre 2011

Marilyn Monroe: the unseen files

The_TelegraphMarilyn Monroe: the unseen files 
Par Tim Auld, publié le 21/02/2011,
en ligne
sur telegraph.co.uk 

A new book reveals the extraordinary contents of Marilyn Monroe's private filing cabinets, thought lost for over 40 years after her death

Marilyn_main_1835453c
Detail of a test print from the Marilyn Monroe archive
 Photo: MARK ANDERSON

In November 2005 Millington Conroy, a businessman living in Rowland Heights, 40 miles east of Los Angeles, contacted Mark Anderson, a successful magazine photographer, to discuss an unusual commission.

He had in his possession two metal filing-cabinets, one brown, one grey, containing private papers and a collection of furs, jewellery and other assorted memorabilia, all belonging to Marilyn Monroe. Would Anderson be interested in photographing the collection?

The material – about 10,000 documents – had been thought lost for more than 40 years since the death of Monroe on the night of 4 August 1962. Now, here it was, a treasure trove, languishing in a Californian suburb.

It was the commission of a lifetime, the largest undocumented Monroe archive in existence. Yes, of course Anderson was interested, and, with the help of the biographer and Monroe aficionado Lois Banner, he set about creating a record of the archive's contents, which is now to be published for the first time as a book.

There are letters from Monroe glowing with admiration for Robert Kennedy; a half-finished love letter to her ex-husband Joe DiMaggio found in her room after she died from a drug overdose; unseen pictures of Monroe as a child and young woman; touching fan mail; rare insights into her marriage to the playwright Arthur Miller; and extensive documentation of her squabbles with the Hollywood studio Twentieth Century-Fox.


In these documents the flesh-and-blood Monroe, usually lost in the heady blaze of the images of her on film and in glamour photographs, comes alive in the flotsam and jetsam of everyday life.

We can see her bookshop receipt for The Life and Works of Sigmund Freud, volumes one, two and three (she was a slave to therapy); the newspaper cuttings, both flattering and critical; her witty little telegrams. Then there are the bills for enemas, facials and prescription drugs, the uppers and downers that in her later years carried her through the day, and eventually killed her.

Frank Sinatra, one of Monroe's lovers, is said to have suggested she buy the filing cabinets to protect her privacy when she was living in New York in 1958. In early 1962, when she moved to Brentwood, Los Angeles, she had the cabinets shipped down.

The grey one, containing private correspondence, was kept in the guest cottage at the Brentwood house; the brown one, containing business records, was stored across town in her office at Twentieth Century-Fox studios.

One account of Monroe's last night claims that she actually died in the guest cottage and was subsequently moved to her bedroom in the main house and rearranged on her bed.

What is certain is that sometime on the night of 4 August the cabinet in the guest cottage was broken into, and that crucial files were removed – perhaps pertaining to Monroe's relationship with the Kennedys and their links with the Mafia boss Sam Giancana, perhaps to her contractual arrangements with Twentieth Century-Fox.

How did these immensely valuable cabinets manage to vanish for so long only to resurface in a quiet corner of suburban California? The key to the mystery is Inez Melson, Monroe's business manager in the mid-1950s, guardian of Monroe's schizophrenic mother, and, following Monroe's death, administrator of her Los Angeles holdings.

In the days and weeks after Monroe died Melson, who received nothing in Monroe's will (the bulk of the estate and her personal effects were left to Lee and Paula Strasberg, her acting coaches), made sure the filing cabinets ended up in her possession.

She had the brown cabinet at Twentieth Century-Fox transported to her home in Hollywood Hills, and, fraudulently, using the name of one of her nephews, bought the grey cabinet for $25 at the Monroe Estate auction she herself had organised. Upon her death in 1985 Melson left her collection, including the cabinets, to her sister-in-law Ruth Conroy, who, upon her death, bequeathed it to her son Millington.

In the course of their research, it soon became apparent to Anderson and Banner that Melson had acquired the contents of her archive illegally and that Strasberg's third wife, Anna, was in fact the legal owner of the material.

'We told Mill what we had found,' writes Banner. 'Realising that his ownership of the collection could be in jeopardy, he threatened to sell it on the black market… We wanted to ensure that the [collection] remained intact and that it would eventually be shown to the public; so we informed Anna Strasberg of its existence. We were not privy to her ensuing negotiations with Mill. All we know is that, in the end, they reached a settlement.'

What is astonishing about the archive, says Banner, is quite how much material has survived, and also its quality. Amid the mass of bills, cheques, contracts and publicity shots there are insights into the most private corners of her life.

Monroe grew up effectively an orphan. She never knew her father, and her mother's illness meant Monroe spent her childhood and teenage years being passed from family to family, including a spell at the Los Angeles Orphan Home. She was left with a lifelong desire to truly belong in a family, and to bring up children of her own.

Monroe's horror at the idea of not being able to get pregnant is made starkly and rather zanily clear by a handwritten letter she taped to her stomach before having her appendix removed in 1952: 'Cut as little as possible,' it reads. 'I know it seems vain but that doesn't really come into it. The fact I'm a woman is important. You have children and you must know what it means. For God's sakes Dear Doctor no ovaries removed.'

Monroe suffered three miscarriages in the mid-1950s while married to the playwright Arthur Miller, and the archive is full of reminders of how painful that time must have been. There's a receipt for a maternity dress Miller bought, and a letter of condolence from the poet Louis Untermeyer, which sums up the paradox of her life – at once adored by millions and isolated in her suffering: 'It's grimly ironic that while the rest of the country was enjoying the comedy of your impersonations in Life [the December 1958 issue had a shoot in which Monroe spoofed the great sirens of history], you were going through your personal tragedy… Arthur's tribute was a model of good taste, artistic balance, and love. It must be an added comfort to know that everyone loves you – especially now.'

Most extraordinary is a letter she and Miller received on 24 January 1958, in the aftermath of her third miscarriage, offering them a child to adopt: 'Wonder if you might be interested in the adoption of a baby girl, that was born to an unwed mother about the same time your wife lost her child. It is a healthy and beautiful baby and the mother feels that you people would really make a good happy home for her… If you are interested you can reach me by phone.'

Would Monroe have been a good mother? Who can tell? But letters she wrote to her stepchildren, Bobby and Jane Miller, reveal a playfulness and understanding of childhood needs and disappointments that would surely have stood her in good stead.

In August 1957 we find her writing to them at summer camp in the guise of their basset hound, Hugo (she also wrote to them as their Siamese cat, Sugar Finney): 'It sure is lonesome round here! I made a mistake and I am sorry, but I chewed up one of your baseballs. I didn't mean to. I thought it was a tennis ball and that it wouldn't make any difference but Daddy and Marilyn said that they would get you another one, so is it all right for me to keep playing with this one as long as you are getting a new one? Love from your friend and ankle-chewer.'

The light-hearted, but slightly wistful tone of these letters (the word lonesome crops up again and again in her letters to the children at this time) are made more poignant by the fact that on 1 August Monroe had suffered her second miscarriage.

Anderson and Banner's selection of material presents Monroe in a positive light. She is a woman fighting to control her image in a man's world; a talented comic actress compared by directors to Garbo and Chaplin; a caring stepmother; a clever correspondent; a trustworthy friend.

The authors do not, however, gloss over her petulance ('I am exceedingly sorry but I do not like it,' reads her curt telegram to Twentieth Century-Fox on being sent the script for Pink Tights, which she'd already decided she did not want to make); nor over her refusal to compromise, which during the filming of The Misfits led to Dorothy Jeakins – a major Hollywood costume designer who had done costumes for Monroe on both Niagara and Let's Make Love – leaving the film ('I'm sorry I have displeased you. I feel quite defeated – like a misfit, in fact,' wrote Jenkins). Angry legal spats also bear witness to her legendary lateness, which resulted in almost everything she worked on running over schedule.

Despite knowing how infuriating she could be, it remains impossible not to like Monroe. She had a wit worthy of Mae West ('There is only one way he could comment on my sexuality and I'm afraid he has never had the opportunity!' she wrote of Tony Curtis, though he would later claim to have been her lover) and an ability to remain winsome even in adversity.

After she was fired from the film Something's Got to Give in 1962, as her drug habit escalated, she wrote to George Cukor, the director: 'I blame myself but never you. The next weekend I will do any painting, cleaning, brushing you need around the house. I can also dust.'

Marilyn always said it was the people and not the studios who had made her famous, and we see the best of her when she reaches out to her public. She received thousands of fan letters each week, and was meticulous about filing away those that had particularly touched her.

There is a charming letter from a 17-year-old Italian boy, who is clearly entirely overcome: 'I imagine that you and I dance wrapped in a sky of stars, and they smile on us.' He requests a lock of Monroe's hair. Monroe is clearly touched because along with the letter is found a note by her: 'Pic of him and dedication autographed and returned also a lock of hair. Also a letter which I will carry next to my heart always.'

Equally moving is a note from the mother of a soldier who saw Monroe perform in Korea in 1955. She quotes from the letter her son sent her: 'When she appeared on the stage, there was just a sort of gasp from the audience – a single gasp multiplied by the 12,000 soldiers present… The broadcasting system was extremely poor… However, it didn't matter. Had she only walked out on stage and smiled it would have been enough.'

