10 juillet 2016

45 things you didn't know about Marilyn Monroe

telegraph_logo

 45 things you didn't know about Marilyn Monroe
published on June, 1st, 2016
by Horatia Harrod - online Telegraph

telegraph-93572502_NOT_ORIGINAL_FILESNorma_Jeane-large_trans++eo_i_u9APj8RuoebjoAHt0k9u7HhRJvuo-ZLenGRumA 
Norma Jeane Mortenson - better known as Marilyn Monroe 

1. Marilyn was relatively poorly paid. Jane Russell was paid around 10 times as much as Marilyn when they co-starred in Gentlemen Prefer Blondes. Her salary for her final unfinished film, Something’s Got to Give, was $100,000. Compare that with Elizabeth Taylor, who was getting a million dollars for Cleopatra; or even Marilyn’s co-star in the film, Dean Martin, who was on $500,000. Today, her estate makes around five million dollars a year.

2. But she died having become a million-dollar movie star. In 1962 she was fired by Twentieth-Century Fox from the production of Something’s Got to Give because of her chronic lateness and no-shows (she didn’t appear for the first two weeks of filming). But on August 1, four days before her death, she was rehired by Fox on a $1million, two-picture deal.

3. She found it almost impossible to learn lines, and took 60 takes to deliver the line “It’s me, Sugar”, in Some Like it Hot.

4. She was Playboy’s first Sweetheart (later Playmate) of the Month, in 1953. Marilyn had been paid $50 to model for the picture in 1949; Hugh Hefner bought it for $500.

5. Several of the burial vaults near to Marilyn’s have been put on sale. When Elsie Poncher, the widow of the man in the vault above Marilyn’s, put his space up for sale on eBay, she received dozens of bids, including one for £2.8million.

6. Hugh Hefner owns the burial vault next to Marilyn at the Westwood Memorial Park in Los Angeles. He bought it in 1992 for £50,000.

telegraph-marilynplayboy-xlarge-large_trans++Rp36Ti1MFCYr8PMuS2fHb17hoDUspm84EYl8tHPMRlk
Marilyn Monroe on the cover of the first issue of 'Playboy'

7. She went by many names. On her birth certificate she is Norma Jeane Mortenson; she was baptised Norma Jeane Baker; she modelled under the names Jean Norman and Mona Monroe; her initial idea for a screen name was Jean Adair; she signed into hotels as Zelda Zonk and into a psychiatric clinic as Faye Miller. She only legally changed her name to Marilyn Monroe in March 1956, when she was already a star.

8. She was placed with 11 sets of foster parents after her mother, Gladys, was institutionalised. She also spent almost a year in the Children’s Aid Society Orphanage in Los Angeles.

9. Goya was her favourite artist: “I know this man very well, we have the same dreams, I have had the same dreams since I was a child.”

telegraph-Marilyn_Monroe-large_trans++JHdcdf2GVVAxqFUVx44KkG3aDu2EzoHtePRkZrtWfLs 
Marilyn Monroe poses over the updraft of a New York subway grating
during a photo session to promote the film The Seven Year Itch in September 1954
Credit: Matty Zimmerman 

10. Marilyn became a Christian Scientist at the age of 18; later in her life she dabbled in alternative spiritualities, including Anthroposophy, the philosophy espoused by Rudolf Steiner. She converted to Judaism before her 1956 marriage to Arthur Miller.

11. Her weight went up and down so dramatically during the filming of The Prince and the Showgirl that the costume designer, Beatrice Dawson, had to create facsimile dresses in different sizes. “I have two ulcers from this film,” she said, “and they’re both monogrammed MM.”

12. She was rarely without an acting coach. Her first, Natasha Lytess, worked with her for six years and 22 films, clashing with directors, whose authority she challenged, and studio heads, who paid her bills. (Marilyn also paid her a wage – and settled her £11,000 debt at the dentist.)
Later, Paula Strasberg took Lytess’s role; unlike Lytess, who tried to direct Marilyn’s every movement from behind the camera, Strasberg was consulted between takes. To coach Marilyn in The Prince and the Showgirl, she was paid $25,000 – as much as some of the featured actors were getting.

telegraph-monroeolivier-xlarge-large_trans++Rp36Ti1MFCYr8PMuS2fHb17hoDUspm84EYl8tHPMRlk 
Marilyn Monroe and Laurence Olivier on the set of The Prince and the Showgirl

13. For 20 years after Marilyn’s death, Joe DiMaggio arranged to have roses sent to her crypt three times a week.

14. In January 2011, Authentic Brand Groups bought the licensing rights to the Marilyn Monroe estate, for a price in the range of $30million. “On the media and entertainment side,” said the company’s chief executive, Jamie Salter, “I think she’s got a career in front of her, just based on technology.

15. At the 1999 auction of Marilyn’s effects, her white baby grand piano was bought by Mariah Carey, the singer, for $662,500. (The estimate had been $10,000-$15,000.) The piano had been bought by Marilyn’s mother, and sold after she had her breakdown, but Marilyn eventually found it and bought it back, keeping it with her until her death.

16. There was an open casket at her funeral. She wore an apple green Pucci sheath dress made of nylon jersey and a platinum wig (her head had been partially shaved during the autopsy).

17. She was thought to have been planning to remarry Joe DiMaggio at the time of her death. After the failure of their marriage, DiMaggio had undergone therapy, stopped drinking alcohol and expanded his interests beyond baseball: he and Marilyn read poetry together in these later years.

telegraph-monroedimaggio-xlarge-large_trans++Rp36Ti1MFCYr8PMuS2fHb17hoDUspm84EYl8tHPMRlk 
Marilyn Monroe and Joe DiMaggio Credit: Reuters 

18. Marilyn’s beaded Jean Louis gown, worn when she sang Happy Birthday to President Kennedy, was sold in 1999 for £820,000. At the time it was the record price for a single item of clothing, until Marilyn’s billowing white Seven Year Itch dress was put up for sale by Debbie Reynolds in 2011, where it made £2.8 million.

19. Marilyn owned many dogs during her life; her last was a Maltese terrier given to her by Frank Sinatra, which she named Maf (short for Mafia Honey). At the Christie’s sale in 1999, two Polaroids of Maf sold for £220,000.

20. Marilyn left 75 per cent of her estate to the Strasbergs; eventually this fell to Anna Strasberg, Lee Strasberg’s third wife. She vetoes the use of all images in which Marilyn wears fur, citing Marilyn’s love of animals as a reason.

21. The Anna Freud Centre, a child therapy clinic in Hampstead, north London, owns the remaining 25 per cent of Marilyn Monroe’s estate. The centre was left its share by Dr Marianne Kris, one of Marilyn’s therapists, and the original beneficiary of her will.

22. Before her marriages to Joe DiMaggio and Arthur Miller, Marilyn was married to James Dougherty. She was 16 when they tied the knot. Dougherty, who later became a detective in the LAPD, was forbidden by his second wife from going to see any of Marilyn’s films.

telegraph-marilynhusband-xlarge-large_trans++Rp36Ti1MFCYr8PMuS2fHb17hoDUspm84EYl8tHPMRlk 
 Marilyn Monroe with her first husband, James Dougherty Credit: EPA

23. Marilyn whitened her skin with hormone cream, one side effect of which was to encourage the growth of blonde down on her face; Marilyn would not remove this peach fuzz, believing that it gave her face a soft glow on camera.

24. She was never nominated for an Academy Award, but she was voted the “Oomph Girl” at Emerson Junior High in 1941; crowned Castroville’s first Artichoke Queen in 1948; and was Stars and Stripes magazine’s Miss Cheesecake of 1950.

