28 avril 2014

9/02/1956 Marilyn, Olivier, Rattigan - par Milton

Le 9 février 1956, jour où Marilyn Monroe et Laurence Olivier donnent une conférence de presse au Plaza Hotel de New York pour annoncer le tournage d'une version cinématographique de la pièce de Terence Rattigan "The Sleeping Prince"; ils posent ensemble pour des photographies promotionnelles dans le studio de Milton Greene sur Lexington Avenue.
On February 9, 1956, the day that Marilyn Monroe and Laurence Olivier give a press conference at the Plaza Hotel in New York to announce the shooting of a film version of Terence Rattigan's play "The Sleeping Prince"; they pose together for promotional photographs in the studio of Milton Greene on Lexington Avenue. 

> Photographies de Milton Greene -
session "MOR" - Monroe, Olivier, Rattigan

marilyn-monroe-MOR-13 marilyn-monroe-MOR-67 marilyn-monroe-MOR-68
marilyn-monroe-MOR-65 studio-by_mhg-mm_olivier_rattigan-010-2 marilyn-monroe-MOR-66 
studio-by_mhg-mm_olivier_rattigan-010-1 studio-by_mhg-mm_olivier_rattigan-011-2 studio-by_mhg-mm_olivier_rattigan-012-2
studio-by_mhg-mm_olivier_rattigan-011-1 studio-by_mhg-mm_olivier_rattigan-012-1 marilyn-monroe-MOR-69 
marilyn-monroe-MOR-09 studio-by_mhg-mm_olivier_rattigan-013-1 marilyn-monroe-MOR-48
marilyn-monroe-MOR-47 marilyn-monroe-MOR-01 marilyn-monroe-MOR-08
studio-by_mhg-mm_olivier_rattigan-014-1  studio-by_mhg-mm_olivier_rattigan-014-1a
studio-by_mhg-mm_olivier_rattigan-014-1b 1956-MOR-d studio-by_mhg-mm_olivier_rattigan-015-1
marilyn-monroe-MOR-15 marilyn-monroe-MOR-16
1956-green118 marilyn-monroe-MOR-24 marilyn-monroe-MOR-23
marilyn-monroe-MOR-28 marilyn-monroe-MOR-27 marilyn-monroe-MOR-22
marilyn-monroe-MOR-21 studio-by_mhg-mm_olivier-011-1 marilyn-monroe-MOR-18
  marilyn-monroe-MOR-17 studio-by_mhg-mm_olivier-011-2 marilyn-monroe-MOR-26
marilyn-monroe-MOR-20 studio-by_mhg-mm_olivier-010-1 marilyn-monroe-MOR-25
marilyn-monroe-MOR-19 studio-by_mhg-mm_olivier-010-2
marilyn-monroe-MOR-14 marilyn-monroe-MOR-12 marilyn-monroe-MOR-11
marilyn-monroe-MOR-33 studio-by_mhg-mm_olivier-014-2 marilyn-monroe-MOR-40
studio-by_mhg-mm_olivier-014-4  studio-by_mhg-mm_olivier-014-3  1956-MOR-c
marilyn-monroe-MOR-34 marilyn-monroe-MOR-35 marilyn-monroe-MOR-37
marilyn-monroe-MOR-38 marilyn-monroe-MOR-39
studio-by_mhg-mm_olivier-013-1 studio-by_mhg-mm_olivier-013-1a marilyn-monroe-MOR-55
studio-by_mhg-mm_olivier-013-2 studio-by_mhg-mm_olivier-013-3 studio-by_mhg-mm_olivier-013-3a 
1956-MOR-prince  1956-MOR-18794367_w434_h_q80 
studio-by_mhg-mm_olivier-013-4 studio-by_mhg-mm_olivier-013-4a
marilyn-monroe-MOR-03  marilyn-monroe-MOR-07
marilyn-monroe-MOR-05 studio-by_mhg-mm_olivier-020-1 marilyn-monroe-MOR-04
marilyn-monroe-MOR-10 marilyn-monroe-MOR-02 marilyn-monroe-MOR-06
marilyn-monroe-MOR-77 st1956-01-ny_conf

> planches contact
studio-by_mhg-contact-1 studio-by_mhg-contact-2 lot988-202991_0 
studio-by_mhg-contact-3  studio-by_mhg-contact-4  studio-by_mhg-contact-5 
1956-olivier-greene  1956-plaza 


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

 

9/02/1956 Conférence presse Plaza Hotel

Le matin du 9 février 1956, une conférence de presse se tient au Plaza Hotel de New York, où Marilyn Monroe et Laurence Olivier annoncent leur intention de tourner une version cinématographique de la pièce de Terence Rattigan "The Sleeping Prince". Le film se tournera en Angleterre, où Olivier avait obtenu un succès avec la pièce originale, dans laquelle il jouait avec sa femme Vivien Leigh. Marilyn a acheté les droits du film 125 000 Dollars et paie Rattigan pour qu'il en écrive le scénario. C'est le premier projet concret de sa société Marilyn Monroe Productions: Greene en est le producteur exécutif, Olivier le réalisateur et producteur, et la Warner Bros en est le distributeur.
Environ 150 journalistes sont présents: photographes et reporters de la presse écrite et de la télévision. Comme à son habitude, Marilyn est en retard et tout le monde l'attend.

At the morning in February 9, 1956, a press conference is held at the Plaza Hotel in New York, where Marilyn Monroe and Laurence Olivier announce their intention to shoot a film version of Terence Rattigan's play "The Sleeping Prince". The film will be turn in England, where Olivier had achieved success with the original play, in which he played with his wife Vivien Leigh. Marilyn has bought the film rights 125,000 dollars and pays Rattigan for he writes the screenplay. This is the first project of its company Marilyn Monroe Productions: Greene is the executive producer, Olivier the director and producer, and Warner Bros. is the distributor.
About 150 journalists are present: photographers and reporters from print and television. As usually, Marilyn is late and everyone is waiting for her. Finally, she appears, on the balcony, with Laurence Olivier, Terence Rattigan and Milton Greene.

1956-02-09-conf_waldorf-010-01 
1956-02-09-conf_waldorf-010-02 

> photographies de Milton Greene
Marilyn-Monroe-MHG-MMO-PPR-134 
Marilyn-Monroe-MHG-MMO-PPR-124 
Marilyn-Monroe-MHG-MMO-PPR-125  Marilyn-Monroe-MHG-MMO-PPR-126 
Marilyn-Monroe-MHG-MMO-PPR-127 Marilyn-Monroe-MHG-MMO-PPR-128 Marilyn-Monroe-MHG-MMO-PPR-129 


Elle apparaît enfin, au balcon, avec Laurence Olivier, Terence Rattigan et Milton Greene. Puis, Marilyn et Olivier restent un moment au balcon, laissant les photographes les prendre en photos, avant de descendre les escaliers.
Then, Marilyn and Olivier stay a while to the balcony, letting photographers taking pictures, before going down the stairs.