If representatives of the Kennedys did remove documents from the filing cabinet on the night of Monroe's death, and Lois Banner is certain that they did ('I know who took them and what happened to them, but I don't feel at liberty to say at this point,' Banner told me), they were pretty thorough. The archive now has almost no material relating to Monroe's relationships with JFK and Robert Kennedy, which are thought to have dominated the final months of her life.

Tantalisingly, she makes two references to Robert Kennedy in letters written on 2 February 1962, the day after she had attended a dinner in the attorney general's honour. To Arthur Miller's son, Bobby, she writes: 'I had to go to this dinner last night as [Robert Kennedy] was the guest of honor and when they asked him who he wanted to meet, he wanted to meet me. So, I went to the dinner and I sat next to him, and he isn't a bad dancer either. But I was mostly impressed with how serious he is about civil rights.'

She is rather more circumspect when relating the incident to Miller's father, Isidore: '[Robert Kennedy] seems rather mature and brilliant for his thirty-six years, but what I liked best about him, besides his Civil Rights program, is he's got such a wonderful sense of humor.'

Smitten? Maybe. There are certainly no other letters here that emanate this wide-eyed flirty glow. But the remaining documents from Monroe's last spring and summer offer no hint as to where this relationship might have gone.

Instead there are ledgers and memos charting the increasingly poor state of Monroe's finances and revealing that her main expenditure was on medical bills. There is an eerie absence of anything else. Where are the letters from friends, the fan mail, the urgent telegrams of former times?

Stolen, perhaps? Or had the isolation that Marilyn always so feared begun to close around her. The only hint of human warmth to be found among a sea of cheques and tumbling balances is a note, signed with a heart, from Monroe's acting coach Paula Strasberg: 'Have faith,' it reads.

MM – Personal: From the Private Archive of Marilyn Monroe (Abrams, £22.50), by Lois Banner with photographs by Mark Anderson, published on Tuesday, is available from Telegraph Books (0844 871 1515; books.telegraph.co.uk) at £20.50 plus £1.25 p&p

> sur le blog: le livre MM Personal 


The private files of Marilyn Monroe

theprivatefiles_1
  1/ PUBLICITY STILLS: Monroe in 1960 on the set of Let’s Make Love

theprivatefiles_2 theprivatefiles_3 theprivatefiles_4 
 2/LETTER TO HER SURGEON: A note Monroe taped to her stomach before her appendectomy in 1952, in which she urged the doctor to remove 'as little as possible... no ovaries’
3/ BOOKSHOP RECEIPT: When asked by journalists what her religion was, Monroe replied 'Freud’. She began reading his writings during her early years in Hollywood. This receipt shows the purchase of all three volumes of his life and works
4/ CLOTHING LIST: Favourite garments shipped to Monroe in New York in 1955. The seventh item is thought to be the dress she wore to perform to troops in Korea

theprivatefiles_5 theprivatefiles_6 theprivatefiles_7 
5/ LETTER FROM HER FOSTER MOTHER: Ida Bolender, who had looked after Monroe as a child, wrote to Marilyn’s half-sister after the star’s death to dispute stories of an unhappy childhood. The picture was taken by Monroe’s grandmother
6/ LETTER TO HER STEPCHILDREN: Monroe writes to Arthur Miller’s children at summer camp in the voice of their cat, Sugar Finney (or 'Feeny’ as she misspells it)
7/ FUR COAT: This leopardskin coat is thought to have belonged to Monroe and have been taken from her home after she died by Inez Melson

theprivatefiles_8 theprivatefiles_9 theprivatefiles_10 
8/ LETTER FROM A COSTUME DESIGNER: Dorothy Jeakins, a famous Hollywood costume designer, left The Misfits after a disagreement over her work. Here she writes to the actress to apologise for displeasing her
9/ FANMAIL: Two children from Brooklyn send a token of their esteem
10/UNUSED MATERNITY CLOTHES: Receipt for a bed-jacket Arthur Miller bought Monroe just before she suffered a miscarriage in December 1958

theprivatefiles_11 theprivatefiles_12 theprivatefiles_13
11/ FOSTER BROTHER: The Bolenders called Monroe and Lester, another of their foster children, 'the twins’
12/ LETTER FROM HER PUBLICIST: In a letter of 1959 Joe Wolhandler lists the several inaccurate press stories he has had to deny in the past 24 hours. He concludes, 'I am in the business 20 years and I still don’t know how these things happen’
13/ TEST PRINT: A costume and make-up test for Something’s Got to Give

theprivatefiles_14
14/ LETTER TO HER LAWYER: Monroe’s assistant writes to the lawyer’s secretary to make sure the parlous state of Monroe’s finances remains a secret

  theprivatefiles_15 theprivatefiles_16 theprivatefiles_17
15/ THE FILING CABINETS
16/ ADOPTION OFFER: Soon after one of Monroe’s miscarriages, she and Arthur Miller received this letter offering a baby girl
17/ RECORD RECEIPT: A bill for three records by Frank Sinatra, who is known to have had an affair with Monroe 


29 octobre 2011

27/10/1954 Divorce prononcé

Le 27 octobre 1954, Marilyn Monroe se rend au tribunal de Santa Monica, en Californie, pour le jugement de son divorce d'avec Joe DiMaggio. Elle est épaulée par son ami Sidney Skolsky, mais aussi accompagnée par son avocat Jerry Giesler. Pour la circonstance, Marilyn est toute vêtue de noir, élégante dans un tailleur classique, un petit chapeau noir et des gants blancs, comme si elle était en deuil. Elle arbore autour de son cou le collier de perles que lui avait offert l'empereur japonais lors de sa lune de miel en Asie. Dès leur arrivée, le trio (Marilyn, Skolsky et Giesler) sont assaillis par les photographes et caméramen.

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Au tribunal, Marilyn est assise devant le juge Orlando H. Rhodes. Elle témoigne pendant dix minutes:
"Joe est froid et indifférent, il est lunatique et peut ne pas m'adresser la parole pendant plusieurs jours... Quand j'essaie de lui parler, il ne me répond pas ou me dit: 'Laisse moi tranquille! Arrête de m'ennuyer'. (...) Il m’interdit de recevoir des visites, en neuf mois, je n’ai reçu que trois fois des amis.".

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Natasha Lytess avait proposé à Marilyn de témoigner en sa faveur mais Marilyn a refusé. Seule Inez Melson, la conseillère financière de Marilyn, apporte un témoignage:
"Mr DiMaggio était complètement indifférent et se souciait peu du bonheur de Mrs DiMaggio. Je l’ai vu la repousser et lui dire de lui ficher la paix".

1954_10_27_santa_monica_court_inez_melson_witness_marilyn

Marilyn appose sa signature sur les papiers du divorce. Ses yeux se remplirent de larmes quand le juge annonça: "Divorce accordé", au motif de "cruauté mentale" (qui équivaut à l'incompatiblité d'humeur en France). Il ne sera cependant officiel que l'année suivante, en octobre 1955, prononcé par le juge Elmer Doyle.

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Joe DiMaggio était absent et ne fera pas appel. Mais il ne renoncait pas à annuler le divorce: la veille du jugement, il était à Los Angeles, prétextant qu'il était venu voir son fils. Et le jour même du divorce, il convoque la presse pour dire qu'il n'avait pas perdu l'espoir d'une réconciliation, en déclarant: "J'éspère qu'elle verra la lumière".
Quand à Marilyn, elle était certainement perdue dans ses sentiments: d'un côté, elle déclare à la presse qu'elle n'avait pas d'homme dans sa vie, en tenant une interview la veille du jugement (sa première interview depuis la séparation), tout en se préparant à persuader le juge de la "cruauté mentale" de DiMaggio; et de l'autre côté, elle continuait à voir DiMaggio: on raconte même qu'elle aurait passé la nuit précédente et suivante de l'audience, avec Joe, chez Sinatra.

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 >> Video 1

 >> Video 2

 >> Video 3


 >>  dans la presse
Kansas Russell Daily News
1954_10_27_divorce_mag_kansas_russell_daily_news_1 


>> sources:
Livre Marilyn Monroe Les inédits de Marie Clayton
Livre Les vies secrètes de Marilyn Monroe, de Anthony Summers

Enregistrer

10 décembre 2010

Daily News 8/08/1962

mag_Daily_News_NewYork_1962_08_08_wednesday_coverLe journal américain de New-York Daily News du mercredi 8 août 1962, titre en Une "Did he make mystery call?'" en publiant une photographie de Marilyn Monroe en compagnie de José Bolanos, prise trois mois auparavant (en avril) à la soirée des Golden Globes. Alors que les préparatifs des funérailles se préparent, on apprend que Bolanos pourrait bien être la dernière personne à avoir parlé au téléphone à Marilyn.