25. She was named “The Most Advertised Girl in the World” by the Advertising Association of the West in 1953. Among the brands she represented were American Airlines, Kyron Way Diet Pills, Pabst Beer, Tan-Tan Suntan Lotion and Royal Triton Oil.

26. In 1950, Johnny Hyde, her agent, paid for her to have two plastic surgeries: a tip rhinoplasty (reshaping the soft cartilage at the end of her nose); and a chin implant.

27. She was an early devotee of yoga, and was taught by Indra Devi, a Swedish-Russian Bollywood film star who also taught Greta Garbo and Gloria Swanson.

28. Marilyn’s intervention got Ella Fitzgerald her first major engagement at a Los Angeles nightclub. In 1955 the colour bar was still in force, but Marilyn convinced the management to let Fitzgerald play by promising to sit in the front row for a week.

29. Marilyn was only the second woman to head her own production company (Mary Pickford was the first).

30. Marilyn had a fixation on Clark Gable, her co-star in The Misfits; as a young girl, Marilyn dreamed that he was her father. When he died, she said that she cried for two days.

31. She preferred to go naked. Among female studio employees – wardrobe mistresses, hairdressers, make-up artists – she often went without clothes. She gave interviews in the nude and often went out wearing nothing under the black mink that Joe DiMaggio had given her.

telegraph-monroemisfits-xlarge-large_trans++Rp36Ti1MFCYr8PMuS2fHb17hoDUspm84EYl8tHPMRlk 
Montgomery Clift, Marilyn Monroe and Clark Gable, stars of 'The Misfits' Credit: AP 

32. Writers loved her. Jean-Paul Sartre wanted her to play the role of a hysterical patient in the film Freud, for which he wrote the first draft of a screenplay; she was Truman Capote’s first choice for the part of Holly Golightly in Breakfast at Tiffany’s.

33. Marilyn’s death was ruled a “probable suicide”, but toxicology tests were only carried out on her liver. When the deputy coroner, Thomas Noguchi, tried to obtain her other organs for testing, he was told they’d been destroyed.

34. Veronica Hamel, an actress, bought Marilyn’s house in 1972. She claimed that when she was renovating the house she discovered an extensive system of wire-taps.

35. Marilyn’s hero was Abraham Lincoln: “I used to read everything I could find about him,” she wrote in her (ghosted) autobiography, My Story. “He was the only famous American who seemed most like me, at least in his childhood.

36. The books she was reading at the time of her death were Harper Lee’s To Kill a Mockingbird and Captain Newman MD, a novel by Leo Rosten based on the life of Monroe’s psychiatrist, Ralph Greenson.

37. Two men claimed paternity of Marilyn on their deathbeds: C Stanley Gifford, who both Marilyn and her mother believed was her father, but who refused to meet Marilyn when she was alive; and Edward Mortensen, who was married to her mother at the time of her birth, and whose (misspelled) surname appears on her birth certificate.

38. She was athletic. As a young married woman on Catalina Island in the early Forties, she studied weightlifting with a former Olympic champion named Howard Corrington. She later went tandem surfing with a boyfriend, Tommy Zahn, balancing on his shoulders as they cut through the waves.

39. She was a talented producer. Marilyn Monroe Productions, which she formed in 1955 with Milton Greene, the photographer, only solely produced one film, The Prince and the Showgirl. Marilyn showed her nous in winning the script: she managed to wangle a meeting with the writer, Terence Rattigan, in New York, where he was stopping over en route to Hollywood to discuss the script with the director William Wyler, luring him from the airport to a downtown bar. When Wyler failed to make him a concrete offer, Rattigan went with Monroe.

40. Many of her friends believed she was murdered. Among the potential suspects: Robert Kennedy (with whom she had had an affair); John F Kennedy (ditto); mafioso Sam Giancana; the FBI; the CIA; her psychiatrist, Ralph Greenson.

41. During the filming of Let’s Make Love, Marilyn’s no-shows added 28 days to the shooting time and $1 million to the budget.

telegraph-marilynmakeup-xlarge-large_trans++Rp36Ti1MFCYr8PMuS2fHb17hoDUspm84EYl8tHPMRlk  
Allan 'Whitey' Snyder applying Marilyn Monroe's makeup
on the set of 'Let's Make Love' Credit: AP

42. Her career in front of the camera began when she was discovered working on the assembly line at Radioplane, a munitions factory, by a photographer called David Conover.

43. Arthur Miller’s play After the Fall is generally thought to be a thinly veiled portrayal of his marriage to Marilyn. The writer James Baldwin walked out of the play because he thought that “Maggie”, the Monroe character, was written so cruelly.

telegraph-monroemiller-xlarge-large_trans++Rp36Ti1MFCYr8PMuS2fHb17hoDUspm84EYl8tHPMRlk  
 Marilyn Monroe with then-husband Arthur Miller in July 1956 Credit: AP

44. She only owned one home by herself: the house she died in at 12305 Fifth Helena Drive, Brentwood.

45. When she met Nikita Khrushchev, they discussed The Brothers Karamazov. She dreamed of playing the part of Grushenka in a film of the book.


14 novembre 2014

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


The Misfits


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


Lot 942: MARILYN MONROE'S PERSONAL COPY OF A MISFITS BEHIND-THE-SCENES FILM
 A 16mm reel of behind-the-scenes footage shot on the set of The Misfits (Seven Arts, 1961). The reel comes with the original envelope that is addressed to Marilyn Monroe from United Artists. Notes on the envelope read "16mm publicity" and "The Misfits/ film for Foreign Screening." Accompanied by a document from UA titled “The Making of ‘The Misfits’/ (Narration for a 20-minute featurette)” with a personal note to Monroe affixed to the cover page.
The film begins with Marilyn Monroe arriving in Reno, Nevada, with Arthur Miller and being received at the airport, then then driving through Reno. The next scene appears to be a press conference with Monroe and co-stars Clark Gable, Montgomery Clift, Eli Wallach, Kevin McCarthy, Thelma Ritter, director John Huston and Monroe's husband, Arthur Miller.
The approximately 19-minute film goes on to show a variety of behind-the-scenes activities of the cast and crew beginning with the filming of Monroe and Ritter in a street scene that was cut from the final version of the film.
Other segments of the include Monroe at Harrahs Casino taking refreshment with Ritter, Houston and a dog Monroe attempts to feed; the cast on location; street filming in Reno with the cast in a vehicle followed by a parade of observers; Monroe signing autographs; Monroe greeting and get on a horse; shots of the cast being filmed riding together; aerial images of the set; a baseball game being played on set; a football being tossed on set with Miller and Houston joining in the game; and Monroe lounging with two other women on the hood of a car. The last part of the film shows the filming of a “Misfits” scene where Monroe is swimming and playing with a dog in the water. The very last image is of Monroe running from the water to embrace Gable. No audio. Accompanied by a DVD copy of the film.
PROVENANCE From the lost archive of Marilyn Monroe
8 1/4 inches
Winning bid:$4,800 - Estimate: $10,000 - $20,000
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23 mai 2014

Sur le tournage de "The Prince and the Showgirl" 9

Le prince et la danseuse
Sur le tournage - scène 9

> Photographies de Milton Greene
Photographs of Milton Greene

set-img45tggfgf sc09-set-MHG-MMO-PR-1454

 - Marilyn, Milton Greene et Paula Strasberg
sc09-set-MHG-MMO-PR-2192  sc09-set-MHG-MMO-PR-2288 
sc09-set-MHG-MMO-PR-2342  MHG-MMO-PR-1413

- Marilyn Monroe et Laurence Olivier
sc09-set-MHG-MMO-PR-908  sc09-set-MHG-MMO-PR-2486