1956-02-09-conf_waldorf-020-01  1956-02-09-conf_waldorf-020-01a 
1956-02-09-conf_waldorf-020-02  1956-02-09-conf_waldorf-020-03-1 
1956-02-09-conf_waldorf-020-03-1a  1956-ny-plaza-MM's Secret Weapon a
   1956-02-09-conf_waldorf-021-01-by_arnold-1  1956-02-09-conf_waldorf-021-01-by_arnold-1a  1956-02-09-conf_waldorf-020-04 
 1956-02-09-conf_waldorf-021-03  1956-02-09-conf_waldorf-021-02  1956-02-09-conf_waldorf-021-04 
1956-02-09-conf_waldorf-021-05-1   1956-ny-plaza-70 Those Changes b
1956-02-09-conf_waldorf-021-05-1a 1956-02-09-conf_waldorf-021-05-2 1956-02-09-conf_waldorf-022-01
1956-02-09-conf_waldorf-022-02 1956-02-09-conf_waldorf-022-03-1 1956-02-09-conf_waldorf-022-03-1a
1956-02-09-conf_waldorf-022-04  1956-02-09-conf_waldorf-023-02-by_sam_goldstein  1956-02-09-conf_waldorf-023-01
 1956-02-09-conf_waldorf-023-04-1  1956-02-09-conf_waldorf-023-04-1a 
1956-02-09-conf_waldorf-030-01 1956-02-09-conf_waldorf-030-02 
1956-02-conf-mag-face  1956-02-09-conf_waldorf-031-02

 > photographies de Eve Arnold
1956-02-09-conf_waldorf-011-01-by_arnold-1 
1956-02-09-conf_waldorf-021-01-by_arnold-1

   > photographies de Milton Greene
Marilyn-Monroe-MHG-MMO-PPR-082 Marilyn-Monroe-MHG-MMO-PPR-083 Marilyn-Monroe-MHG-MMO-PPR-084 
Marilyn-Monroe-MHG-MMO-PPR-086 Marilyn-Monroe-MHG-MMO-PPR-087 Marilyn-Monroe-MHG-MMO-PPR-094 
Marilyn-Monroe-MHG-MMO-PPR-076 Marilyn-Monroe-MHG-MMO-PPR-077 
Marilyn-Monroe-MHG-MMO-PPR-095 Marilyn-Monroe-MHG-MMO-PPR-096 Marilyn-Monroe-MHG-MMO-PPR-097 
1956-02-09-conf_waldorf-contact-by_mhg-1  juliens-mmauction2014-lot815a Marilyn-Monroe-MHG-MMO-PPR-013 
Marilyn-Monroe-MHG-MMO-PPR-014  Marilyn-Monroe-MHG-MMO-PPR-022  Marilyn-Monroe-MHG-MMO-PPR-024 
Marilyn-Monroe-MHG-MMO-PPR-017  Marilyn-Monroe-MHG-MMO-PPR-021  Marilyn-Monroe-MHG-MMO-PPR-027 
Marilyn-Monroe-MHG-MMO-PPR-120  Marilyn-Monroe-MHG-MMO-PPR-032 Marilyn-Monroe-MHG-MMO-PPR-033 

> captures 
1956-02-09-press-cap01-01 1956-02-09-press-cap01-02 1956-02-09-press-cap01-03
1956-02-09-press-cap02-01 1956-02-09-press-cap02-02 1956-02-09-press-cap02-03
1956-02-09-press-cap02-04 1956-02-09-press-cap02-05 1956-02-09-press-cap02-06
1956-02-09-press-cap3-01 1956-02-09-press-cap3-02 1956-02-09-press-cap3-03


Marilyn et Olivier rejoignent la table de conférence de presse.
Déclarations:
M.M.: "J'aimerais continuer à grandir de toutes les façons possibles."
L.O.: "Marilyn est une brillante comédienne et, par conséquent, une très bonne actrice."

Marilyn and Olivier joined the table press conference.
Statements:
M.M.: "I would continue to grow in all possible ways."
L.O.: "Marilyn is a brilliant actress and, therefore, a very good actress."

1956-02-09-conf_waldorf-040-01 
1956-ny-movieland8564  
1956-02-09-conf_waldorf-040-01a 1956-02-09-conf_waldorf-040-01b 1956-02-09-conf_waldorf-040-01c
1956-02-09-conf_waldorf-040-01d 1956-02-09-conf_waldorf-040-01e 1956-02-09-conf_waldorf-040-02 
1956-02-09-conf_waldorf-042-03 1956-ny-tipoff8573 1956-02-09-conf_waldorf-042-04 
 1956-02-09-conf_waldorf-045-01-1a 1956-02-09-conf_waldorf-045-01-1  1956-02-09-conf_waldorf-046-01
1956-02-09-conf_waldorf-046-02-1 1956-02-09-conf_waldorf-046-02-1a 1956-02-09-conf_waldorf-046-03-1
 1956-02-09-conf_waldorf-046-04-1 1956-02-09-conf_waldorf-046-03-1a 1956-02-09-conf_waldorf-046-04-1a
1956-02-09-conf_waldorf-046-05 1956-02-09-conf_waldorf-046-06-1a 
1956-02-09-conf_waldorf-046-06-1 1956-02-09-conf_waldorf-046-07 1956-ny-62 The Man Behind Marilyn aa
1956-plaza   1956-02-09-conf_waldorf-047-01 
1956-02-09-conf_waldorf-048-04-1 1956-02-09-conf_waldorf-048-04-1a 1956-02-09-conf_waldorf-048-06
1956-02-09-conf_waldorf-048-07 1956-02-09-conf_waldorf-048-08 1956-MONROE__MARILYN_-_PRINCE_AND_THE_SHOWGIRL_PRESS_CONFE_93376

 > photographies de Eve Arnold
1956-02-09-conf_waldorf-041-01-by_arnold-1 1956-02-09-conf_waldorf-041-01-by_arnold-2 1956-02-09-conf_waldorf-041-01-by_arnold-3 
1956-02-09-conf_waldorf-041-01-by_arnold-4  1956-02-09-conf_waldorf-041-01-by_arnold-5 
1956-02-09-conf_waldorf-048-05-by_arnold-1 1956-02-09-conf_waldorf-048-05-by_arnold-1a 1956-02-09-conf_waldorf-048-05-by_arnold-2