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C'est Joe DiMaggio, le second mari de Marilyn, qui s'occupa des funérailles. Seulement 15 personnes triées sur le volet, des "amis très proches" de Marilyn, participeront à la mise en place des services à 13h dans la Chapelle du cimetière de Westwood, parmi lesquelles son agent Pat Newcomb, Paula et Lee Strasberg de l'Actors Studio. Le journal publie des photographies des proches de Marilyn arrivant à Los Angeles pour se rendre aux funérailles de l'actrice: l'avocat new-yorkais Aaron R Frosch accompagné de la coach d'art dramatique Paula Strasberg, l'avocate Inez Melson, la demie-soeur de Marilyn Berniece Miracle. Mais ni son premier mari, James Dougherty, ni son dernier mari, Arthur Miller, ne seront présents, ni même sa mère, Gladys Baker, internée en institut psychiatrique, mais néanmoins reprénsentée par sa tutrice, Inez Melson. Son second époux, Joe DiMaggio  et le fils de celui-ci, Joe Jr, suivront le cortège funéraire. Le poète Carl Sandburg a rédigé une éloge envoyée par télégraphe. La famille demanda ne pas apporter de fleurs mais de faire plutôt un don à une institution. La présentation du corps de la défunte a été préparée par son maquilleur et sa coiffeuse habituelle, envoyés, d'après l'article, par la 20th Century Fox. Des centaines de fans se regroupèrent autour du cimetière, dans lequel Marilyn sera inhumé et où reposent sa grand-mère et sa tante Grace Goddard. On ne sait pas encore si sa mort, par l'absorption de barbituriques, est un accident ou un suicide.

La police recherche le scénariste mexicain Jose Bolanos qui pourrait bien être la dernière personne à avoir discuté avec Marilyn par téléphone. Cet appel aurait fait suite à celui de Joe Dimaggio Jr., le fils de Joe DiMaggio âgé de 21 ans et incorporé dans la Marine, et qui raconta à Marilyn sa rupture sentimentale d'avec sa petite amie Pamela Ries. Selon sa gouvernante,
Eunice Murray, Marilyn était alors toute enjouée.
José Bolanos était le dernier ami connu en date de Marilyn, qu'elle rencontra lors de son séjour à Mexico en février de la même année, et qu'elle fréquenta les dernières semaines précedent sa mort, à Hollywood. Mais Pat Newcomb, l'agent de Marilyn, ajouta qu' "ils s'amusaient et aimaient passer juste du temps ensemble." 
Eunice Murray rapporta à la police que Marilyn s'agita après avoir reçu ce deuxième appel tard dans la soirée de samedi, mais qu'elle n'avait aucune idée de l'identité de cet interlocuteur, ni de l'heure précise. Mrs Murray raconta que vers 3h30 du matin, elle pressentie que quelque chose n'allait pas, remarquant que la lumière de la chambre de Marilyn, fermée à clé, était toujours allumée. Elle appela le docteur qui força la porte et trouva Marilyn morte. "Connaissant Marilyn comme je la connais, je pense que si cet appel l'a réveillé, elle a dû reprendre des pillules pour dormir", déclara Mrs Murray. ce qui montre que sa mort serait bien accidentelle, thèse que réfute Ben Hecht, qui interviewa Marilyn en 1954, informant qu'elle tenta de se suicider deux fois quand elle était jeune, affirmant que c'est "Hollywood qui la sauva". 

On apprend aussi l'attirance de Marilyn pour la ville de Mexico: elle y rencontra Jose Bolanos avec qui elle aurait prévu de coproduire un film. il l'accompagna dans la ville faire du shopping pour la décoration de sa maison de Los Angeles. Elle resta à Mexico jusqu'au 2 mars et Bolanos la rejoignit ensuite à Los Angeles. Marilyn retourna ensuite à Mexico, notamment le 15 septembre, journée de l'indépendance du pays. Elle fit aussi un don de 1 000 Dollars à un orphelinat du Mexique, ce qui porte à croire qu'elle aurait éventuellement prévu d'adopter un enfant mexicain, bien qu'aucun ami proche de Marilyn n'ait entendu parlé de tel projet.

Le journal rapporte aussi les déclarations d'amour pour Marilyn, de trois actrices : Rosalind Rusell, Lisa Kirk et Carroll Baker, toutes trois choquées par l'annonce de la mort de la star, elles donnent leur avis sur sa tragique disparition.


>>
Source scans sur
 emulsioncompulsion.com  

10 novembre 2010

MM Personal

MM - Personal:
From the private archive
of Marilyn Monroe

Auteur
: Lois Banner
Photographies: Mark Anderson

book_mmpersonal_bannerDate de sortie: mars 2011
Relié 336 pages
Langue: anglais

Éditeur: ABRAMS
Prix éditeur: 27,24 Euros
ISBN-10: 0810995875
ISBN-13: 978-0810995871

 Ou le commander ? sur amazon.fr 

Description:
Livre illustré de la collection d'Inez Melson, conseillère financière qui s'occupa des affaires et effets personnels deMarilyn Monroe après sa mort en 1962.

La collection, photographiée par Mark Anderson, avait été l'objet d'un sujet commenté dans le magazine Vanity Fair, en 2008.

Posté par ginieland à 15:47 - - Commentaires [7] - Permalien [#]
Tags : , , ,

29 octobre 2008

The Things She Left Behind

vanity_fair_logoThe Things She Left Behind
published in 2008 October,
by Sam Kashner,
online
vanityfair.com

The tragic 1962 overdose … two filing cabinets holding many of her secrets: keys to the mystery that was Marilyn Monroe. As her estate battles for control of her image, the author describes the cache’s revelations—papers, furs, jewelry, and other items—which have cast a spell over several people, including photographer Mark Anderson, who spent more than two years documenting the disputed collection.

vf2008_a
Monroe, as photographed in Korea by a U.S. Army corporal in 1954.
Photograph by Don Obermeyer.
 

Dr. Ralph Greenson, her psychiatrist, was probably the first to arrive, in the early-morning hours of August 5, 1962. Her personal physician, Dr. Hyman Engelberg, was also summoned to her bungalow, at 12305 Fifth Helena Drive. One of her lawyers, Milton “Mickey” Rudin, came and started working the phones. Arthur Jacobs, her chief publicist, was called away from the Hollywood Bowl, where he and his future wife, Natalie Trundy, were attending a concert on that warm summer night. In later years, Jacobs would never speak about the scene in her bedroom, because it was “too horrible to talk about.” The police got there around 4:30 a.m. And then there was the curious sight of Eunice Murray, the housekeeper who had discovered the body, washing the bedsheets in the middle of the night.
The actor Peter Lawford, President Kennedy’s brother-in-law, was not there, but he had been troubled by the way Monroe sounded in their last phone call, just before her death: “Say good-bye to Pat [Lawford]. Say good-bye to the president. And say good-bye to yourself because you’re a nice guy.”

Marilyn Monroe, the most famous movie star in the world, had succumbed to a prescription-drug overdose at the age of 36. Since then, the rumors and confusion about what happened before and after her death have never gone away: Was it suicide or an accident? Was she in fact murdered? The mystery has fueled her legend as much as any of the 30-plus films she made in her 15-year career, or the famous men she married—Yankee great Joe DiMaggio and playwright Arthur Miller—or her relationships with John and Robert Kennedy. Conflicting accounts of her last hours and the actual time and means of her death have served only to deepen the mystery.

Marilyn Monroe’s death received front-page coverage throughout the world. Gay Talese reported in The New York Times that the number of suicides in New York a week after her death hit a record high of 12 in one day. One suicide victim left a note saying, “If the most wonderful, beautiful thing in the world has nothing to live for, then neither must I.” Truman Capote, writing from Spain, recorded in a letter, “Cannot believe that Marilyn M. is dead. She was such a good-hearted girl, so pure really, so much on the side of the angels. Poor little baby.” Billy Wilder, while loudly complaining that it had been taxing to direct her in The Seven Year Itch and Some Like It Hot—two of her greatest and best-loved movies—recalled that it was “worth a week’s torment to get … three luminous minutes on the screen.” In Italy, Sophia Loren broke down and wept. Joshua Logan, who directed Monroe in the film version of William Inge’s Bus Stop, paid her the ultimate compliment when he compared the “dumb blonde” character she created to Chaplin’s Tramp, one of the great comic inventions of the 20th century.

There was another person in the house on Fifth Helena that morning, a shadowy figure in most of the Monroe biographies: Marilyn’s business manager, Inez Melson, a plump woman in her early 60s, who had been recommended by Joe DiMaggio. She sat quietly going through Marilyn’s personal papers.
Melson had had the thankless task of looking after Gladys Baker Eley, Monroe’s mother, a schizophrenic who was institutionalized off and on throughout her adult life. Marilyn—born Norma Jeane Mortenson—didn’t like to visit her, but Melson treated Gladys as if she were her own mother, and she regularly gave Monroe lovingly detailed reports of her “progress.”

Additionally, Marilyn had become a daughter figure to Melson, who had a troubled relationship with her own daughter, Emmy Lou. In a handwritten 1957 letter to Melson, Marilyn wrote, “I wish there were some way I could tell Emmy Lou what a wonderful mother she has.” But, in truth, Marilyn never felt close to Melson—she was a painful reminder of her own mother, estranged since childhood.

Joe DiMaggio had put Melson in the job to look after things, to keep an eye on Marilyn, to report to him about what she was up to. She was supposed to be the Yankee Clipper’s spy in the house of love. Now she had a funeral to arrange. Joe put her in charge. Their “baby” finally belonged to them. DiMaggio sat up all night with the body and, along with Melson, helped to select an apple-green sheath dress of nylon jersey. Melson, by her own account, removed 15 bottles of prescription medicine from the bedside table.