- Marilyn Monroe avec Jack Cardiff
sc09-set-marilyn-monroe-PR-187  sc09-set-MHG-MMO-PR-187
pr-sc09-set-with_cardiff-1 pr-sc09-set-with_cardiff-3
 pr-sc09-set-with_cardiff-3a sc09-set-MHG-MMO-PR-2302a
- avec le maquilleur Malgorzata Kolbow
sc09-set-MHG-MMO-PR-2488 sc09-set-MHG-MMO-PR-158 sc09-set-MHG-MMO-PR-2489
pr-sc09-set-with_cardiff_et_malgorzata_kolbow  pr-sc09-set-with_cardiff-2
sc09-set-MHG-MMO-PR-2257a sc09-set-MHG-MMO-PR-3002
pr-sc09-set-with_cardiff-1 pr-sc09-set-with_cardiff-2a 

 > captures
pr-sc09-tpats-footage-cap09-1 pr-sc09-tpats-footage-cap09-2 pr-sc09-tpats-footage-cap09-3
pr-sc09-tpats-footage-cap09-4 pr-sc09-tpats-footage-cap09-5 pr-sc09-tpats-footage-cap09-6
pr-sc09-tpats-footage-cap09-7 pr-sc09-tpats-footage-cap09-8 pr-sc09-tpats-footage-cap09-9 


- Milton Greene
sc09-set-MHG-MMO-PR-2587 MHG-MMO-PR-899 MHG-MMO-PR-900
MHG-MMO-PR-898 sc09-set-MHG-MMO-PR-2586 sc09-set-MHG-MMO-PR-2588

- les copines du Coconut (Vera Day, Daphne Anderson)
sc09-set-mmmg134  pr-sc09-set-with_vera_day_daphne_anderson  sc09-set-mmmg114
sc09-set-mmmg113 sc09-set-mmmg111 sc09-set-mmmg112
sc09-set-mmmg115 sc09-set-mmmg116 sc09-set-mmmg117
sc09-set-MHG-MMO-PR-1458 pr-sc09-set-vera_day-1
sc09-set-MHG-MMO-PR-1753 sc09-set-MHG-MMO-PR-1755 sc09-set-MHG-MMO-PR-1752
sc09-set-MHG-MMO-PR-1754 sc09-set-MHG-MMO-PR-1756 sc09-set-MHG-MMO-PR-2294
sc09-set-MHG-MMO-PR-1543 sc09-set-MHG-MMO-PR-1546 sc09-set-MHG-MMO-PR-2290
sc09-set-MHG-MMO-PR-2289 sc09-set-MHG-MMO-PR-2196 sc09-set-MHG-MMO-PR-2197

- les actrices avec Laurence Olivier (et Richard Wattis)
sc12-set-MHG-MMO-PR-2062 pr-sc09-set-with_vera_day_daphne_anderson2 pr-sc09-set-with_vera_day_daphne_anderson3
sc12-set-MHG-MMO-PR-1204 sc12-set-MHG-MMO-PR-2262a
sc12-set-MHG-MMO-PR-2263a sc12-set-MHG-MMO-PR-2264a sc12-set-MHG-MMO-PR-2485
sc12-set-MHG-MMO-PR-893 sc12-set-MHG-MMO-PR-1316 sc12-set-MHG-MMO-PR-1320
sc12-set-MHG-MMO-PR-1317 sc12-set-MHG-MMO-PR-1621 sc12-set-MHG-MMO-PR-1319
pr-sc09-set-with_olivier_cardiff3 pr-sc09-set-with_olivier_cardiff pr-sc09-set-with_olivier_cardiff2
sc12-set-MHG-MMO-PR-1192 sc12-set-MHG-MMO-PR-1195 sc12-set-MHG-MMO-PR-1194
sc12-set-MHG-MMO-PR-1193 sc12-set-MHG-MMO-PR-1189 sc12-set-MHG-MMO-PR-1190
sc12-set-MHG-MMO-PR-1196 pr-sc09-set-with_richard_wattis sc12-set-MHG-MMO-PR-1198
sc12-set-MHG-MMO-PR-1197 pr-sc09-set-with_anthony_bushell sc12-set-MHG-MMO-PR-1199
sc12-set-MHG-MMO-PR-2604 sc12-set-MHG-MMO-PR-186 pr-sc09-set-3
pr-sc09-set-4 pr-sc09-set-5 pr-sc09-set-with_Stephen_Mcgivern_et_Daphne_Anderson


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

25 mars 2014

29/06/1956 Le Mariage Civil d'Arthur et Marilyn

Le vendredi 29 juin 1956, après avoir donné une conférence de presse en compagnie de Marilyn Monroe dans l'après-midi devant son domicile à Roxbury où le couple annonce officiellement leur intention de se marier, et d'avoir vécu l'accident de voiture qui a coûté la vie à la journaliste Mara Sherbatoff, ce qui a choqué considérablement Marilyn, Arthur Miller décide de se marier immédiatement et secrètement, sans en avertir la presse, afin de reprendre le contrôle de sa vie, étant donné les événements tragiques qui se sont déroulés dans la journée. Mais Marilyn doute et demande l'avis de Milton Greene: "Arthur veut que je l'épouse maintenant. Est-ce que je fais une erreur ? Qu'en penses-tu ?" et Greene de répondre: "Fais ce qui te semble le mieux."
Miller donne de nombreux coups de téléphones à des hommes de lois et autorités locales, avant de trouver un juge qui accepte de les marier: Seymour Robinowitz, qui doit décaler à plus tard la réception donnée pour son anniversaire le soir-même.
On Friday, June, 29, 1956, after giving a press conference with Marilyn Monroe in the afternoon at his Roxbury's home where the couple officially announced their intention to marry, and to have lived the car accident who killed the journalist Mara Sherbatoff, which greatly shocked Marilyn, Arthur Miller decides to marry immediately and secretly without informing the media, to regain control of his life, after the tragic events occured in that day. But Marilyn doubt and asks to Milton Greene his advice: "Arthur wants to marry me now. Do  I make a mistake ? What do you think ?" and Greene to answer "Do what it seems the best for you".
Miller phone a lot to Men of laws and local authorities before to find a judge who agrees to marry them: this is Seymour Robinowitz, who has to hold over the reception given for his birthday that evening.


whiteplainsMarilyn Monroe et Arthur Miller se marient civilement à la mairie de White Plains, dans le comté de Westchester, Etat de New York où le juge Seymour Robinowitz leur promet de garder le secret, ne le disant même pas à sa propre femme. L'anneau que Miller a commandé chez Cartier n'est pas encore prêt (il le passera au doigt de Marilyn à la cérémonie juive le 1er juillet), il emprunte alors l'alliance de sa mère Augusta.
Marilyn s'était changée pour porter un pull à manches courtes et un fin gilet. Arthur porte une veste bleue sur un pull en col V et une chemise blanche.

certificate_wedC'est un mariage très rapide et intimiste car peu d'invités furent conviés: Sam Slavitt, un avocat ami de Miller, a organisé la cérémonie; et parmi les convives, invités par Marilyn, figurent Milton Greene, Lee et Paula Strasberg, John Moore (son ami décorateur et couturier); et du côté de Miller, son cousin Morton Miller (témoin d’Arthur) et sa femme Florence.
Sur les papiers à remplir (cf document ci-contre), dans "nom du père", Marilyn a écrit "Edward Mortenson".