  > photographies de Milton Greene
1956-02-09-conf_waldorf-contact-by_mhg-2  1956-02-09-conf_waldorf-042-01-by_greene-1  1956-02-09-conf_waldorf-042-01-by_greene-2 
1956-02-09-conf_waldorf-042-01-by_greene-3 
1956-02-09-conf_waldorf-042-01-by_greene-4 1956-02-09-conf_waldorf-042-01-by_greene-5
1956-02-09-conf_waldorf-042-01-by_greene-6 1956-02-09-conf_waldorf-042-01-by_greene-7
1956-02-09-conf_waldorf-042-02-by_greene-1 1956-02-09-conf_waldorf-042-02-by_greene-2
1956-02-09-conf_waldorf-042-02-by_greene-3 juliens-mmauction2014-lot815b 1956-02-09-conf_waldorf-042-02-by_greene-3a 
1956-02-09-conf_waldorf-042-02-by_greene-4 1956-02-09-conf_waldorf-042-02-by_greene-5 1956-02-09-conf_waldorf-042-02-by_greene-6 
1956-02-09-conf_waldorf-044-01-by_mhg-1  juliens-mmauction2014-lot814 
1956-02-09-conf_waldorf-043-01-by_mhg-1  1956-green153
1956-02-09-conf_waldorf-043-02-by_mhg-1 1956-02-09-conf_waldorf-043-02-by_mhg-2 1956-02-09-conf_waldorf-043-02-by_mhg-3
Marilyn-Monroe-MHG-MMO-PPR-070 Marilyn-Monroe-MHG-MMO-PPR-071 Marilyn-Monroe-MHG-MMO-PPR-072 
Marilyn-Monroe-MHG-MMO-PPR-073 Marilyn-Monroe-MHG-MMO-PPR-075 
Marilyn-Monroe-MHG-MMO-PPR-074 Marilyn-Monroe-MHG-MMO-PPR-079 Marilyn-Monroe-MHG-MMO-PPR-090 
Marilyn-Monroe-MHG-MMO-PPR-091 Marilyn-Monroe-MHG-MMO-PPR-098 Marilyn-Monroe-MHG-MMO-PPR-099 
Marilyn-Monroe-MHG-MMO-PPR-101 Marilyn-Monroe-MHG-MMO-PPR-104 Marilyn-Monroe-MHG-MMO-PPR-105 
1956-02-09-conf_waldorf-048-01-by_greene-1 
1956-02-09-conf_waldorf-048-01-by_greene-2 marilyn_monroe_PPR_104 marilyn_monroe_PPR_105  

 > photographies de Leo Friedman
1956-02-09-conf_waldorf-048-02-by_Leo_Friedman  1956-02-09-conf_waldorf-048-03 

> captures
1956-02-09-press-cap04-01 1956-02-09-press-cap04-02 1956-02-09-press-cap04-03
1956-02-09-press-cap04-04 1956-02-09-press-cap04-05 1956-02-09-press-cap04-06
1956-02-09-press-cap04-07 1956-02-09-press-cap04-08 1956-02-09-press-cap04-09
1956-02-09-press-cap05-01 1956-02-09-press-cap05-02 1956-02-09-press-cap05-03
1956-02-09-press-cap05-04 1956-02-09-press-cap05-05 1956-02-09-press-cap05-06
1956-02-09-press-cap06-01 1956-02-09-press-cap06-02 1956-02-09-press-cap06-03
1956-02-09-press-cap07-01 1956-02-09-press-cap07-02 1956-02-09-press-cap07-03
1956-02-09-press-cap07-04 1956-02-09-press-cap07-05 1956-02-09-press-cap07-06
1956-02-09-press-cap08-01 1956-02-09-press-cap08-02 1956-02-09-press-cap08-03
1956-02-09-press-cap08-04 1956-02-09-press-cap08-05 1956-02-09-press-cap08-06
1956-02-09-press-cap09-01 1956-02-09-press-cap09-02 1956-02-09-press-cap09-03
1956-02-09-press-cap09-04 1956-02-09-press-cap09-05 1956-02-09-press-cap09-06
1956-02-09-press-cap09-07 1956-02-09-press-cap09-08 1956-02-09-press-cap09-09
1956-02-09-press_conf-cap3-01 1956-02-09-press_conf-cap3-02 1956-02-09-press_conf-cap3-03


1956-02-09-conf_waldorf-051-01 1956-02-09-conf_waldorf-051-03 1956-02-09-conf_waldorf-051-02-1
 1956-02-09-conf_waldorf-051-03a  1956-02-09-conf_waldorf-051-02-1a

 > photographies de Eve Arnold
1956-02-09-conf_waldorf-050-01-by_arnold-1 1956-02-09-conf_waldorf-050-01-by_arnold-1a 1956-02-09-conf_waldorf-050-01-by_arnold-2 

   > photographies de Milton Greene
Marilyn-Monroe-MHG-MMO-PPR-135 Marilyn-Monroe-MHG-MMO-PPR-136 Marilyn-Monroe-MHG-MMO-PPR-137 


Un événement, sans doute orchestrée par Marilyn, va se produire: la bretelle de sa robe noire John Moore va craquer. Olivier restera d'ailleurs convaincue qu'elle le fit exprès pour monopoliser l'attention. Lorsque la bretelle a cédé, la journaliste Judith Crist du 'New York Herald Tribune' est aux premières loges: "J'étais juste derrière elle, poussée contre elle par la cohue largement masculine de journalistes. Il y a les toilettes des dames à droite, j'ai une épingle de secours". La bretelle va être raccomodée rapidement, mais elle cédera à nouveau lors du shooting photos de Marilyn en haut des escaliers. L'incident va s'étaler dans tous les journaux et constituera une excellente publicité.
Olivier, qui, en public, ne tarit pas d'éloges sur Marilyn, est inquiet dans l'intimité. Après la conférence, il dit au producteur Saul Colin dans la limousine qui les ramène: "Saul, je me demande si je n'ai pas fait une erreur."

An event, probably prepared by Marilyn, will happen: the strap of her black John Moore dress will break. Olivier remains convinced that the purpose of Marilyn was to monopolize attention. When the dress strap has broken, the journalist Judith Crist of the 'New York Herald Tribune' is next to Marilyn: "I was directly behind her, pushed against her by the largely male crush of reporters. There’s a ladies’ room to the right. I have a safety pin." The strap is repaired quickly, but it will break again during the photo shoot of Marilyn upstairs. The incident will be spread in all the newspapers and provide an excellent advertising.
Olivier, who, in public, not raves about Marilyn, is worried in private. After the conference, he saiys to the producer Saul Colin, in the limo that brings them back: "Saul, I wonder if I have not made a mistake." 