There were also two filing cabinets, one gray and one brown, to deal with. Frank Sinatra had advised Monroe to get them to protect her privacy. One had a built-in safe hidden behind a faux drawer. That’s where her personal life was, in those files: the letters, invoices, financial records, favorite snapshots, and mementos that meant the most to her. Now Melson had control of the filing cabinets. After years of looking after Gladys and getting little in return, she was going to become an important person in Monroe’s posthumous life. Marilyn’s secrets would belong to her.

During the 48 hours after Monroe’s death, while the police were busy taking statements and photographs, Melson removed papers from the filing cabinets and stuffed them into a shopping bag. She also called the A-1 Lock & Safe Company to change the lock on one of them.

Monroe’s will, filed for probate on August l6, established a $100,000 trust to provide her mother with $5,000 per year and Mrs. Michael Chekhov, the widow of one of her acting coaches, $2,500 a year. She left $10,000 to her half-sister, Berniece Baker Miracle; $10,000 to her former secretary and friend, May Reis (with a provision that she could inherit more); and $5,000 to the playwright and poet Norman Rosten and his wife, Hedda. Curiously, she left 25 percent of the estate’s balance to further the work of her New York psychiatrist, Dr. Marianne Kris, who had disastrously incarcerated her, briefly, in a padded cell in New York’s Payne Whitney Clinic in 1961, when Monroe was suffering from insomnia and exhaustion.

The most valuable portion of the estate, including all of her “personal effects … [to be distributed] among my friends, colleagues and those to whom I am devoted,” was left to Lee Strasberg. In 1955 Strasberg and his wife, Paula, had welcomed Monroe into the Actors Studio, the country’s most prestigious acting school and purveyor of “the Method,” which had famously launched the careers of Marlon Brando, Montgomery Clift, and James Dean. The Strasbergs had believed in her talent, making her part of their family. Paula had replaced Natasha Lytess as Marilyn’s personal acting coach and had been well paid for it.

The Strasberg bequest would eventually net the heirs tens of millions of dollars from film royalties, the sale of her personal belongings, and the licensing of her image over the last 45 years. A fortune would accrue to a woman Monroe had barely known: Lee Strasberg’s third wife, Anna Mizrahi Strasberg. (Monroe met Anna once, at a United Nations event, years before Paula Strasberg’s death.)

It must have been a blow to Inez Melson that she was not named in the will. Nonetheless, the court appointed her special administratrix of the Monroe estate, most likely due to the influence of Joe DiMaggio, who by many accounts had been planning to remarry Marilyn. Shortly after the funeral, Melson entered the house with Marilyn’s half-sister, Berniece Miracle, and sorted through the actress’s personal effects. “We sat around the fireplace,” Miracle wrote in her overlooked 1994 memoir, My Sister Marilyn, “watching Inez burn papers all day long.” Melson put Monroe’s red leather Gucci shopping bag on the floor, saying, “Put what you want to take home in here,” and noting that Marilyn apparently saved every letter Arthur Miller had ever written her.

Melson herself, it seems, put aside furs, jewelry, hats, perfume bottles, and handbags, and they readied the rest of Monroe’s things for the estate sale that would take place in 1963, which offered “Personal Property Likely To Depreciate in Value.”

vf2008_b(Monroe at her Los Angeles home, by Life photographer Alfred Eisenstaedt, in 1953. By Alfred Eisenstadt/Time & Life Pictures/Getty Images).

The gray cabinet—“Metal 4 drawer filing cabinet, legal size with lock”—was included in that sale and bought under the name of Melson’s nephew W. N. Davis, without his knowledge. It was delivered to 9110 Sunset Boulevard in West Hollywood, Melson’s office address.

The brown filing cabinet was apparently removed from the house by DiMaggio, and personally delivered, some six years later, to Melson’s home, in Los Angeles, where it remained until her death, in 1985, when the two cabinets were passed on to her sister-in-law, Ruth Conroy, of Downey, California, and in turn to Conroy’s son Millington Conroy, a perfume and cosmetics salesman. The two cabinets—along with furs, hats, handbags, and jewelry—were taken to Conroy’s suburban home in Rowland Heights, 25 miles outside of Los Angeles.

Love at First Sight

Marilyn was divine and profane at the same time, and she quickly entered the realm of myth and metaphor as Hollywood’s most famous martyred saint. At the height of her fame, she had received 5,000 fan letters a week. Many were from men and women who talked about the sadness in her eyes, her vulnerability, and how they identified with her. Her immortal fame was parodied in the “Church of Marilyn” scene in Ken Russell’s 1975 film Tommy in which blonde priestesses in Marilyn masks offer sacraments of whiskey and pills beneath a statue of Monroe. Today, there are still legions of Marilyn Monroe fans, including several high-profile celebrities. Madonna, Charlize Theron, Scarlett Johansson, and Nicole Kidman all worship at the Church of Marilyn, as does Lindsay Lohan. For the February 18, 2008, issue of New York magazine, Bert Stern photographed Lohan in a re-creation of his famous, final portrait series taken at the Hotel Bel-Air six weeks before Monroe’s death. But in fact, two years earlier, Lohan had channeled Monroe in a white bathing suit on the cover of Vanity Fair, in a tribute to André de Dienes’s sun-drenched images of a young Marilyn frolicking on the beach. Marilyn has become the patron saint of the lost girls of our own era—Lohan and Amy Winehouse and even Britney Spears—gifted performers knocked around by celebrity, constant surveillance, and the echoes of Marilyn’s own self-doubt.

From Marilyn’s first film, Scudda Hoo! Scudda Hay!, in 1948, to her last, The Misfits, in 1961, she went from studio-issue blonde bimbo to Method-trained, heartbreaking actress of depth and soul. She moved beyond camp—that was her genius. That’s how she differed from Jayne Mansfield and Mamie Van Doren and Sheree North—blonde, busty actresses in the Marilyn mold that Hollywood used in its attempt to replace her. But she was irreplaceable.

In September 2007, Mark Anderson, an Australian-born photographer living in Los Angeles, contacted Vanity Fair to say that he had spent the last two years photographing everything in Millington Conroy’s archive. Was this the real thing or would it turn out to be the Hollywood equivalent of the Hitler diaries, the 1983 hoax that was supposed to be the Führer’s most intimate rantings, quickly discredited by several experts? If it was the latter, it wouldn’t be the first time a fraud had been perpetrated in Marilyn World. Most recently, Robert W. Otto curated an exhibition of Monroe memorabilia for display on the Queen Mary in Long Beach, California, from November 11, 2005, through June 15, 2006. At least one of the items, a set of Clairol 20 Instant Hairsetter rollers with a strand of hair described as Marilyn’s, was found to have been manufactured after Monroe’s death and was removed from the exhibition.

Anderson, 49, who still resembles the brawny surfer of his youth, is a scrappy, resourceful photographer with a jaunty Australian accent. On a moonless night last September, we drove to Rowland Heights in his black Ford Expedition to a large, Spanish-style suburban house on a cul-de-sac, surrounded by tall palm trees. As we pulled up in front of the house, Anderson called Millington Conroy on his cell phone. Conroy was in Las Vegas that weekend, but Anderson had been given the run of the house (one of two that Conroy owned), where he had been photographing all the items in the filing cabinets. Over Anderson’s cell phone, Conroy told me, “Prepare yourself. What you’re about to see will blow you away.”

It was pitch-black. The huge date palms surrounding the house somehow made the darkness more ominous. During the drive, Anderson had explained that he first met Conroy, now 56, a lanky man with white hair and light-blue eyes, in November 2005 at the Santa Monica office of Bodyography, a small cosmetics company where Conroy was head salesman. “Mill,” as he’s called, was wearing denim shorts and a T-shirt and was carrying rumpled Target bags. When he pulled out a luminous pearl necklace that he claimed had been given to Monroe by Joe DiMaggio, as well as several receipts made out to “Mrs. Arthur Miller” and letters addressed to “Mrs. Joe DiMaggio,” Anderson was hooked. Immediately after the meeting, he had his lawyer draft a letter of intent to photograph the archive, which Conroy signed at their initial meeting at the Rowland Heights house.

At first, Anderson couldn’t believe his good fortune. He remembered how bowled over he was the first time he had seen her, in Some Like It Hot, when he was just a boy in Australia. “Who ever forgets the first time they saw Marilyn Monroe?” he says. “As time went by [photographing the archive], I got even more interested in the whole thing. And then that was it—I’d been bitten. The poison was in my veins.”

Before we entered the house, Anderson disabled the alarm. The front door opened to a living room with a peach-and-ivory décor, which was continued throughout the house. Anderson had turned the living room into a photographic studio, with lights, cameras, and seamless backdrops. A collection of exquisite handbags was artfully arranged on one surface, beautifully lit so they glittered like jewels. On the floor lay a black Persian-lamb jacket with a mink collar next to a gold-clasped leather bag. We proceeded into a small office off the hallway, passing the two filing cabinets, which stood side by side next to the kitchen. In the office, Anderson showed me a number of Monroe’s documents—letters, receipts, ledgers, telegrams—which were kept in a large black safe and impeccably preserved in plastic sleeves in three-ringed notebooks.

Anderson explained that this was a far cry from his introduction to the collection, which had been jumbled together in Target bags and padlocked behind impressive bars and chains in one room. The first time Anderson visited, Conroy dumped folders of papers onto the kitchen table—receipts “for a pair of shoes she bought in Bloomingdale’s, champagne she bought at Jurgensen’s, one for lunch at Chasen’s, dated 1960. A Jax clothing receipt, a psychiatrist’s receipt from Marianne Kris.”