Le juge Robinowitz prononce le couple "mari et femme" à 19h21. Une bouteille de champagne a été apportée et le couple porte un toast devant les étagères emplies de livres dans le bureau du juge. Marilyn semble plutôt pâle.
Miller dit "Je suis content, c'est enfin fini. Maintenant le monde peut retourner à faire ce qu'il a à faire."
Un proche de Marilyn qui travaillait au département publicité, dira plus tard, ironiquement: "Il ne réalise pas que c'est seulement le début."
Après cette brève cérémonie civile, il est 21h30 quand Marilyn et Arthur retournent à la maison de Miller à Roxbury, Connecticut, où les attendent les parents d'Arthur -Isadore et Augusta Miller- pour le dîner (du poulet) et qui ne savent même pas que le couple s'est marié.

Marilyn Monroe and Arthur Miller married civilly at the Court House in White Plains, at Westchester County, New York, where Judge Seymour Robinowitz promises them to keep the secret, don't even telling to his own wife. The ring that Miller commissioned from Cartier's is not yet ready (it will be on the Marilyn's finger at the Jewish ceremony on July 1st), then, he borrowns the ring of his mother Augusta.
Marilyn was changed to wear a sweater with short sleeves and a thin vest. Arthur wears a blue jacket over a V-neck sweater and a white shirt.
This is a very fast and intimate wedding because few guests were invited: Sam Slavitt, a lawyer friend of Miller, organized the ceremony, and among the guests invited by Marilyn are Milton Greene, Lee and Paula Strasberg , John Moore (friend fashion designer) and on the side of Miller, his cousin Morton Miller (Arthur's witness) and his wife Florence.
On the official documents, in " father's name" Marilyn writes "Edward Mortenson."
The judge Robinowitz pronounces the couple "husband and wife" at 7:21 pm. A bottle of champagne was bring and the couple toasts in front of to shelves filled with books in the judge's chamber. Marilyn looks rather wan.
Miller says "I 'm glad it's over. Now the world can go back to what he was doing."
One of Marilyn's publicist later says ironically: "He does not realize that this is only the beginning."
After this brief civil ceremony, it is 9:30 p.m. when Marilyn and Arthur return to the Miller's House in Roxbury, Connecticut, where waiting the Arthur's parents -Isadore and Augusta Miller- for dinner (a simple chicken) and who even don't know that the couple are married.

marilyn-monroe-MW-032a  marilyn-monroe-MW-211  marilyn-monroe-MW-212 
1956_06_29_new_york_civil_wed_marilyn_arthur_011_1  marilyn-monroe-MW-211a  marilyn-monroe-MW-212a 
marilyn-monroe-MW-204  marilyn-monroe-MW-205a 
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marilyn-monroe-MW-206a  marilyn-monroe-MW-207a 
marilyn-monroe-MW-208a  marilyn-monroe-MW-209a  marilyn-monroe-MW-210  
1956_06_29_new_york_wed_civil_arthur_marilyn_2_1   marilyn-monroe-MW-208b   1956_06_29_new_york_wed_civil_arthur_marilyn_2_2


.photographies de Milton H. Greene
.sources
:

Marilyn Monroe, biographie de Barbara Leaming
Les vies secrètes de Marilyn Monroe
, d'Anthony Summers
Marilyn Monroe, encyclopédie d'Adam Victor
Marilyn Monroe et les caméras, Georges Belmont 
Life Remembering Marilyn


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

24 mars 2014

1/07/1956 Cérémonie Juive Mariage Marilyn et Arthur

Durant la semaine précédente (du 24 au 29 juin 1956) passée à Roxbury dans la propriété de Arthur Miller, Marilyn Monroe a demandé à Augusta Miller, la mère d'Arthur, de lui apprendre des recettes de plats typiquement juifs.
Par ailleurs, Marilyn insiste pour que les Miller téléphonent à un rabbin de la branche réformée du judaïsme, Robert Goldburg, qui accepte de lui donner une brève instruction religieuse et de célébrer la cérémonie nuptiale.
During the previous week (24 to 29 June 1956) into Roxbury, at the home of Arthur Miller, Marilyn Monroe asked to Augusta Miller, Arthur's mother, to teach her recipes from typical Jewish meals.
Furthermore, Marilyn insists for that Miller phone to a rabbi of the reformed branch of Judaism, Robert Goldburg, who agrees to give her a brief religious instruction and to celebrate the wedding ceremony.

Le dimanche 1er juillet 1956, soit deux jours après la cérémonie civile du mariage, est célébré le mariage juif de Marilyn Monroe et Arthur Miller. C'est Marilyn qui avait insisté pour obtenir cette cérémonie religieuse. La cérémonie du mariage est gardée secrète jusqu'au dernier moment.
On Sunday 1st of July 1956, two days after the civil marriage ceremony, is celebrated the Jewish Wedding Ceremony of Marilyn Monroe and Arthur Miller. This is Marilyn who has insisted to obtain that religious ceremony. The wedding ceremony is kept secret until the last moment.


1956-07-01-Marilyn_Monroe_Certificate_of_Conversion_to_Judaism1Plus tôt dans la journée, Marilyn Monroe se convertie au judaïsme -pour ce mariage- dans la ville de Lewisboro, dans l'Etat de New York: elle promet au rabbin Robert Goldburg, que tous ses enfants seraient élevés dans la foi judaïque et prête serment: "Je déclare, en la présence de Dieu et des témoins assemblés ici, rechercher le compagnonnage d'Israël".
Parmi les témoins se trouvent Arthur Miller, Kermit Miller le frère d'Arthur, et Milton H. Greene. Le rabbin lui remet un certificat de conversion (cf document ci-contre).
Earlier that day, Marilyn Monroe is converted to Judaism -for this marriage- in the town of Lewisboro in the State of New York: she promises to Rabbi Robert Goldburg, that all her children would be raised in the Jewish faith and oath "I declare, in the presence of God and witnesses assembled here, to seek companionship of Israel."
Among the witnesses are Arthur Miller, Kermit Miller the Arthur's brother, and Milton H. Greene. The rabbi gives her a certificate of conversion (see document).


1956-07-01-Ketubah_JewishPrenuptialAgreementArthur Miller et Marilyn Monroe vont signer le Ketubah, un accord prénuptial traditionnellement juif, définissant les droits et les responsabilités de l'époux envers la mariée. Ce document (cf ci-contre), richement coloré, est imprimé sur deux oblongues de feuilles et on peut y lire: "Je suis à mon bien-aimé, et mon bien-aimé est à moi. Aucun homme sans femme, aucune femme sans homme, et ni sans Dieu". Ce certificat témoigne que Arthur Miller et Marilyn Monroe ont été unis dans le mariage dans la ville de Lewisboro, à  Westchester, le 1er Juillet 1956, 22 Tamouz 5716, conformément au rite d'Israël et en conformité avec les lois de l'État de New York. Signé par le Rabbin Robert E. Goldburg et par les témoins: le frère d'Arthur, Kermit Miller, ainsi que du professeur d'art dramatique de Marilyn, Lee Strasberg.
Arthur Miller and Marilyn Monroe’s ketubah, traditionally a special Jewish prenuptial agreement, outlining the rights and responsibilities of the groom in relation to the bride. This beautiful, richly colored document (see above) is printed on two oblong 8 ½ in. x 11 in. leaves and reads, “I am my beloved’s, and my beloved is mine. No man without woman; no woman without man; and neither without God". This Testimonial witnesses that Arthur Miller and Marilyn Monroe were united in marriage in the city of Lewisboro, Westchester on July 1, 1956, 22nd of Tammuz 5716, In accordance with the rite of Israel and in compliance with the laws of the State of New York. Signed by Rabbi Robert E. Goldburg and witnessed by Arthur’s brother, Kermit Miller, as well as Marilyn’s acting coach, Lee Strasberg.