1956-02-09-conf_waldorf-061-03-1 1956-02-09-conf_waldorf-065-01 
 1956-02-09-conf_waldorf-061-03-1a  1956-02-09-conf_waldorf-061-01  
1956-02-09-conf_waldorf-062-01 1956-MONROE__MARILYN_-_PRINCE_AND_SHOWGIRL_PRESS_CONFERENCE570 1956-02-09-conf_waldorf-063-01
1956-02-09-conf_waldorf-063-02 1956-02-09-conf_waldorf-063-02a 

   > photographies de Milton Greene
1956-02-09-conf_waldorf-060-01-by_mhg-1 1956-02-09-conf_waldorf-060-01-by_mhg-2 
1956-02-09-conf_waldorf-060-01-by_mhg-3 1956-02-09-conf_waldorf-060-01-by_mhg-4 1956-02-09-conf_waldorf-060-01-by_mhg-5 
1956-green152  Marilyn-Monroe-MHG-MMO-PPR-002  Marilyn-Monroe-MHG-MMO-PPR-006 
1956-02-09-conf_waldorf-063-03-by_mhg-1 1956-02-09-conf_waldorf-063-03-by_mhg-1a 1956-02-09-conf_waldorf-064-01-by_mhg-1
 Marilyn-Monroe-MHG-MMO-PPR-005  Marilyn-Monroe-MHG-MMO-PPR-011  Marilyn-Monroe-MHG-MMO-PPR-009 
1956-02-09-conf_waldorf-064-02-by_mhg-1 1956-02-09-conf_waldorf-064-02-by_mhg-2
1956-02-09-conf_waldorf-064-02-by_mhg-3 1956-02-09-conf_waldorf-064-03-1
1956-02-09-conf_waldorf-064-03-1a 1956-02-09-conf_waldorf-064-04 1956-02-09-conf_waldorf-064-05


> photographies de Milton Greene
Marilyn-Monroe-MHG-MMO-PPR-121  Marilyn-Monroe-MHG-MMO-PPR-132 
Marilyn-Monroe-MHG-MMO-PPR-106  Marilyn-Monroe-MHG-MMO-PPR-109  Marilyn-Monroe-MHG-MMO-PPR-122 
Marilyn-Monroe-MHG-MMO-PPR-107 

> photographie de Eve Arnold
1956-02-09-conf_waldorf-070-by_arnold-1

Souvenir de la photographe Eve Arnold: "Son attaché de presse de la côte Est, Lois Smith, me téléphona pour m'inviter à assister à une conférence de presse organisée au Waldorf, au cours de laquelle Laurence Olivier -devenu Sir Laurence Olivier- et Miss Monroe allaient parler du nouveau film qu'ils se préparaient à tourner en Angleterre. J'arrivai un peu en avance de manière à rendre visite à Marilyn dans sa loge avant le début de la conférence. Marilyn avait toujours eu du mal à amorcer les choses. (...) Consciente qu'elle aurait à galvaniser les journalistes, à rendre l'instant magique, à frapper leur imagination, elle hésitait à entrer en scène. Les minutes passaient, on l'attendait et on s'impatientait. Le temps jouait en sa défaveur, mais elle semblait paralysée et incapable d'y remédier, alors que son souhait le plus cher était de ne décevoir personne. (...) Il était onze heures du matin et elle portait une robe de velours noir aux bretelles à peine plus large qu'un spaghetti. Elle était éblouissante, le noir de sa robe faisait ressortir sa peau blanche et sa chevelure blonde. Lorsque je le lui dis, elle me fit un clin d'oeil dans le miroir et me répondit simplement: "Regarde bien". Je n'étais restée qu'une minute dans sa loge, le temps de lui dire bonjour. Elle était déjà en retard. A l'extérieur s'impatientaient Laurence Olivier et le scénriste du film Terence Rattigan, qui me fusillèrent du regard. (...) Marilyn apparut à un balcon en compagnie de Laurence Olivier, Terence Rattigan et Milton Greene. Lentement, Marilyn et Olivier descendirent l'escalier et furent engloutis par une foule de professionnels bien intentionnés; il leur fut difficile de se frayer un chemin. Ils atteignirent enfin la table de conférence et les questions commencèrent. Au début, Laurence Olivier répondait avec beaucoup de sérieux. Puis Marilyn se mit à son aise. Elle retira son manteau mais, en se penchant en avant, elle fit craquer une des fines bretelles de sa robe. L'atmosphère changea d'un coup: elle l'avait détendue en faisant rire son public; on lui proposa une épingle de sûreté. (...) Elle avait réussi à transformer cette réunion pesante, monotone et sans surprise en un véritable événement. Les centaines de journalistes étaient sous le charme. Ils appréciaient la classe avec laquelle l'actrice avait réagi lorsque sa bretelle s'était rompue. En temps normal, jamais je ne serais allée photographier une conférence de presse (...) mais depuis notre voyage dans l'Illinois, j'étais accro à Marilyn." 


> video 1

> video 2

> video 3


> dans la presse
1956-07-novella-italie


>> sources:
Marilyn Monroe, Les inédits, de Marie Clayton. 
Marilyn Monroe et les caméras, Georges Belmont 
Les vies secrètes de Marilyn Monroe, d'Anthony Summers
Marilyn Monroe, de Eve Arnold
article "The Prince, the Showgirl, and the Stray Strap" sur nytimes.com


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

18 avril 2014

Pendant "The Prince and the Showgirl"

Le prince et la danseuse
Sur le tournage

Marilyn Monroe et Arthur Miller lors d'une réception improvisée sur le plateau de tournage.
Photographies de
Milton H. Greene

Marilyn Monroe and Arthur Miller during a reception organised on the set.
Photographs by Milton H. Greene

MHG-MMO-PR-2359 MHG-MMO-PR-2357 1956-tpats-set-3
MHG-MMO-PR-2358 MHG-MMO-PR-2355 MHG-MMO-PR-2354
lot142a  lot142c  lot142d
MHG-MMO-PR-414 1956-tpats-set-1 1956-tpats-set-2


Marilyn Monroe et son mari Arthur Miller photographiés par Jack Cardiff.
Marilyn Monroe and her husband Arthur Miller photographied by Jack Cardiff.

marilyn_by_cardiff_38595387 mm_et_arthur_1_1a 
1956_by_Jack_Cardiff_marilyn_and_arthur_1_1 1956_by_jack_cardiff_marilyn_in_sofa_1_1 1956_by_jack_cardiff_marilyn_and_arthur_1_2
 


Portraits du photographe Milton Greene

MHG-MMO-PR-2331  MHG-MMO-PR-2332


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copyright text by GinieLand. 

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24 mars 2014

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


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

23 mars 2014

Bannière Printemps 2014

Marilyn Monroe en 1956,
test coiffure pour "The Prince and the Showgirl",
photographies de Milton Greene. 