At one point, Anderson recalls, Conroy told him to close his eyes while he fetched something from one of the cabinets. Anderson heard the metal bars on the office door slide back with a loud clanging, and he braced himself, half expecting to “get whacked across the back of the head with a baseball bat.” Instead, Conroy placed in his hands a cold, hard object that slid between his fingers. He thought it was a necklace till he opened his eyes and saw he was holding rosary beads. “They were really beautiful. I mean gorgeous—part onyx and part dark-green stones. The crucifix was gold and large, larger than normal. They were so worn they looked more like worry beads than rosary beads. I was strangely moved,” he says. Conroy believed that they had been given to Marilyn by DiMaggio and had once belonged to DiMaggio’s mother.

Anderson asked Conroy the $64,000 question: “Are there any Kennedy letters?”
“Yes, there are.”


Conroy brought out a white envelope, which Anderson assumed contained them. Instead there was a sheaf of other letters, on good-quality cream-colored paper. As Anderson began to read one of them, he noticed poems or fragments of poems written in pencil along the margin of one of the typed pages. “I remember thinking whoever wrote it was very much infatuated with Marilyn. It was very deep, all about how their heart was torn by seeing her. It was just too intense.” The letter was signed “Googie” or “Gookie.” Conroy gently tugged the paper out of Anderson’s hand.

“Do you want to see this letter? Trust me, you’re going to die.”
He handed Anderson another letter, covering the signature. And then he revealed it: three-quarters of an inch high, it read, “All my love, T. S. Eliot.”

Anderson stared at it for a few seconds, until that letter, too, was pulled from his hand. “I was numb. T. S. Eliot was writing letters to Marilyn Monroe?”

According to Anderson, Conroy told him, “Not just letters. Love letters.”

“Oh, my god,” Anderson responded. “This is big news. This is history!”

“I know, but you’re missing the point. Everything I have is history,” said Conroy as he slid the letters back into the white envelope.

In early 2006, after Anderson began photographing the archive, he realized there was enough material to fill a book, an idea Conroy came to endorse. But they needed someone to write the text. Conroy first called Seymour Hersh, the former New York Times journalist (now with The New Yorker), who had won a 1970 Pulitzer Prize for breaking the My Lai massacre story. Hersh, along with Peter Jennings of ABC News, had been to the Rowland Heights house about 10 years earlier to research a TV documentary on the Kennedy presidency, with executive producer Mark Obenhaus. “I remember they did show us some photographs we had never seen before,” Hersh recalled recently. “They knew their stuff. But the people in the house definitely tried to sell us things. It’s hard to remember—that was three wars ago.” Hersh, however, politely declined their invitation to write the text, as he was working on another book at the time.

Camelot or Spamalot?

That’s when Anderson contacted Anthony Summers, mentioning the existence of a number of letters and other archival material, including five or six letters or notes from the Kennedy brothers, a letter from Monroe to Joe Kennedy, a note from the gangster Sam Giancana, Monroe’s doodles and notes and possibly her notebooks, her jottings on politics, and a letter from DiMaggio to Inez Melson written after Monroe’s death. It was the Kennedy letters that most intrigued Summers. An Oxford-educated journalist, he wrote the best-seller Goddess: The Secret Lives of Marilyn Monroe, and had met with Melson in 1983 and with Ruth Conroy in 1986. But if there were Kennedy letters, Melson and Conroy had kept them to themselves.

“The truth is,” Conroy told Summers over the phone, “my mother only showed you one of the two filing cabinets.”

Summers recalls, “I knew Inez Melson had worked for Monroe, I knew she’d kept at least one filing cabinet, and I knew it had contained some interesting material. So I thought to myself, ‘It looks like I’m going to have to get myself out to L.A., then, doesn’t it?’ ” On July 29, 2006, he flew in from New York, where he had been working on another project at the time. Just before departing, however, he got word from Conroy that the alleged Kennedy and Giancana letters, which supposedly were being held in storage by a memorabilia dealer and acquaintance of Conroy’s, had apparently been lost. “Some hope was still held out that some of the significant stuff would be there when I got to L.A.,” Summers explains, “and [I was] intrigued by the possibility that I’d wind up finding myself writing about a scam. Knowing, too, that any second file cabinet of Monroe material might contain something of significance, I decided to press on to L.A.”

Summers had enjoyed meeting Inez Melson 23 years earlier. “I liked dear Inez,” he says, recalling that he brought her chocolates and flowers. When he first went to her modest home, in Laurel Canyon, she was having circulatory problems and sat with her leg up on a chair. She mentioned the existence of a filing cabinet, but she wasn’t mobile enough to show it to him on that visit. After a long conversation, Melson directed Summers to cross the room and extract a letter from her dressing table. “She seemed to come to feel she could trust me,” Summers remembers, “and my impression was that she wanted to get off her chest something that had long upset her.” She told him, “I want to show you something, young man, that I totally disapprove of.” It was a letter from Jean Kennedy Smith saying, “Understand that you and Bobby are the new item,” which has long been taken as proof of an otherwise unproven affair between Monroe and Robert Kennedy. The only other item Melson showed him was a clock she claimed had belonged to Joe DiMaggio.

Before Summers departed, Melson promised him, “When I’m better, I’ll show you the filing cabinet.” But she didn’t get better, and in 1985 she died. The following year, Summers got a call from Melson’s sister-in-law, Ruth Conroy, who invited him to peruse the material she’d “inherited” from Melson. Summers did so, and he “published what was worthwhile in the paperback edition of Goddess.” But again Ruth Conroy had shown him only one of the two filing cabinets. If there were Kennedy or Sam Giancana letters, Summers never saw them.

When Summers arrived at the Rowland Heights house in July 2006, Conroy confirmed that the Kennedy letters—along with a blue shoebox containing love letters from Joe DiMaggio—were missing. But Conroy assured both Summers and Anderson that he was on the case, hiring a lawyer and planning to travel to Miami to search for the letters himself. The memorabilia dealer, Bruce Matthews of Gotta Have It Golf, Inc., however, told Vanity Fair over the phone, “I never saw Kennedy letters. I would have noticed something like that.”

But there were other letters that Conroy wanted to show Summers. “I remember it was dark, and Summers was standing in the kitchen, drinking a cup of coffee,” Anderson recalls, “and Mill comes walking out of the small office that had the gray filing cabinet in it at the time. And he’s got the white envelope with the T. S. Eliot letters” to show Summers, perhaps as a kind of consolation prize. But Summers dismissed what he saw: not the letter signed by T. S. Eliot that Anderson had seen, but fragments of poems with the name “T. S. Eliot” scrawled in the margin. Summers believed the attributions were probably written by Monroe’s friend Norman Rosten. (Summers says that Conroy told him there were in fact no Eliot letters, just the marginal scribble he’d seen, but Conroy told Vanity Fair that he had just decided not to show Summers any more of the correspondence.)

Conroy made one last attempt to persuade Summers to come in on his and Anderson’s book project. Anderson recalls that Conroy led them upstairs to one of the two bedrooms and placed on a table an alligator jewelry case bearing the abbreviation “J DiM,” for Joe DiMaggio.

Earlier, Conroy had given the jewelry case to Bruce Matthews to sell, but Matthews had been so impressed by it, he’d returned it to Conroy—by hand—because “it seemed so personal, I didn’t want to exploit it.” Summers doesn’t recall ever seeing the jewelry box, but he does remember seeing articles of clothing Conroy said had belonged to Monroe in the closet of an upstairs bedroom, in which Conroy invited Summers to spend the night.

Too tired to object, Summers accepted the offer. Close to one a.m., he recalls, “I got up to use the loo and the only one I’d seen in the house was downstairs. There’s Millington, sitting up in the living room, watching TV.” Summers noticed that not far from where Conroy was seated, the “once neatly filed collection of papers lay scattered around—a blizzard of paper, strewn absolutely everywhere.” The two men exchanged a second cheerful good-night, and Summers left the following day, “doubting greatly that the Kennedy material had ever existed.”

But his saga with Mill Conroy was not over. On March 14, 2007, Summers received an e-mail saying Conroy no longer wanted any participation from him, and accusing him of plotting to steal documents and of “sneaking down stairs to look at my materials.” Summers was incensed. “My reputation as a biographer and a journalist was impugned when Millington accused me of pilfering documents.” He e-mailed Conroy the next day, refuting his accusations and cautioning him, “Please be aware that dissemination of scurrilous accusations may make you liable to suit,” thus ending his involvement with Conroy, Anderson, and the Monroe collection. (When asked about these accusations, Conroy refused to participate further in this article. “He went down a gopher hole,” Anderson explained. “You’ll never hear from Mill again.”)

The Two-Year Itch

“I don’t think Anthony Summers really cared about Marilyn Monroe,” Anderson says about the brouhaha. “You know, he published a picture of her in the morgue in his book. There’s no blood circulation, and she looks terrible.”