L'après-midi, les invités (amis et famille) attendent sur la terrasse en dalles de la propriété de l'agent littéraire de Miller, Kay Brown, une ancienne ferme, située à Waccabuc, près de Katonah, dans le Comté de Westchester, dans l'Etat de New York, pendant que les futurs mariés arrivent de Roxbury, où se trouve la propriété de Miller. Les invités sont au nombre de 25 (ou 30 selon les sources) et ne sont composés que d'amis très proches et de la famille de Miller: les enfants (Jane et Robert) et parents (Isadore et Augusta Miller) d'Arthur, son frère Kermit Miller, sa soeur Joan Copeland, son cousin Morty Miller et leurs conjoints respectifs, les Strasberg (Lee et Paula), les Greene (Milton et Amy, ainsi que Cecilia, la mère de Milton et Kitty Owen, la cuisinière des Greene), les Rosten (Norman et Hedda), mais aussi Jay Kanter (l'agent de Marilyn), le scénariste George Axelrod et le couturier John Moore. Il fait très chaud ce jour là, les hommes retirent leurs vestes et les femmes portent des petites robes d'été. De longues tables recouvertes de nappes blanches et des chaises pliantes sont installées dans le jardin, près de la baie vitrée de la maison. Comme à son habitude, Marilyn est en retard.
In the afternoon, the guests (friends and family) waiting on the flagstone terrace of the white home of literary agent of Miller, Kay Brown, a former farmhouse, located in Waccabuc, near Katonah, in Westchester County in the State of New York, while the bride and groom come from Roxbury, where there is the Miller's home. Guests are 25 (or 30 depending on the sources) and are composed of only close friends and Miller's family: children (Jane and Robert) and parents (Isadore and Augusta Miller) of Arthur, his brother Kermit Miller, his sister Joan Copeland, his cousin Morty Miller and their respective spouses, the Strasbergs (Lee and Paula) , the Greenes (Milton and Amy, and Cecilia, Milton's mother, and Kitty owen, cooker of the Greene), the Rostens (Norman and Hedda) and also Jay Kanter (Marilyn's publicist), the scriptwriter George Axelrod and the fashion designer John Moore. It is a heat day, so men remove their jackets and women wear little summer dresses. Long tables covered with white tablecloths and folding chairs are set in a large bay window. As usual, Marilyn is late.

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> Paula Strasberg
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 > Amy Greene (à gauche
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> Milton Greene
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> Milton Greene avec Cecilia (sa mère) et Kitty Owen (sa cuisinière)
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> Jay Kanter et Milton Greene
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 1956-07-01-wed_miller-dressPuis Marilyn et Arthur arrivent: elle est vêtue d'un simple blue jean et se précipite dans une chambre à l'étage où la dame d'honneur, Hedda Rosten, l'aide à se changer avec la robe de mariée beige en mousseline de soie, signée des créateurs John Moore et Norman Norell, avec des fronces sur les manches et le corsage et une ceinture de satin sous le buste. Amy Greene a prêté son voile qu'elle a fait tremper dans du café une semaine auparavant, afin de renforcer l'aspect de douceur d'ombres beige du voile en auréole. (cf illustration de Michelle Shin ci-contre). Le costume qu'Arthur porte a été acheté par Milton et fourni par Jack Walker, un ami proche de Greene, qui a couru au magasin de mercerie pour hommes Mannie Walker. Miller le porte avec une cravate et a mis une fleur à sa boutonnière. Les autres dames d'honneur sont Judy Kantor et Amy Greene, qui a aidé Marilyn à se coiffer et se maquiller.

Then Marilyn and Arthur arrive: she is wearing a simple blue jeans and rushes into a room upstairs where matron of honor, Hedda Rosten, help her to change with the wedding chiffon beige dress, by the designers John Moore and Norman Norell, with ruching on the sleeves and bodice and a satin sash under the bust. Amy Greene has loaned her veil that she had soaked veil in coffee a week before, to enhance the appearance of smooth beige shadows of halo veil (see illustration below against Michelle Shin). The suit Arthur wears is actually purchased by Milton and provides by Jack Walker, dear friend of the Greene’s, who runs the Mannie Walker men’s haberdashery store. Miller wears a tie and put a flower in his buttonhole.
The other matrons of honor are Judy Kantor and Amy Greene, who helped Marilyn to make hair and makeup.

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Cependant, Marilyn semble perturbée depuis deux jours (en fait, depuis le mariage civil du vendredi): elle est nerveuse, anxieuse et se renferme sur elle-même, comme l'ont constaté Milton et Amy Greene. Milton avait d'ailleurs téléphoné à Irving Stein, l'avocat de Marilyn pour lui demander de "se tenir prêt en cas de difficulté de dernière minute". Pendant que Marilyn se prépare dans la chambre, Milton en profite pour discuter avec elle: "Je ne t'ai pas vu sourire de toute la journée. Tu es bien sûre de ce que tu fais ? (...) Tu veux vraiment de ce mariage ? Tu n'y es pas obligée, tu sais. Si tu veux tout arrêter, ce n'est pas compliqué", lui dit Milton. Des larmes commencent à couler sur le visage de Marilyn et Amy la réconforte en lui précisant: "On peut te mettre dans une voiture pour sortir doucement par la porte de derrière. Nous, on se débrouillera avec les invités. Le mariage civil pourrait certainement être annulé avant que le rituel religieux ne vint apporter sa solennité à l'union". Et Marilyn de répondre calmement: "Non, je crois que je ne veux pas me marier".
Milton sort de la chambre et s'apprête à renvoyer tout le monde, mais Marilyn le rappele: "Non, Milton ! On a invité tous ces gens, on ne peut pas faire ça, on ne peut pas les décevoir !"
D'après Amy, Marilyn avait vu un mauvais présage dans la mort accidentelle de la journaliste Maria Scherbatoff (le 29 juin, lors de la conférence de presse donnée avec Miller à Roxbury): "Mais elle savait aussi, présage ou pas, qu'elle commettait une terrible erreur en acceptant ce mariage". D'ailleurs, un autre ami de Marilyn confie: "Elle n'était pas sûre de l'aimer, mais elle n'était pas sûre non plus de ne pas l'aimer. Au cœur de sa confusion, cependant, était son sentiment qu'elle était dépassée avec cet homme. Son insécurité allait crescendo à cette époque. Elle ne pouvait pas s'empêcher de se demander ce que cet intellectuel voulait d'elle, et cela la rendait folle. Cherchait-il juste une femme trophée, comme Joe ? C'est ce qui se passait vraiment ici."

However, Marilyn seems disturbed for two days (in fact, since the civil marriage on Friday ): she is nervous, anxious and contains about herself, as noted by Milton and Amy Greene. Milton has also phoned to Irving Stein, Marilyn's lawyer, asking him to "be ready in case of trouble of last minute." While Marilyn prepares herself in the bedroom, Milton tooks the opportunity to discuss with her: "I have not seen you smile all the day. You're very sure of what you do ? ( ... ) Do you really want to this marriage ? You are not required on it, you know. If you want to stop everything, it's not complicated, " says Milton. Tears begin to flow on the face of Marilyn and Amy comforts her by saying "We can put you in a car to go out softly by the door behind the house. We will attend the guests. Civil marriage certainly could be canceled before the religious ritual come to bring solemnity to the union." And Marilyn answers calmly, "No, I think I don't want to marry." Milton leaves the room and is about to oust everyone but Marilyn recalls him: "No, Milton ! We have invited all these people, we can't do that, we can't let down them !"
According to Amy, Marilyn saw a bad omen in the car accidental of journalist Maria Scherbatoff whi diead (on June 29, just before the press conference with Miller in Roxbury): "But she also knew, omen or not, that she was making a terrible mistake by accepting this marriage." Moreover, another friend of Marilyn says:
"She wasn't sure that she loved him, but she wasn't sure she didn't. At the core of her confusion, though, was her sense that she was in over her head with this man. Her insecurity were running wild by this time. She couldn't help but Wonder what this intellectual wanted with her, and it was driving her crazy. Was he just looking for a trophy wife, as Joe had ? What was really going on here".