banner_mm-srping-2014a2 

Posté par ginieland à 12:41 - - Commentaires [5] - Permalien [#]
Tags : , ,

26 décembre 2013

'Hollywood Auction 62' 12/2013


Photographies


lot 47: Oversized Photograph of Marilyn Monroe in The Seven Year Itch
(TCF, 1955) Vintage original 9.75 x 12 in. gelatin silver glossy borderless photo print of Marilyn Monroe and Tom Ewell from The Seven Year Itch. The production photo exhibits some minor flaws from the negative and very minor corner bumping. In vintage very good condition.
Sold: $300
lot47


 lot 48: Collection of (7) Photos of Marilyn Monroe
(Various studios, 1957-1961)
Gelatin-silver glossy approx. 8 x 10 in. prints (7) all featuring Marilyn Monroe in (3) films:
The Prince and the Showgirl (Warner Bros., 1957) (1), Let’s Make Love (TCF, 1960) (5),
and The Misfits (United Artists, 1961) (1).
All are in very fine condition and (1) has descriptive studio snipes on verso
Sold: $350
lot48a  lot48b 
lot48c  lot48d  


lot 128: Collection of (32) contact sheet Prints of Marilyn Monroe with Milton Berle  and Maurice Chevalier and Marlene Dietrich by Milton h. Greene
(32) Silver gelatin glossy 8 x 10 in. contact sheet prints from 35mm negatives of Marilyn Monroe with Marlene Dietrich at
cocktail party announcing formation of MM Productions, Milton Berle for Mike Todd Circus at Madison Sq. Garden and at Friars’ Club Roast, and Maurice Chevalier for Look, dated 1/7/55, 3/15/55 and 9/30/55. Very good.
Estimate: $200 - $300
Sold: $3 250 
lot128 
lot128a  lot128b 
lot128c  lot128d 


lot 129: Collection of (10) contact sheet Prints of Marilyn Monroe from Seven Year Itch  and other sittings by Milton H Greene.
(10) Silver gelatin glossy 8 x 10 in. contact sheet prints from 35mm negatives of Marilyn Monroe from Seven Year Itch (20th Century-Fox, 1955), “Nude,” “Nightgown and Mink Stole,” “White Robe” and “Gypsy” sittings by Milton H. Greene, dated 9/2/53, 10/7/53, 9/13/54, 3/8/55 and 4/15/56. Very good.
Estimate: $200 - $300
Sold: $ 1 000
lot129 
lot129a  lot129b 
lot129c  lot129d 


  lot 130: Collection of (8) contact sheet Prints of Marilyn Monroe from “balalaika” by Milton H Greene
(8) Silver gelatin glossy 8 x 10 in. contact sheet prints (2 double-weight) from 2.25
x 2.25 in. and 35mm negatives of Marilyn Monroe from “Balalaika” sitting by Milton
H. Greene, dated 9/2/53. Very good to Fine.
Estimate: $300 - $500
Sold: $ 1 200
lot130 
lot130a  lot130b 
lot130c  lot130d


lot 131: Collection of (8) contact sheet Prints of Marilyn Monroe from “ballerina” by Milton H Greene
(8) Silver gelatin glossy 8 x 10 in. contact sheet prints (1 double-weight) from 2.25 x 2.25 in. negatives of Marilyn Monroe from “Nightgown and Mink Stole” “Ballerina” and “White Robe” sittings by Milton H. Greene, dated 10/7/53, 10/6/54 and 3/8/55. Very good.
Estimate: $300 - $500
Sold: $ 1 600 
lot131 
lot131a  lot131b 
lot131c  lot131d  


lot 132: Collection of (14) contact sheet Prints of Marilyn Monroe with Marlon Brando Edward R. Murrow by Milton H Greene
(14) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. and 35mm negatives of Marilyn Monroe
with Marlon Brando for Actor’s Studio Benefit for Muscular Dystrophy and Edward R. Murrow for Person to Person by Milton H. Greene, dated 4/1/55 and 12/12/55. Very good.
Estimate: $200 - $300
Sold: $ 1 600 
lot132a  lot132b
lot132c1  lot132c2 
lot132c3  lot132c4 


lot 133: Collection of (17) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(17) Silver gelatin glossy 8 x 10 in. proof prints (1 double-weight) of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 1/1/56. Fine.
Estimate: $200 - $30
Sold: $ 2 750
lot133a  lot133b 
lot133c  lot133d  


  lot 134: Collection of (98) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(98) Silver gelatin glossy 4 x 5 in. proof prints of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 5/16/56. Good to Fine; with missing corners to some.
Estimate: $300 - $500
Sold: $ 1 900
lot134a  lot134b  lot134c 
lot134d  lot134e 
lot134f  lot134g  lot134h  


  lot 135: Collection of (33) Proof Prints of Marilyn Monroe from Bus Stop by Milton H. Greene (20th Century-Fox, 1956)
(33) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. (4) and 35mm negatives of Marilyn Monroe from Bus Stop by Milton H. Greene, dated 5/16/56. Very good.
Estimate: $200 - $300
Sold: $ 900 
lot135  lot135c  lot135d 
lot135a  lot135b 


 lot 136: Collection of (9) contact sheet Prints of Marilyn Monroe  from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(9) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn
Monroe from The Prince and the Showgirl
by Milton H. Greene, dated 6/26/56. Very good.
Estimate: $200 - $300
Sold: $ 700 
lot136 
lot136a  lot136b  lot136c 
lot136d  lot136e 


lot 137: Collection of (33) contact sheet Prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller from the Prince and the Showgirl, by Milton H Greene (Warner Bros., 1957)
(33) Silver gelatin glossy 4 x 5 in.
contact sheet prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller at press reception at Heathrow for
The Prince and the Showgirl by Milton H. Greene, dated 7/56. Very good to Fine.
Estimate: $200 - $300
Sold: $ 1 400  
lot137a  lot137b 
lot137c  lot137d 


lot 138: Collection of (170) contact Prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and Arthur Miller from the Prince and the Showgirl, by Milton H Greene (Warner Bros., 1957)
(170) Silver gelatin glossy 2.25 x 2.25 in. contact prints of Marilyn Monroe with Lawrence Olivier, Vivien Leigh and
Arthur Miller at press reception at Heathrow for The Prince and the Showgirl
by Milton H. Greene, dated 7/56. Very good.
Estimate: $200 - $300
Sold: $ 1 100 
lot138a  lot138b  
lot138c1  lot138c2 
lot138c3  lot138c4 


 lot 139: Collection of (17) contact sheet Prints of Marilyn Monroe with Lawrence Olivier from The Prince and the Showgirl by Milton H. Greene (Warner Bros., 1957)
(17) Silver gelatin glossy 8 x 10 in. proof prints (5) and contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn
Monroe with Lawrence Olivier at press reception for The Prince and the Showgirl by Milton H. Greene, dated 7/56. Very
good.
Estimate: $200 - $300
Sold: $ 1 500 
lot139a  lot139b  lot139c3 
lot139c1  lot139c2  lot139c4


Lot 140: Collection of (15) contact sheet Prints of Marilyn Monroe and Lawrence Olivier with Terence Rattigan from The Prince and the Showgirl by Milton H. Greene (Warner Bros.,1957)
(15) Silver gelatin glossy 8 x 10 in. contact sheet prints from 2.25 x 2.25 in. negatives of Marilyn Monroe and Lawrence Olivier with
Terence Rattigan in publicity sitting for The Prince and the Showgirl by Milton H. Greene, dated 7/56; with
photographer rubber stamp on verso. Very good.
Estimate: $200 - $300
Sold: $ 2 750 
lot140a  lot140b 
lot140c1  lot140c2 
lot140c3  lot140c4  