But by then Anderson was speaking as Monroe’s last photographer. He’d begun his career by taking pictures for Surfing World, and then for European Esquire and Premiere. By the time I first spoke with him, he had been photographing Monroe’s personal correspondence, her jewelry, her furs, and her handbags for almost two years, and he admitted he had fallen a little bit in love with her, just as all her photographers had. Like Dana Andrews’s infatuation with Gene Tierney’s portrait in Otto Preminger’s 1944 film Laura, Anderson was haunted by the ghost of Marilyn. He was having trouble sleeping at night, at one point he was drinking too much, and on occasion he called Marietta, his wife, “Marilyn.” He had decided that the best way to photograph the items in the archive—the 400 canceled checks, the ledgers and memos and letters—was to place them against a backdrop of rose petals. So he was spending his mornings at the Los Angeles Flower Market buying roses, like a hopeful suitor. “Imagine the power of this woman who has been dead for 45 years,” Marietta observed, “that I was becoming jealous.” Curiously, Laura was one of Monroe’s favorite movies. She once gushed to David Raksin, who composed the film’s famously seductive theme, that she had seen it at least 15 times. Raksin returned the compliment when he purchased some of Marilyn’s furniture at the 1963 auction of her personal effects.

After Summers left the house, Anderson recalls, Conroy turned to him and confessed, “By the way, I sold the rosary beads. For $50,000.” Anderson was horrified, and he began to worry about the fate of the collection. What else had been or was being sold off? And where were the Kennedy and DiMaggio letters—if they had ever existed? According to Anderson, Conroy claimed he had flown to Miami to search for them in Matthews’s garage. But Matthews says that, as far as he knew, Conroy had never come to Miami to search for letters. (Matthews did, however, sell the rosary beads for Conroy. “He was kind enough to entrust me with certain personal items of Marilyn’s,” he told Vanity Fair.)

Seven months later, Lois Banner entered the picture. Banner is a professor of history and gender studies at the University of Southern California. Born in Los Angeles, she is a lively woman with light-blond hair, a quick laugh, and an easy manner. She lectures on Monroe in her classes at U.S.C. and was quoted in a January 2007 L.A. Weekly story about the Marilyn Monroe fan-club phenomenon in Los Angeles. The article caught the attention of Conroy and Anderson, who invited Banner—“the Professor,” as Anderson calls her—to examine the archive and consider collaborating with them on their book project. They are an unlikely pair, this energetic 64-year-old professor with a shelf full of scholarly books and this photographer from Australia with his Mad Max swagger. Anderson “tried reading one of Lois’s books. I didn’t understand one word,” he says. “It was like ‘the idea of the concept was obtusely literal’ … that kind of thing. I fell asleep in a minute. But don’t get me wrong, I love her.” And Anderson’s work on the Monroe archive has earned him Lois Banner’s admiration. “Mark is very smart,” she tells me. “He’s an incredible researcher. He would’ve made a great scholar—he knows where to dig.” And so the two of them—the professor and the photographer—tunneled their way toward Marilyn’s buried life.

“The minute I saw Mark’s photographs,” Banner recalls, “I knew I wanted to be involved. What I saw in them was a kind of aesthetic beauty that could help put Marilyn into a realm where she would be honored and respected.”

The Misfit

On September 23, 2007, I returned to the Conroy house in Rowland Heights. This was my third visit to the archive, but Conroy, though we had spoken on the phone, had yet to make an appearance.

As on my previous visits, Marilyn’s artifacts were strewn throughout the living room and on the dining table, ready for their close-up: a diamond-encrusted wristwatch; a tiny porcelain parakeet; a small, army-issue sewing kit likely given to her in Korea; her last, nearly empty bottle of Chanel No. 5, which Inez Melson had plucked from her night table in the early aftermath of her death, according to Conroy. There, too, was a small, square, gold-plated compact, the remnants of her powder intact. The objects were beautiful and now seemed possessed of an eerie glamour.

Banner and I sat down at the kitchen table and began to peruse folders of Marilyn’s correspondence and documents while Anderson photographed in the living room. She had worked with him to preserve the entire collection—all 12,000 items—in Mylar sleeves, and had been impressed and unexpectedly moved by what she’d found there. As to the archive’s authenticity, she explains, “There’s no way one person could have put all this together. This is her handwriting, these were the people she surrounded herself with. Nearly every receipt is here—she kept them for tax purposes. This shows us Marilyn Monroe living her life, one day at a time. It shows us different sides of Marilyn that are not in the biographies. It adds depth and understanding of who she was as a private person.”

For example, asks Banner, who knew that Marilyn was planning to write and publish a cookbook? Mary Bass, executive editor of Ladies’ Home Journal, had sent her recipes for bouillabaisse and beef Burgundy. And many of Monroe’s thank-you notes (dictated by Monroe, with carbon copies on onionskin) reflect her charm and wit. To the German consulate general in Los Angeles, she wrote, “Dear Mr. von Fuehlsdorff: Thank you for your champagne. It arrived, I drank it, and I was gayer. Thanks again. My best, Marilyn Monroe.”

There are numerous receipts: for a black boa and a white ostrich boa for $75 each at Rex of Beverly Hills; for thousands of dollars’ worth of clothes purchased at the popular clothing store Jax (which specialized in tightfitting slacks that zipped up the back) and at Bloomingdale’s, two of her favorite stores; from the Maximilian Fur Company, on West 57th Street, in New York, made out to Mrs. A. Miller, for storing a “White Ermine coat and Black Fox stole trimmed with silk, Ranch Mink coat, White Beaver coat, White Fox stole, Black Fox stole, White Fox stole and White Fox muff,” etc. “All the checks she ever wrote are here,” says Banner. “You find narratives about her life simply from those checks. She was spending money like a drunken sailor. She loves furs.”

Looking through the ledgers, Banner comments, “The amount that she’s spending is unreal. She’s spending on clothing, and then these salaries for all these people—there’s a registered nurse in here, September 26, 1961. That’s the point at which she’s in very bad shape [emotionally], and [Dr.] Ralph Greenson has private nurses for her around the clock. She fights with them. They all quit. That’s why he brings Eunice Murray in. Here’s Elizabeth Arden. She goes for facials quite frequently. And then her hormonal shot She goes to somebody’s clinic in New York on quite a regular basis.”

The ledgers show that Marilyn had a more than $4,000 overdraft when she died, though newspaper accounts at the time credited her with an estate worth roughly $500,000. An inter-office memo from her secretary, Cherie Redmond, reads, “The fewer people who know about the state of MM’s finances, etc., the better.”

Banner notes that Monroe was “spending outrageously in 1961 and 1962, and borrowing all over the place. She’s always on the edge of financial chaos.” In a letter dated June 25, 1962, her lawyer Milton A. Rudin warned Marilyn, “I feel obligated to caution you on your expenditures since at the rate you have been making those expenditures, you will spend the $13,000 in a very short period of time and we will then have to consider where to borrow additional monies.” According to a year-end cash-receipts-and-disbursements statement, in 1961 Marilyn paid Paula Strasberg $20,000 in addition to buying her 100 shares of AT&T for over $11,000. And a letter from Cherie Redmond notes that in April 1961, Monroe paid Strasberg $10,000 for “4 wks salary MISFITS.”

Banner also discovers from Monroe’s ledgers that “DiMaggio, as long as they were married, was really generous to her. He gave her money. And you can find that when she was married to Arthur Miller she gave him money. She was basically, for a while, supporting him.”

But perhaps the most curious ledger entries are two from May and June of 1953. The first one, for $851.04, was a payment made to Mrs. G. Goddard. Grace Goddard had been Marilyn’s legal guardian; she had been Gladys’s best friend, and it was she who had brought about Marilyn’s marriage at the age of 16 to James Dougherty. The second payment is for $300, and it’s also made out to Goddard. Both carry the notation “medical.” They could be medical expenses for Goddard—Monroe was generous to a fault—but the possibility does exist that these sums were used to cover an abortion, long a subject of speculation. As Banner noticed, the ledger-entry dates coincided with Monroe’s entering a hospital to be treated for endometriosis. In 1953, Monroe’s career was soaring; it was the year she and Jane Russell famously planted their handprints in wet cement in front of Grauman’s Chinese Theatre. The last thing she needed then was an unwanted pregnancy, in an era when an out-of-wedlock birth would have ended her career.

Other memos and letters settle scores or reveal just how much Monroe sought to be in creative control of her films. For example, Monroe and Tony Curtis were not simpatico on the set of Some Like It Hot; he described their steamy romantic scenes as akin to “kissing Hitler.” Apparently, Curtis also left her cold: she hadn’t wanted him as her co-star from the beginning. Minutes of a business meeting that took place on April 3, 1958, in her and Arthur Miller’s Manhattan apartment, in the Sutton Place neighborhood, describe a discussion with two of her agents, Mort Viner and MCA president Lew Wasserman, about casting preferences for Some Like It Hot: “She is waiting for Sinatra to enter the picture. She still doesn’t like Curtis but Wasserman doesn’t know anybody else.”

Also among her files are a handful of photographs. There’s a black-and-white snapshot of Norma Jeane—before she became Marilyn Monroe—at Emmeline Snively’s Blue Book Modeling Agency, taken in 1945 at the Ambassador Hotel in Los Angeles. Another snapshot shows a shy, slightly plump Monroe sitting on the floor, her legs tucked under her, in an informal class at the Actors Lab, a Los Angeles spin-off of New York’s Group Theatre. In 1947, she’s already taking her craft seriously, years before she enrolled in the Actors Studio, in New York. “It was my first taste of what real acting in real drama could be, and I was hooked,” she said about the experience.