Pendant ce temps, le Rabbin Robert Goldberg et les invités patientent dans le living-room. Milton Greene accompagne Marilyn à la sortie de la chambre pour la mener au bras de Lee Strasberg, qui joue ainsi le rôle du père de substitution de la mariée en la menant à l'autel. La cérémonie, qui a lieu devant la cheminée de marbre du living-room, ne dure qu'à peine 10 minutes et se célèbre selon le rituel juif. Les époux boivent le vin rouge: Marilyn soulève son voile pour déposer ses lèvres sur la coupe. Elle prononce un "je le veux" d'une voix douce et tremblante. Ils s'échangent les alliances: au cours des deux jours précédents, Miller avait acheté un anneau d'or chez Cartier qui portait l'inscription: "A. à M., juin 1956. Maintenant Pour Toujours." Puis, Miller casse son verre en l'écrasant de ses pieds, en souvenir de la destruction de Jérusalem, et la foule s'écrie: "Mazel Tov!"
Meanwhile, Rabbi Robert Goldberg and guests wait in the living room. Milton Greene accompanies Marilyn from the bedroom and lead her to the arm of Lee Strasberg, who plays the role of a surrogate father to the bride, leading her to the altar. The ceremony, which takes place in front of the marble fireplace in the living-room, lasts just 10 minutes and is celebrated according to the Jewish ritual. The couple drink red wine: Marilyn raised her veil to submit her lips on the cup. She delivers an "I do " in a soft, tremulous voice. They shall exchange alliances: in the previous two days, Miller has bought a gold ring from Cartier's which bore the inscription: "A. to M., June 1956, Now For Ever." Then Miller crushes his glass under his feet, in remembrance of the destruction of Jerusalem, and the crowd cried "Mazel Tov!"

--- En attendant la mariée / Waiting for the bride ---

> Kermit Miller, Arthur Miller et Lee Strasberg
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 > Kitty Owen et Cecilia Greene
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> Hedda Rosten, le Rabbin Goldberg et Arthur Miller
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--- La cérémonie / The ceremony ---
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Ensuite, le repas du mariage prend des airs bucoliques, avec l'organisation d'un lunch en plein air dans le jardin.
Au menu: homard, dinde et champagne, ainsi que la pièce montée (les Miller s'étaient adressés à huit pâtissiers avant d'en trouver un qui accepte de la confectionner en quelques heures). Marilyn et Arthur coupent ensemble les tranches, et s'embrassent sans retenue. Arthur Miller, habituellement stoïque, se montre très attentionnée et enchanté de sa nouvelle épouse; et Marilyn semble très heureuse. Depuis plusieurs mois, les proches de Miller ont observé une aisance physique qui l'avait complètement transformé. Norman Rosten dira: "Le conte de fées était devenu réalité. Le Prince était apparu, la Princesse était sauve." Marilyn écrira au dos d'une photographie du mariage: "Espoir, Espoir, Espoir."
Then, the wedding meal takes bucolic aspect, with the organization of a lunch outside, in the garden.
On the menu: lobster, turkey and champagne and the wedding cake (Millers had approached eight pastry before finding one who agrees to make it in a few hours). Marilyn and Arthur cut the slices together, and kiss each other without restraint. Arthur Miller, usually stoic, is very caring and delighted with his new wife, and Marilyn seems very happy. For several months, Miller's closest friends have observed a physical ease that has completely transformed him. Norman Rosten will say that "The fairy tale came true. The Prince appeared, the Princess was safe." Marilyn wrote on the back of the wedding photography "Hope, Hope, Hope."

--- Dans la maison / In the house ---

> Kitty Owen (cuisinière des Greene) et Marilyn
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> Lee Strasberg et Marilyn
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 --- Sur la terrasse / On the terrace ---

> Marilyn, Arthur et Joan Copeland (soeur d'Arthur) 
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> Arthur, Marilyn et Kermit Miller (frère d'Arthur)
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> Arthur, Marilyn et Cecilia (mère de Milton Greene)
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> Paula et Lee Strasberg, Marilyn et Arthur
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> Marilyn et Arthur
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 --- Le repas / The Lunch ---

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> La pièce montée
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marilyn-monroe-MW-031-2-b  ph-greene-wedding-1956-06-29_a2 
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> captures

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> videos film footage
 


> photo de presse
1956-07-01-wed_miller-press-1 


.photographies de Milton H. Greene
.sources
:

Marilyn Monroe, biographie de Barbara Leaming
Les vies secrètes de Marilyn Monroe
, d'Anthony Summers
Marilyn Monroe, encyclopédie d'Adam Victor
Les trésors de Marilyn Monroe, de Jenna Glatzer
Marilyn Monroe et les caméras, Georges Belmont 
Life Remembering Marilyn
Marilyn in Fashion
de Nickens and Zeno


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

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2/07/1956 Visite de Lee Strasberg à Greene - Vente de la propriété de Miller

paula_lee-1957Le 2 juillet 1956, le lendemain de la cérémonie juive du mariage de Marilyn d'avec Arthur Miller, Lee Strasberg arrive à l'improviste au bureau de Milton Greene, pour lui demander de verser à sa femme Paula Strasberg un salaire de 2 500 Dollars par semaine, hors les frais de dépenses, pour son travail de coach pour le tournage du "Prince et la Danseuse" qui doit se dérouler en Angleterre. Il propose aussi en alternative, que la société des 'Marilyn Monroe Productions' serve un pourcentage des bénéfices engendrés par le film en échange des services rendus par Paula.
Lee Strasberg était à la tête, avec sa femme Paula, de l'Actor's Studio de New York et ils avaient parfois du mal à gagner de l'argent. A travers Marilyn Monroe, ils ont pu entrevoir une solution à leurs ennuis financiers. Et il semble probable que ce soit Paula qui poussa son mari à aller faire cette requête auprès de Greene. Il lui stipule que si sa demande n'est pas prise en compte, il refuse de laisser Paula partir en Angleterre, en sachant pertinemment que Marilyn étant émotionellement fragile, elle serait incapable de faire le film sans Paula.
Il informe aussi Greene que Laurence Olivier est un mauvais choix pour travailler avec Marilyn et qu'il serait préférable d'engager à la place George Cukor: Lee règle ses propres comptes car Olivier a ouvertement méprisé la "méthode" enseignée à l'Actors Studio et a déjà critiqué la façon d'enseigner de Lee Strasberg. Et comme Marilyn était une élève de l'Actors Studio depuis un an, si elle offre une bonne préstation de comédienne dans "Le Prince et la Danseuse", Strasberg pense que le mérite serait revenu à Olivier. Il cherche donc à ébranler la relation entre Marilyn et Olivier.
Milton Greene considère désormais Lee Strasberg comme une sorte de maître-chanteur et Marilyn ne voulant pas s'impliquer dans les négociations de sa production et refusant toute discussion, elle insiste d'accorder à Strasberg ce qu'il veut. Mais cette requête dépasse le budget des Marilyn Monroe Productions, alors Marilyn propose de donner une partie de son cachet, et c’est ainsi que Paula devient la troisième personne la mieux payée du film, après Laurence Olivier et Marilyn.