 Lot 141: Collection of (496) contact Prints of Marilyn Monroe from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(496) Silver gelatin glossy contact prints including (164) 2.25 x 2.25 in. and (332) 35mm negatives of Marilyn Monroe for The Prince and the Showgirl by Milton H. Greene, dated 6/28/56; with photographer rubber stamp on verso. Very good.
Estimate: $200 - $300
Sold: $ 3 750  
lot141  lot141a  lot141b 
lot141c  lot141d 


Lot 142: Collection of (14) camera negatives of Marilyn Monroe from The Prince and the Showgirl by Milton H. Greene
(Warner Bros., 1957)
(14) Black-and-white 2.25 x 2.25 in. camera negatives (3 with contact print) of Marilyn Monroe from The Prince and the Showgirl
by Milton H. Greene, dated 11/29/73. Very fine.
Estimate: $200 - $300
Sold: $ 1 100  
lot142  lot142b 
lot142a  lot142c  lot142d 


Lot 161: Travilla “subway dress” costume design for The Seven Year Itch. (TCF, 1955)
In this landmark film from the mid-1950s, Tom Ewell reprises his Broadway role as a husband whose wife goes on a brief vacation with their children. He remains behind in New York on business, alone for the first time in seven years of marriage, and begins fantasizing about a model who has sublet the apartment above. Marilyn Monroe plays The Girl with her characteristic mix of innocence and sexual allure. The Seven Year Itch storyline, unlike some of Monroe’s earlier films, held forth no promise as a costume showcase. It was not a period piece and she had no dance routines. Still, this was to become the vehicle for Travilla’s most famous dress design. It was a deceptively simple dress, classic but sexy, and it was meant to make Monroe look cool on the hot, sticky sidewalks of New York. “I’m going to have my precious baby standing over a grate,” Travilla remembered. “I wanted her to look fresh
and clean. So I wondered what could I do with this most beautiful girl that Marilyn was to play to make her look clean, talcum-powdered and adorable,” Travilla mused. “What would I give her to wear that would blow in the breeze and be fun and pretty? I knew there would be a wind blowing so that would require a skirt.” In his trademark painterly style, Travilla then drew his visualization of what would become the most famous garment in Hollywood history – a white crepe bias-cut dress with a halter-top and sunburst pleated skirt. Accomplished in gouache and ink on a 15 in. x 20 in. sheet of artist’s illustration board, the sketch features the now-famous skirt billowing around her waist, in the scene that would electrify audiences all over the world and reportedly bring an abrupt end to Marilyn’s celebrated marriage to slugger Joe Dimaggio.
Giving the actress a broad smile, Travilla positioned her left arm delicately across her body, while her hand holds up the skirt in a playful tease. The sketch is signed boldly at the lower right of the image in black ink, “Travilla”, with notation at the upper right corner in dark graphite, “7 Year Itch – Wind Scene at Subway”. When she stood over the subway grate and a blast of air caused her pleated skirt to swirl above her waist, Monroe made Hollywood history. Travilla’s contribution was almost forgotten, although he often mused in private about the fame of The Dress. “Here’s how famous it was,” he said. “We were traveling in London to promote the Littlewoods catalog in the 1970s, and my copy of the dress was on display along with millions of dollars in jewelry.” There was a break-in at the show, but the only item stolen was The Dress (which was later anonymously returned). This sketch perfectly embodies the many competing themes of American life during the conservative 1950s, all of which seemed to converge in this film and in this dress at the very moment Marilyn paused over the Subway grate: the responsibilities of modern life as represented by Tom Ewell’s character, the growing independence of American women, and the changing attitude of the country towards
sex and desire, which would culminate in the sexual revolution of the 1960s just a few years away. The crown jewel of Travilla’s Lost Collection, this sketch is not only a wonderful piece of Hollywood history, but an important snapshot of American popular culture from the apex of Marilyn Monroe’s meteoric film career. Provenance: Profiles in History Auction 20, Lot 114.
Estimate: $60,000 - $80,000
Sold: $ 80 000
lot161c 
lot161a  lot161b   


Lot 226: Marilyn Monroe hand–signed and inscribed photograph.
Vintage 8 in. x 10 in., black & white, gelatin silver photo of the sex symbol in a low-cut, clinging blouse. Inscribed in blue ink on the image, “To Lou, When you come back – come around, Marilyn Monroe”. With chipped, upper right hand corner. Pinholes in corners and minor creasing not affecting image or signature. In good condition.
Estimate: $15,000 - $20,000
Sold: $19 000
lot226 


Lot 227: Original Marilyn Monroe anniversary Playboy cover artwork by Victoria Fuller, signed by Hugh Hefner.
Original commemorative Marilyn Monroe Playboy magazine cover painting accomplished in oil paints and silkscreen on a 30 x 40 in. stretched canvas. A one of a kind collection of 11 paintings were created by artist Victoria Fuller in celebration of the 60th anniversary of Marilyn Monroe’s appearance in the first issue of Playboy in December, 1953. The art depicts the iconic cover of the first issue of Playboy. In addition to being a fine art painter, Fuller was one of Playboy’s most popular Playmates, and the most photographed ‘Bunnies’ in the magazine’s last 50. She is also the first and only artist to ever receive a licensing contract from Playboy allowing her to use the famous trademark Rabbit Head Playboy, and Bunny Costume as subjects of her paintings and limited addition prints. The piece is hand-signed by the artist and Playboy Magazine founder and American icon Hugh Hefner. In fine condition.
Estimate: $6,000 - $8,000
Sold: $ Pass
lot227 


 Documents papiers


Lot 224: Marilyn Monroe contract for The Asphalt Jungle. (MGM, 1950)
1-page, printed, typed contract on approx. 21 x 8.5 paper, signed, “Marilyn Monroe” dated 29 November 1949. In John Huston’s The Asphalt Jungle, an unknown actress named Marilyn Monroe in her early breakthrough roll as “Angela Finlay”, a small but important roll in this film noir classic. This oversize “Screen Actors Guild Minimum Contract for Freelance Players” outlines the terms of Monroe’s employment on the film. The contract states that Monroe will play the role of “Angela” in the “photoplay” The Asphalt Jungle and be paid the sum of $300 for 1 week of work beginning on November 9th, 1949. The contract lists Monroe’s’ current address as, “1301 N. Harper Ave. Los Angeles, California” and her phone number, “Hampstead 9943”. The contract verso exhibits an additional amendment typed on 8 x 4 in. paper, tipped to the contract. Signed at the bottom of the page by MGM casting director “Fred A Datig” and below that, in black pen, “Marilyn Monroe”. Retaining original folds. In very good condition.
Estimate: $2,500 - $3,500
Sold: $ 4 750
lot224a  lot224b 