Then there’s the dazzling, sun-drenched snapshot of her standing in the passenger’s seat of a Jeep. She is dressed in a bomber jacket and looking radiantly happy—as if she were made of light. The photo was taken in Korea when she traveled there to entertain the troops in 1954. “There’s no way in the world,” Anderson says, “you could know who took that picture.” Though she’d posed for all the important photographers of her day, Marilyn always kept this snapshot with her, moving it from handbag to handbag. On the back of the print, she wrote in her deeply slanting handwriting, “I like this one the best.”

And there’s the grateful letter from Mr. and Mrs. N. T. Rupe, of Tacoma, Washington, the parents of a soldier stationed in Korea, who recounted his words: “Two days ago, Marilyn Monroe played before 12,000 men of this division.… [S]he appeared in a low cut, sheathe dress of purple glittery sort of material. She is certainly beautiful!!! When she appeared on the stage, there was just a sort of gasp from the audience—a single gasp multiplied by the 12,000 soldiers present.” (It was upon her return from this exhilarating trip to Korea that Monroe had exclaimed to her husband, DiMaggio, “Joe, you never heard such cheering!” To which the fabled Yankee slugger replied, “Yes, I have.”)

Her correspondence reveals her genuine interest in politics. In the carbon copy of a March 29, 1960, letter written to Lester Markel, then Sunday editor of The New York Times, she playfully flirts with him while discussing various presidential candidates:

Lester dear, …

About our political conversation the other day: I take it back that there isn’t anybody. What about Rockefeller? … [Adlai] Stevenson might have made it if he had been able to talk to people instead of professors. Of course, there hasn’t been anyone like Nixon before because the rest of them at least had souls! …

P.S. Slo[g]ans for late ’60:

“Nix on Nixon”
“Over the hump with Humphrey (?)”
“Stymied with Symington”
“Back to Boston by Xmas—Kennedy”

Some of the most compelling items from the files are tender and funny letters she wrote to Bobby and Janie Miller, Arthur Miller’s two children from his first marriage. In one letter to “Bobbybones,” Monroe describes her first meeting with Robert Kennedy:

Oh, Bobby, guess what: I had dinner last night with the Attorney-General of the United States, Robert Kennedy, and I asked him what his department was going to do about Civil Rights.… He is very intelligent, and besides all that, he’s got a terrific sense of humor. I think you would like him. Anyway, I had to go to this dinner last night as he was the guest of honor and when they asked him who he wanted to meet, he wanted to meet me.… [A]nd he isn’t a bad dancer either.

Sometimes, Marilyn endearingly writes in the voice of Hugo, the family’s basset hound, as in the following letter to “Janie”:

How is my own Mommie? Boy, was I glad to get your letter written only to me! Of course Daddy and Marilyn have been telling me things from your other letters and Bob’s too, about what you have been doing at Camp … I have missed you something awful.… But Janie, I really am trying to be a good dog—one that you would be proud of.… I haven’t even set one of my four feet on any of the flowers that Daddy and Marilyn planted and I just love them. I sit in the sunshine just smelling them.

Neither letters from Arthur Miller, at one time said to have been contained in a locked brown suitcase, nor letters from DiMaggio have ever turned up. If such letters did exist, where are they now? Perhaps Lee Strasberg returned them to their authors, or Inez or her sister-in-law, Ruth, might have sold them.

But what does exist in the archive is an undated, typed transcript that seems to be recounting Arthur Miller’s musings about Marilyn. He recalls their first meeting, sometime in 1951, and goes on to describe her as a blessing in his life: “As a result of knowing her, I have become more of myself.” He describes their domestic life together, noting that she is a perfectionist, an inspired gardener, and “a marvelous cook, even though she never had any training.”

He also observes, “The extraordinary thing about her is that she always sees things as though for the first time.” It was her sense of wonder that made her so alive to millions of moviegoers, he believes. Miller considers it a misfortune that Monroe never had a great role to play, a dilemma he set out to correct with his screenplay The Misfits. “I did not write it specifically for her,” he notes, but he describes the role of Roslyn, the child-like divorcée Monroe embodies so passionately in the 1961 film, as a difficult part that would challenge the greatest actresses. “But I do not think of anybody who could do it the way Marilyn would,” he adds.

Miller had a profound influence on his wife, reflected in a receipt found in the archive. It was not “Marilyn Monroe” who had walked into Martindale’s Book Store in Beverly Hills and bought The Life and Work of Sigmund Freud in three volumes; it was “Marilyn Monroe Miller.” She was proud of being the wife of one of America’s most respected intellectuals.

Also found in the archive is a letter from Grace Goddard that describes Gladys’s confusion and paranoia: “She thinks she was sent to State Hospital because years ago she voted on a Socialist Ballot Sleeps with her head at the foot of bed so as not to look at Marilyn’s picture—they disturb her Wishes she never had had a sexual experience so she could be more Christ like.” Also preserved is an envelope addressed by Gladys to Christian Science Nursing in Boston, containing three razor blades. Why had Monroe kept these reminders of her mother’s mental illness?

There is a letter from Inez Melson to Joe DiMaggio, dated September 6, 1962—a month after Monroe’s death—which questions the circumstances surrounding her last will. She asks DiMaggio to help her find out where Marilyn went on January 14, 1961, “the date on which our baby purportedly executed her will,” by tracking down car-rental charges. “I know it sounds like a ‘Perry Mason’ television script but I am (between thee and me) very suspicious about that will.”

Marilyn never completely stopped caring about DiMaggio. In a letter found on a dresser top or in a drawer near her bed (she often jotted down her thoughts on fragments of paper before going to sleep), she wrote, “Dear Joe, If I can only succeed in making you happy—I will have succeeded in the bigest [sic] and most difficult thing there is—that is to make one person completely happy.” Lois Banner believes, however, that the DiMaggio letter “proves nothing. Marilyn had a major habit of telling people what they wanted to hear.”

Something’s Got to Give

On September 4, 2007, Mark Anderson drove downtown to the Los Angeles Superior Court Archives & Records Center, those cavernous, sub-basement storehouses, to look through the summaries of a 1994 lawsuit by Anna Strasberg over Monroe memorabilia that Conroy had given to an auction house to sell. Conroy had claimed the suit was settled in his favor.

The previous day, September 3, Anderson had gone to Conroy’s house and found the alarm off, the door to the filing-cabinet safe ajar, and papers strewn on the floor. His stomach lurched—had there been a robbery? But on closer examination he found that all the binders were intact, and that the documents on the floor referred to the court case. Looking through them, he discovered that Conroy had in fact lost that suit. He had been ordered to hand over his collection to the legal heirs of Monroe’s estate, now represented by Anna Strasberg’s 37-year-old son, David. But, after testifying that he had “no other documents or items relating to Marilyn Monroe,” Conroy had kept back the two filing cabinets and their contents, as well as furs, jewels, and handbags that he believed were rightfully his. After all, Conroy told Vanity Fair, as a teenager he had helped Joe DiMaggio “unload the brown file cabinet in ’69 when he brought it up to my aunt’s house.”

Anderson’s trip to the records center confirmed his suspicions: it seemed to him it was all supposed to have been returned to the Strasbergs. He was furious with Conroy. “I felt like going over there and just doing something bad to him—I know martial arts, I hold several belts,” Anderson says, his voice getting louder as he relives the moment.

Anderson says he confronted Conroy at the Rowland Heights house. “So this shit isn’t yours?” he demanded.

“Oh, yes, it is,” Conroy insisted, according to Anderson. “Other stuff I had at the time the court decided I had to hand back, but I got to keep all of this. Basically, there was an estate sale, and my cousin went down to the auction and bought the gray cabinet. The brown cabinet, the one in the garage, was a gift from Joe DiMaggio.”

That night Anderson called Dr. Banner. “They’re going to come after him,” he told her. “The Strasbergs don’t know Mill has this stuff. They’re going to nail him to a cross.”

It was at that point that Banner approached the Monroe estate, requesting a meeting. “The meeting with David [Strasberg],” she said recently, “was triggered by the letter I wrote to him and to Anna Strasberg on U.S.C. letterhead, about the Conroy collection. I enclosed my vita with all my scholarly credentials. That was our first official communication to them. I subsequently called Anna Strasberg on the phone. She was very gracious, but she had bronchitis and sounded weak. She told me that David was in charge, so I called him and set up the appointment for Mark and me.”

The meeting took place at one p.m. on October 10, 2007, at David Strasberg’s office at the Lee Strasberg Theatre and Film Institute on Santa Monica Boulevard in West Hollywood. On their way to the meeting, they walked past the Marilyn Monroe Theatre—part of the institute. At the meeting, Strasberg surprised Anderson and Banner by telling them that he already knew about Conroy—he had received an anonymous letter about him several weeks earlier.

Strasberg went on to explain that the estate received many such letters from envious collectors, trying to knock one another off by informing them that, in Anderson’s words, “such and such a collector is in possession of stolen property.” At one point, Strasberg asked Anderson if he had written the letter. “I could see that he suspected Mark had sent it,” Banner recalls, “but he didn’t seem to mind.” Anderson said no, he hadn’t.