On July 2, 1956, the day after of the Jewish wedding ceremony of Marilyn with Arthur Miller, Lee Strasberg arrives unexpectedly at the Milton Greene's office, asking him to pay his wife Paula Strasberg a salary of 2 500 Dollars per week, excluding costs of expenses, for her work as a coach for the filming of "The Prince and the Showgirl" to be held in England. He also offers the alternative that society 'Marilyn Monroe Productions' serves a percentage of the profits generated by the film in exchange for the services rendered by Paula.
Lee Strasberg was the head, with wife Paula, of the Actors Studio in New York and they sometimes had trouble making money. Through Marilyn Monroe, they were able to point to a solution to their financial troubles. And it seems likely that this is Paula who pushed her husband to make this request to Greene. He says to him that if his request is not taken into account, he refuses to let Paula going in England, and knowing that Marilyn is emotionally fragile, she would be unable to make the film without Paula.
He also informs Greene that Laurence Olivier is a bad choice to work with Marilyn and it would be best to hire George Cukor instead: Lee settles its own accounts because Olivier has openly despised the "method" taught at the Actors Studio and has criticized how Lee Strasberg works. And as Marilyn was a student of the Actors Studio for a year, if she provides a good performance as an actress in "The Prince and the Showgirl", Strasberg thinks that merit would income to Olivier. So, he wants to undermine the relationship between Olivier and Marilyn.
Milton Greene now considers Lee Strasberg as a kind of blackmailer and Marilyn doesn't want to get involved in the negotiations of its production and refusing any discussion, she insists to give Strasberg what he wants. But this query exceeds the budget of the 'Marilyn Monroe Productions', Marilyn then proposes to give a part of her salary, and this is why Paula becomes the third person with the highest pay on the film after Laurence Olivier and Marilyn.


 roxbury_millerLe même jour, le journal Herald Tribune publie une annonce: « Nid d’amour du dramaturge et de la vedette de l’écran. Sept pièces, trois salles de bains, piscine, court de tennis, terrasse, garage pour deux voitures, petit studio. Deux hectares. 29 500$ (38 500 avec plus de douze hectares)». Il s'agit de la propriété d'Arthur Miller à Roxbury dans le Connecticut, celle où avec Marilyn, ils ont donné ensemble une conférence de presse le 29 juin recevant photographes et journalistes du monde entier. La maison sera rapidement vendue à 27 500$ ; après qu’une petite hypothèque et les frais seront réglés, la somme restante sera déposée en main tierce en vue de l’achat d’une propriété voisine.

The same day, the Herald Tribune publishes an announcement: "Love Nest of a playwright and a screen star. Seven rooms, three bathrooms, swimming pool, tennis court, terrace, garage for two cars, small studio. Two hectares. $ 29,500 (38,500 with more than twelve hectares)." This is the Arthur Miller's house in Roxbury, Connecticut, the one where with Marilyn, they gave together a press conference on June 29, receiving worldwide photographers and journalists. The house will soon be sold at $ 27,500, after that a small mortgage and expenses will be paid, the remaining amount will be deposited in escrow for the purchase of a neighboring property.


.sources:
Marilyn Monroe, biographie de Barbara Leaming


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copyright text by GinieLand. 

29 janvier 2014

Marilyn et Joshua pendant Bus Stop

Arrêt d'Autobus
Photos Publicitaires

> (de gauche à droite): Amy Greene (femme de Milton),
Paula Strasberg
Joshua Greene (fils de Amy et Milton) et Marilyn
bs-sc02-set-film-set-with_amy_joshua_paula-1  bs-sc02-set-film-set-with_amy_joshua_paula-1a 


  > Photographies de Milton H. Greene
Photographs of Milton H. Greene

 > Portraits de Marilyn Monroe et Joshua Greene (le fils de Milton)
marilyn-monroe-BS-3328  marilyn-monroe-BS-3331 
marilyn-monroe-BS-004  bs-sc02-studio-by_mhg-on_set-with_joshua-010-1
marilyn-monroe-BS-3335  marilyn-monroe-BS-3336  marilyn-monroe-BS-3325 
marilyn-monroe-BS-3330  marilyn-monroe-BS-3334  marilyn-monroe-BS-3329 
marilyn-monroe-BS-3326  marilyn-monroe-BS-3333  marilyn-monroe-BS-3332 
marilyn-monroe-BS-001  bs-sc02-studio-by_mhg-on_set-with_joshua-011-1  marilyn-monroe-BS-002 
marilyn-monroe-BS-004b  marilyn-monroe-BS-009-b 
marilyn-monroe-BS-2464  bs-sc02-studio-by_mhg-on_set-with_joshua-020-1 
marilyn-monroe-BS-3543a  bs-sc02-studio-by_mhg-on_set-with_joshua-030-1  marilyn-monroe-BS-003 


> Joshua Greene et Milton Greene
marilyn-monroe-BS-5123a  marilyn-monroe-BS-5119a  marilyn-monroe-BS-5122a 
marilyn-monroe-BS-5124a  marilyn-monroe-BS-5118a  marilyn-monroe-BS-5120a 
marilyn-monroe-BS-5121a  marilyn-monroe-BS-5116a  marilyn-monroe-BS-5126a 
marilyn-monroe-BS-5125a  marilyn-monroe-BS-5127a  marilyn-monroe-BS-5128a 
marilyn-monroe-BS-6004  marilyn-monroe-BS-6005 


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

20 janvier 2014

Sur le tournage de Bus Stop 3

Arrêt d'Autobus
Sur le tournage - scène 3

 > Photographies de Arthur Zinn
Photographs of Arthur Zinn

 Marilyn Monroe et Paula Strasberg sur le plateau
bs-sc03-on_set-by_zinn_arthur-with_paula-1 
bs-sc03-on_set-1-1


> Photographies de Milton Greene
Photographs of Milton Greene

marilyn-monroe-BS-385  marilyn-monroe-BS-5236 


> captures
bs-black_magic-cap-05-1  bs-black_magic-cap-05-2  bs-black_magic-cap-05-3 
bs-black_magic-cap-04-1  bs-black_magic-cap-04-2  bs-black_magic-cap-04-3 
bs-black_magic-cap-06-1  bs-black_magic-cap-06-2  bs-black_magic-cap-06-3 
bs-black_magic-cap-01-1  bs-black_magic-cap-01-2  bs-black_magic-cap-01-3 
bs-black_magic-cap-01-4  bs-black_magic-cap-01-5  bs-black_magic-cap-01-6 
bs-black_magic-cap-01-7  bs-black_magic-cap-01-8  bs-black_magic-cap-01-9 
bs-black_magic-cap-03-1  bs-black_magic-cap-03-2  bs-black_magic-cap-03-3 
< retouche maquillage de Whitey Snyder


> video


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copyright text by GinieLand.   
 