Lot 225: Marilyn Monroe’s personal title and service agreement to her 1950 Pontiac
Marilyn Monroe Pontiac sedan paperwork consisting of (3) documents, including: (1) 8.5 x 3.75 in. Beverly Motor Company, tri-folded, printed Pontiac Service Policy. With typed “Miss Marilyn Monroe / 1301 N. Harper Ave. / Los Angeles, CA”. Inside there are terms of ownership and two attached, perforated 1000 and 2000 mile service coupons also type to “Miss Marilyn Monroe” with other information filled in, dated July 1, 1950, (1) 7.25 x 3.25 in folded printed warranty for the car’s Delco Battery. Type written to Miss Marilyn Monroe and with other technical information, dated July 1, 1950 and (1) State of California DMV “pink slip” certificate of ownership printed to “Monroe Marilyn / 1301 N Harper AV / Los Angeles” including vehicle engine number, make, model, total fees ($24.00) and Monroe’s license number, “19B29921”. All documents in fine condition.
Estimate: $1,000 - $1,500 
sold: $ 1 400
lot225a  
lot225d  
lot225b  lot225c  


 Objets Divers


Lot 231: Warner Bros. commemorative key. (c. 1950s)
10 x 3.75 in. brass key to Warner Brothers Studios. The key’s bow is shield-shaped and features the raised “WB” letters synonymous with the studio. One side of the key blade reads, in raised letters, “Welcome to Warner Bros. Studios” and the reverse side, “The Largest in the World”. In vintage very fine condition.
Estimate: $1,000 - $1,500
Sold: $2 500
lot231a  lot231b 
lot231c 


Lot 764: Jane Russell extremely limited #1 of an intended run of up to 4 hand and footprint impressions from the Chinese Theatre.
The glitter and glamour of Hollywood continue to attract visitors from all over the world, and there is no monument to Hollywood that is more glamorous or iconic than TCL Chinese Theatre. The forecourt of the theatre remains a must-see spot for tourists and the star-struck to see how they fill the shoes of their favorite stars by placing their own feet in the celebrity footprints that mosaic the courtyard. This is a replica of the hand and footprint square of Jane Russell created from the original concrete impression at the Chinese Theatre when she placed her hand and footprints in the cement along with Marilyn Monroe for the west coast premiere of Gentlemen Prefer Blondes.  Rumor has it that Both Jane and Marilyn wanted to make more than just hand and foot print impressions in the forecourt and that they actually wanted to imprint the physical attributes that they were both known for. Theatre management turned down this request though as it would have been considered too risqué. Measuring 37.25 x 41 in. Inscribed, “Jane Russell 6 26 53” and then “Gentleman” as the beginning of the Gentlemen Prefer Blondes title which begins on her square and ends on Monroe’s. The impression is made out of a synthetic casting compound to produce the real look and feel of concrete and does include natural materials that are found in cement.  However, this is sensitive to heat and like all valuable art, it should not be kept in high heat or be displayed in the exterior direct heat/sunlight. This piece is the first of an extremely limited intended run of up to four impressions. No rights to the Jane Russell name, signature or imprint are transferred to the buyer with this sale. Special shipping arrangements will apply.
Estimate: $4,000 - $6,000
Sold: $4,000
lot764 


Lot 765: Marilyn Monroe extremely limited #1 of an intended run of up to 4 hand and footprint impressions from the Chinese Theatre.
The glitter and glamour of Hollywood continue to attract visitors from all over the world, and there is no monument to Hollywood that is more glamorous or iconic than TCL Chinese Theatre. The forecourt of the theatre remains a must-see spot for tourists and the star-struck to see how they fill the shoes of their favorite stars by placing their own feet in the celebrity footprints that mosaic the courtyard. This is a replica of the hand and footprint square of Marilyn Monroe created from the original concrete impression at the Chinese Theatre which is, by far, the most photographed imprint square in the TCL Chinese Theatre forecourt, honored with the opening of her film Gentlemen Prefer Blondes. She originally wanted them to dot the “I” in her name with a diamond, but theatre management suggested that someone would steal the diamond and suggested an earring be placed instead. A short time later someone over night came along and attempted to steal the earring. The top broke off, but the back remains firmly implanted in the cement to this day. 42.5 x 42.25 in. Inscribed, “Marilyn Monroe” and then “Prefer Blondes” as half of the Gentlemen Prefer Blondes title started on Jane Russell’s square and finished on Monroe’s. Marilyn’s “I” is dotted by a faux diamond imbedded in the square. The impression is made out of a synthetic casting compound to produce the real look and feel of concrete and does include natural materials that are found in cement.  However, this is sensitive to heat and like all valuable art, it should not be kept in high heat or be displayed in the exterior direct heat/sunlight. This piece is the first of an extremely limited intended run of up to four impressions. No rights to the Marilyn Monroe name, signature or imprint are transferred to the buyer with this sale. Special shipping arrangements will apply.
Estimate: $4,000 - $6,000
Sold: $7 500
lot765  


Vêtements


lot 701: Marilyn Monroe “Pola Debevoise” black felt hat from How to Marry a Millionaire. (TCF, 1953)
 Black felt hat with soft ruffle brim and simple bow. Bodies by Lee yellow stamp. Internal bias label handwritten “1-39-1-4691 A-705-54 M. MONROE”. Created by Travilla for Marilyn Monroe as “Pola Debevoise” in How to Marry a Millionaire but not in the final version of the film. Lot includes a wardrobe test photo showing Monroe wearing the hat. This hat was originally created for the scene with David Wayne on the plane but was replaced with a simple beret.
Estimate: $15,000 - $20,000
Sold: $15, 000 
lot701a  lot701b  lot701c 
lot701d 

03 décembre 2013

Wallpaper The Prince and the Showgirl (2)

> du site wall.alphacoders 

wp-prince

Posté par ginieland à 19:30 - - Commentaires [0] - Permalien [#]
Tags : , , ,

01 avril 2013

Julien's Auction 04/2013 - Photos Films Divers

 lot n°729: MARILYN MONROE "DANGEROUS YEARS" JUMBO WINDOW CARD
  A jumbo window card for Marilyn Monroe's film debut, Dangerous Years (20th Century Fox, 1947). Printed in black and red on cardstock, the card also features a promotion for The Invisible Wall (20th Century Fox, 1947).
Estimate: $200 - $400

lot128251 


lot n°730: MARILYN MONROE 1950 FILM ARCHIVE
  A publicity still and wardrobe archive of Marilyn Monroe's 1950 films including two wardrobe plot book pages from A Ticket To Tomahawk (20th Century, 1950) for Monroe's character, Clara; with 13 publicity stills (10 black and white, 3 colorized) of Anne Baxter, Dan Dailey and Rory Calhoun. All About Eve (20th Century, 1950) publicity image archive containing 11 small black and white images stamped on verso by the Advertising Code Administration of Hollywood with one image of Monroe and 10 of Celeste Holm and four publicity images from the film. Two black and white publicity images from The Asphalt Jungle (MGM, 1950), one of Monroe.
Estimate: $400 - $600
 