The Strasbergs must have been grateful to learn about the existence of the file cabinets, because they were having their own troubles regarding the Monroe estate. As recently as October 28, 1999, the estate earned more than $13.4 million in sales from a two-day auction of Monroe’s personal property at Christie’s International at 20 Rockefeller Plaza, in Manhattan. A standing-room-only crowd had filled the 1,000-seat James Christie Room for an auction known as “The Sale of the Century.” Marilyn’s beaded Jean Louis gown, worn when she sang “Happy Birthday” to President Kennedy, went for $1,267,500, including commission, setting a record for a single item of clothing (outdistancing the paltry $222,500 paid for one of Princess Diana’s gowns in 1997). Monroe’s wedding ring from DiMaggio (a platinum eternity band with 34 diamonds) sold for $772,500, and Marilyn’s treasured piano—a white lacquered grand that had been rescued by Marilyn from an auction house after her mother was institutionalized—went for $662,500 to Mariah Carey. Anna Strasberg had sipped champagne and watched the feeding frenzy on closed- circuit television while collectors and celebrities—including Demi Moore, Tony Curtis, designer Tommy Hilfiger, Massimo Ferragamo (chairman of Ferragamo USA), at least one Marilyn Monroe impersonator, and Ripley’s Believe It or Not!—ogled and bid on Marilyn’s treasures.

But by October 2007 the estate was embroiled in a bitter lawsuit with the heirs of some of Marilyn’s photographers over licensing rights to thousands of photographs of Marilyn. Crucial to the suit was the question of her legal residence at the time of her death—the answer to which the Strasbergs hoped was in the file cabinets.

vf2008_c(A photograph by Milton H. Greene taken at his house in 1956. Monroe lived there during the filming of Bus Stop.By Milton H. Greene/© 2008 Joshua Greene/ archiveimages.com).

 The California Senate Bill No. 771, jokingly known as “the Dead Celebrities Bill,” was passed without objection and signed into law in October 2007 by another former movie star, Governor Arnold Schwarzenegger, extending the ability of all celebrities to confer publicity rights for their image after their death, provided they were residents of California. (Prior to then, judges in two federal cases had ruled that only those who died after December 31, 1984, could bequeath rights of publicity.)

The New York State legislature had tabled a similar bill, despite support from Al Pacino and the widow of baseball legend Jackie Robinson. So establishing Monroe’s legal residence—whether 444 East 57th Street in New York City or 12305 Fifth Helena Drive in Los Angeles—became critical in determining whether the Strasbergs had the right to control Marilyn’s image.

At this point Anderson and Professor Banner became concerned that Conroy might attempt to sell the archive rather than risk having to surrender it to the Strasbergs. In late October, Anderson explained, “David Strasberg went around to Mill’s house with two lawyers, and apparently Mill was upset and kept saying, ‘I don’t know why Mark and Lois did this to me. I’d never sell! Why would I do that?’ It was really funny, because there was a little note in his handwriting on the back of a white envelope that said, ‘Sell to [autograph dealer] Todd Mueller for 3 million.’ ” At one point, Anderson claims, Conroy “looked me straight in the face and told me to kill the Vanity Fair piece. That meant only one thing: he was going to sell [the collection].”

On January 9, Todd Mueller, president of Autographs by Todd Mueller, Inc., confirmed that Conroy had indeed contacted him about selling the collection. “It sounded like he had some amazing stuff,” said Mueller, “including the half-drunk bottle of champagne she used to wash the pills down that night. But I told Mill, ‘Make sure you have clear title to all this because I don’t want to deal in stolen products. I don’t want Anna Strasberg to come after me.’ ”

Let’s Make It Legal

On October 25 the Monroe estate sued Conroy in Los Angeles Superior Court. They got a court order to take possession of his entire collection: the two file cabinets and their contents, the furs, jewelry, and handbags. They carted everything away—in a scene not unlike the unforgettable image of Marilyn’s body being wheeled out of her house on a gurney 45 years earlier. A few months after the archive was removed from his home, Conroy finally made peace with the Strasbergs, settling on undisclosed terms with his former adversaries. Mueller believes “Mill realized that he would die with this stuff still in his house if he didn’t come to some understanding with the Strasbergs. Because I told Mill, ‘I’ve never seen a U-Haul truck following a hearse.’ ” The collection now sits in a bank vault in downtown Los Angeles, under 24-hour armed guard.

Anderson and Conroy have completely fallen out. “If this were Reservoir Dogs,” Anderson says in his last shot against his nemesis, “Mill wouldn’t be Mr. Pink or Mr. White. He’d be Mr. Greed.” Anderson told Vanity Fair in late summer that he and Conroy are hoping to come to an agreement of some kind where Conroy will share in the profits of the planned coffee-table book. But Conroy feels betrayed by Anderson. “It was Mark who acted shamefully, betraying my trust when he called in the Strasbergs,” he told me in a phone call shortly after New Year’s. What he didn’t know, however, was just how far Anderson had gone to establish the rightful ownership of the collection. On January 11, I received a phone call from Anderson, in which he somewhat sheepishly admitted, “I’m going to tell you something. I wrote that anonymous letter to David Strasberg. I was scared, and I was furious at Mill.”

As for Professor Banner, caught in the middle, she hopes that the collection will eventually be housed in a university library or a museum: “I like to think that Marilyn would be grateful to us for preserving all this material and not having the vultures go after it.” Anna Strasberg agrees with Banner that, “as more material is collected that belongs to her estate, we can see more of the real Marilyn and not the caricatures.… My husband, Lee,” she adds, “was her teacher, her mentor, but most of all Marilyn’s friend. I am not only protecting her legacy and image; I am honoring my husband’s wishes.”

As of March 2008, however, a ruling was issued in the U.S. District Court in Los Angeles that may curtail the Strasbergs’ control of Marilyn Monroe’s posthumous image. In the suit brought by photographers hoping to reproduce images of Monroe without paying licensing fees, Judge Margaret Morrow decided that because in the 1960s the Monroe estate had claimed New York residency for tax purposes she became subject to legislation in New York, where her “right of publicity” ended with her death. The Strasbergs plan to appeal the ruling, but until then, Marilyn Monroe—at least in California—seems to belong freely to the public.

It’s possible that the letters from T. S. Eliot to Marilyn Monroe—though still missing—are genuine. The great poet, after all, was also a playwright who loved the theater, and he met and corresponded with Groucho Marx. Could the signature “Gookie” or “Googie” have been a playful reference to Eliot’s cat Georgie?

The Kennedy letters remain a mystery. Mark Anderson insists that he once held them in his hands, describing them as “polite, practically bread-and-butter notes from Hyannis and the Kennedy White House.” He also recalls reading a letter written by Marilyn to President Kennedy, about how handsome he had looked on television, in his presidential leather jacket, watching naval maneuvers from the deck of a ship. If there are Kennedy letters to Marilyn—and I believe that there might well be—they have been kept safe by someone in Marilyn’s circle. Because—come closer—when Inez Melson was going through Marilyn’s papers in the house on Fifth Helena Drive, Marilyn’s New York apartment was absent its famous tenant, and papers kept there were similarly removed after her death. Could one of Monroe’s New York friends have entered her apartment on August 5, 1962?

Like a movie run backward, we always begin with Marilyn Monroe’s death. It throws its eerie light on everything that came before it—it might even be how we’ve come to watch her films and study her in still photographs. But, for now, the last clues to Marilyn Monroe’s life—and to the mystery of her death—remain locked in a bank vault in the city of lost angels, the city of her star-crossed birth.

Sam Kashner has written about Sammy Davis Jr., Natalie Wood, and the movie The V.I.P.s for Vanity Fair.

03 septembre 2008

Vanity Fair octobre 2008

mag_vanity_fair_2008_10_cover_1Marilyn Monroe, photographiée par Bert Stern, est en couverture du magazine américain Vanity Fair, numéro spécial 25ème anniversaire, édition d'octobre 2008. Un dossier spécial lui est consacré: "Secret Marilyn Monroe Files - What her private papers reval about her life and death". [lire le sommaire du magazine sur leur site]. L'article intitulé The Things She Left Behind (développé et illustré sur 7 pages sur le site web) dévoile la face cachée de Marilyn Monroe, de par toute sorte d'objets de sa vie privée.
A ne pas rater: les 586 objets jamais montrés auparavant et réparti en 24 thèmes sur le site de Vanity Fair: des lettres qu'elle écrivit et celles qu'elle reçut, des télégrames, des courriers de fans, la réaction des fans après sa mort, des vêtements et bijoux, son testament etc... Les documents papiers proviennent de deux meubles à casiers où Marilyn y stockait ses souvenirs. Après sa mort, c'est son manager Inez Melson qui récupéra ces deux meubles ainsi que des vêtements, bijoux et autres objets personnels. Tous ces "objets" se rapportant à Marilyn Monroe ont été aujourd'hui décryptés par l'écrivain Sam Kashner et le photographe Marc Anderson, qui se documenta pendant deux ans et photographia tout ce qu'il trouva, afin d'en connaître un peu plus sur la star Marilyn.

>> Vidéo Reportage: interviews de Sam Kashner et Marc Anderson

>> Conseil, pour vous procurer le magazine:
- Dans les points "presses étrangères" (gares, aéroports, grandes enseignes libraires)

Posté par ginieland à 23:55 - - Commentaires [1] - Permalien [#]
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