11 janvier 2014

Sur le tournage de Bus Stop 7 -partie 1

Arrêt d'Autobus
Sur le tournage - scène 7

 Marilyn Monroe sur le tournage de "Arrêt d'Autobus"
en mars 1956 à Phoenix dans l'Arizona
Marilyn Monroe on the set of "Bus Stop"
in 1956, March, in Phoenix, Arizona


> dans les gradins

bs-sc07-on_set-040-1 
bs-sc07-on_set-041-1  film-bs-lot1117-H3257-L78860422  

- avec Don Murray 
  bs-sc07-on_set-010-2  

- avec Eileen Heckart et Florence Thomas 
  bs-sc07-on_set-021-1  bs-sc07-on_set-022-2  bs-sc07-on_set-022-3 

- Marilyn Monroe
bs-sc07-on_set-023-3  
bs-sc07-on_set-023-1  bs-sc07-on_set-024-1  bs-sc07-on_set-024-1a 
bs-sc07-on_set-025-1  bs-sc07-on_set-025-2  bs-sc07-on_set-026-1 
1956 bs-sc07-on_set-037-1 

bs-sc07-on_set_camera-020-1 
bs-sc07-on_set_camera-030-1  bs-sc07-on_set_camera-030-1a

- avec Milton H Greene:
bs-sc07-on_set_camera-040-1  bs-sc07-on_set_camera-041-1 


> dans l'arène du rodéo 

bs-sc07-on_set-035-1  bs-sc07-on_set-035-2  
 
bs-sc07-on_set-030-02-1      
bs-sc07-on_set-031-1-2  bs-sc07-on_set-030-08 
bs-sc07-on_set-030-05  bs-sc07-on_set-030-06 

  - avec Eileen Heckart, actrice partenaire de Marilyn:
bs-sc07-on_set-030-01-1 bs-sc07-on_set-030-01-2 
bs-sc07-on_set-030-07      

- avec Milton H Greene, photographe:
bs-sc07-on_set-030-03-with_milton-2
bs-sc07-on_set-with_milton-010-1  bs-sc07-on_set-with_milton-010-2  bs-sc07-on_set-with_milton-010-3 

- avec Buddy Adler, le producteur du film: 
bs-sc07-on_set-030-04-with_buddy_adler-1

- avec George Axelrod, l'auteur (script) du film :
bs-sc07-on_set-033-with_George_Axelrod-1 

- avec Whitney Snyder (maquilleur) et Gladys Rasmussen (coiffeuse):
bs-sc07-on_set-034-1  bs-sc07-on_set-034-1a  film-bs-set

- avec Paula Strasberg (sa coach):
1956 


> dans les coulisses / en backstage

 bs-sc07-on_set-052-1  bs-sc07-on_set-053-1 
bs-sc07-on_set-053-3 film-bs-rodeo-movieandtvspotlight12572 

bs-sc07-set-backstage-010-1  bs-sc07-set-backstage-010-1a  

bs-sc07-on_set-snaps-1 

1956-57__7_ 

 - avec Joshua Logan, le réalisateur du film:
bs-sc07-on_set-060-1  bs-sc07-on_set-061-1 

- avec Milton H Greene, photographe:
 bs-sc07-on_set-030-03-with_milton-1 bs-sc07-on_set_coat-020-1 
bs-sc07-on_set_coat-020-2  bs-sc07-on_set-with_milton-020-1 
bs-sc07-on_set-with_milton-020-1a   bs-sc07-on_set-with_milton-020-2 
bs-sc07-on_set-with_milton-030-1  bs-sc07-on_set-with_milton-030-1a  bs-sc07-on_set-with_milton-030-2  

- avec Paula Strasberg, coach de Marilyn:
bs-sc07-on_set_coat-030-1 


> devant la loge caravane

bs-sc07-set-caravane-2-1  bs-sc07-set-caravane-053-2-1 

- avec des soldats de la Air Force :
bs-sc07-set-caravane-1-1  bs-sc07-set-caravane-1-2  

- avec Joshua Greene, le fils de Milton Greene
bs-sc07-set-caravane-053-2-2 

- avec Patricia Newcomb, son attaché de presse:
bs-sc07-set-caravane-with_pat-newcomb-1  


> planches contact
during the Jaycee World Championship Rodeo in Phoenix
film-bs-453245841  film-bs-during the Jaycee World Championship Rodeo in Phoenix 


> captures
bs-sc07-set-cap01-1  bs-sc07-set-cap01-2  bs-sc07-set-cap01-3 
bs-sc07-set-cap02-1  bs-sc07-set-cap02-2 bs-sc07-set-cap02-3
bs-sc07-set-cap09-1
  bs-sc07-set-cap09-2  bs-sc07-set-cap09-3
bs-sc07-set-cap09-4
  bs-sc07-set-cap09-5  bs-sc07-set-cap09-6 
bs-sc07-set-cap09-7  bs-sc07-set-cap09-8  bs-sc07-set-cap09-9 
bs-sc07-set-cap05-1  bs-sc07-set-cap05-2  bs-sc07-set-cap05-3 
bs-sc07-set-cap05-4  bs-sc07-set-cap05-5  bs-sc07-set-cap05-6 
bs-sc07-set-cap05-7  bs-sc07-set-cap05-8  bs-sc07-set-cap05-9 
bs-sc07-set-cap06-1  bs-sc07-set-cap06-2  bs-sc07-set-cap06-3 
bs-sc07-set-cap06-4  bs-sc07-set-cap06-5  bs-sc07-set-cap06-6 
bs-sc07-set-cap04-1  bs-sc07-set-cap04-2  bs-sc07-set-cap04-3 
bs-sc07-set-cap03-1  bs-sc07-set-cap03-2  bs-sc07-set-cap03-3 
bs-sc07-set-cap03-4  bs-sc07-set-cap03-5  bs-sc07-set-cap03-6 
bs-sc07-set-cap03-7  bs-sc07-set-cap03-8  bs-sc07-set-cap03-9 
bs-sc07-set-cap07-1  bs-sc07-set-cap07-2  bs-sc07-set-cap07-3 
bs-sc07-set-cap07-4  bs-sc07-set-cap07-5  bs-sc07-set-cap07-6 


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

02 janvier 2014

En Répétition pour Bus Stop (2)

Arrêt d'Autobus
Sur le tournage

Marilyn Monroe, Eileen Heckart, Don Murray et Joshua Logan, en repérage sur les lieux de tournage de la scène du rodéo, en Arizona. 
Marilyn Monroe, Eileen Heckart and Joshua Logan, in the set in the locating of the rodeo, in Arizona. 

> Photographies de Milton H Greene
Photographs of Milton H Greene
 

marilyn-monroe-BS-6006 
marilyn-monroe-BS-336  marilyn-monroe-BS-373  marilyn-monroe-BS-374 
bs-sc07-rehearsal-by_gr-01-1-with_joshua_logan-1  bs-sc07-rehearsal-by_gr-01-2-with_joshua_logan-1  bs-sc07-rehearsal-by_gr-02-1 
marilyn-monroe-BS-362  marilyn-monroe-BS-055  marilyn-monroe-BS-057 
bs-sc07-rehearsal-by_gr-02-2  bs-sc07-rehearsal-by_gr-03-1  bs-sc07-rehearsal-by_gr-03-2 
marilyn-monroe-BS-105  marilyn-monroe-BS-2136  marilyn-monroe-BS-071 
bs-sc07-rehearsal-by_gr-04-1  bs-sc07-rehearsal-by_gr-04-1c  bs-sc07-rehearsal-by_gr-04-2-with_logan-1 
marilyn-monroe-BS-096  marilyn-monroe-BS-056 
bs-sc07-rehearsal-by_gr-05-1  bs-sc07-rehearsal-by_gr-05-1a 
marilyn-monroe-BS-074  marilyn-monroe-BS-106  bs-sc07-rehearsal-by_gr-06-1 
bs-sc07-rehearsal-by_gr-06-1a  bs-sc07-rehearsal-by_gr-06-1b  bs-sc07-rehearsal-by_gr-07-3a 
marilyn-monroe-BS-2131  marilyn-monroe-BS-2133 
marilyn-monroe-BS-2135  marilyn-monroe-BS-058 
bs-sc07-rehearsal-by_gr-07-1  bs-sc07-rehearsal-by_gr-07-2  bs-sc07-rehearsal-by_gr-07-3 


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