lot128253 lot128255 lot128257


lot n°731: MARILYN MONROE EARLY FILMS PUBLICITY STILLS AND WARDROBE ARCHIVE
  An archive of publicity stills and wardrobe images from three of Marilyn Monroe's early films including a group of 11 black and white publicity images from Ladies of the Chorus (Columbia, 1948), each stamped "Columbia Pictures / Photo by / Lippman" with publicity snipes on verso; three of the images show Monroe's character in an altercation with Marjorie Hoshelle's character. A Monroe wardrobe continuity image, a copy of a Monroe publicity image, and an original publicity image of other cast members from Love Nest (20th Century, 1951). Publicity stills from Clash by Night (RKO, 1952), including approximately 17 black and white publicity stills, some stamped on verso " Photo by Roderick " with RKO information accompanied by publicity snipes; two feature Monroe. Fourteen black and white publicity stills blind stamped "Property of N . S . S . Corp" with two other unstamped publicity stills. As Young As You Feel (20th Century, 1951) wardrobe continuity photo archive containing 14 black and white images; one of Monroe.
Estimate: $600 - $800
 
lot128259 lot128261 lot128264
lot128266 lot128268


lot n°734: "DON'T BOTHER TO KNOCK" WARDROBE AND PUBLICITY PHOTOGRAPH ARCHIVE
  A Marilyn Monroe typed costume continuity sheet for her character Nell Forbes (changes 1 and 2) in the film Don't Bother To Knock (20th Century, 1952). Accompanied by approximately 14 small black and white continuity photographs shot on set and eight black and white publicity photographs, four of which are blind stamped "Property of N.S.S. Corp."
Estimate: $800 - $1 200
 
lot128274 lot128276 
lot128278 lot128280 lot128282


 lot n°742: "WE'RE NOT MARRIED" WARDROBE CONTINUITY SHEETS
  A group of four wardrobe continuity sheets for Marilyn Monroe and Ginger Rogers from the film We're Not Married (20th Century Fox, 1952). The typed sheets with some handwritten notations are for Monroe's character, Annabel (changes 1-4), and Rogers' character, Ramona (changes 1-3A). Accompanied by one black and white wardrobe photograph of Rogers in change 3 and eight black and white publicity images, including one of Monroe that has been cut down from its original size.
Estimate: $600 - $800

lot128311 lot128313 lot128315


lot n°743: "NIAGARA" WARDROBE AND PUBLICITY ARCHIVE
  An archive of wardrobe sheets, photographs taken on set and publicity photographs from Niagara (20th Century, 1953). Including seven handwritten production wardrobe pages and matching typed pages for Marilyn Monroe's costuming in the film. Approximately 65 black and white photographs intended for publicity or continuity including behind-the-scenes images and photographs marked for cropping. Six Marilyn Monroe wardrobe continuity photographs that appear to have been copied from a color transparency, approximately 13 black and white wardrobe continuity images. Approximately 64 black and white publicity images stamped on verso by the Advertising Code Administration including one noted for a retouch on an image of Jean Peters. Also accompanied by approximately 17 other photographs and copies of photographs for an unknown use.
Estimate: $2 000 - $4 000

lot128317 lot128343 
lot128318 lot128327 lot128322
lot128320 lot128325
lot128329 lot128339 lot128341
lot128331 lot128333 lot128335 lot128337


lot n°744: "MONKEY BUSINESS" PUBLICITY AND WARDROBE ARCHIVE
  An archive of materials relating to the film Monkey Business (20th Century Fox, 1952). The collection includes four pages from a wardrobe plot book relating to Marilyn Monroe's character, Miss Lois Laurel. Approximately 30 wardrobe continuity photographs for Ginger Rogers, who played Mrs. Edwina Fulton in the film. A group of approximately 93 black and white photographs that appear to be from a continuity key book. A group of approximately 53 publicity photographs stamped on verso by the Advertising Code Administration, including one photograph of Ginger Rogers marked for editing. Approximately 14 publicity photographs, three blind stamped as being the property of N.S.S. Corp. And six unmarked black and white photographs for publicity or other purposes.
Estimate: $2 000 - $4 000
 
lot128345 lot128362 lot128364
lot128347 lot128348  lot128349 lot128350
lot128351 lot128352 lot128353
lot128354 lot128357
lot128358 lot128360 
lot128355 lot128356 lot128359 lot128361
lot128363 lot128369 lot128370
lot128365 lot128366 lot128367 lot128368


lot n°751: "GENTLEMEN PREFER BLONDES" WARDROBE AND PUBLICITY ARCHIVE
  A Gentlemen Prefer Blondes (20th Century Fox, 1953) archive of publicity images and wardrobe photographs. Includes three Marilyn Monroe wardrobe continuity photographs; 11 Jane Russell wardrobe continuity photographs; four wardrobe continuity photographs for other female cast members; approximately 100 black and white production stills stamped on verso by the Advertising Code Administration of Hollywood; two Jane Russell images marked to be retouched for showing too much cleavage; and 12 original and reproduction publicity stills, including an image of Monroe and Russell on stage accompanied by the negative.
Estimate: $800 - $1 200
 
lot128383 lot128384 lot128385


lot n°752: MARILYN MONROE PHOTOGRAPH BY FRANK WORTH
  A black and white photograph of Marilyn Monroe and Sammy Davis Jr. on the set of How To Marry A Millionaire (20th Century Fox, 1953), taken by Frank Worth circa 1953. Vintage gelatin silver print. Signed (faintly) lower right. Mounted to a photograph of Audie Murphy on the verso.
Estimate: $600 - $800

lot128386 lot128387


lot n°753: "HOW TO MARRY A MILLIONAIRE" PUBLICITY STILL ARCHIVE
  A collection of approximately 19 black and white publicity stills from the film How To Marry A Millionaire (20th Century Fox, 1953) and one . Including 15 images that have been stamped "Approved" by the Advertising Code Administration.
Estimate: $300 - $500
  
lot128388  


lot n°754: MARILYN MONROE "HOW TO MARRY A MILLIONAIRE" PHOTOGRAPH
  A black and white photograph of Marilyn Monroe during the filming of How To Marry A Millionaire (20th Century Fox, 1953).
Estimate: $400 - $600
   
lot128389 


lot n°755: "RIVER OF NO RETURN" ARCHIVE
  A collection of production and publicity items relating to River of No Return (20th Century, 1954). The lot includes two pages of typed studio wardrobe costume sheets for Marilyn Monroe's costumes covering changes 1, 2 and 3 with information on accessories and under clothing. A large copy negative from a publicity photograph of Monroe with co-star Rory Calhoun and three prints of the photograph. A black and white original publicity photograph of Monroe in one of her saloon costumes. And approximately 19 black and white publicity stills from the film.
Estimate: $800 - $1 200
 
lot128390  lot128391
lot128393 lot128395
lot128392 lot128394


lot n°758: "THERE'S NO BUSINESS LIKE SHOW BUSINESS" ARCHIVE
  An archive of wardrobe plot book pages, key book photographs, and publicity photographs from the film There's No Business Like Show Business (20th Century, 1954). The collection includes nine pages from the wardrobe plot book for Marilyn Monroe's character in the film, Vicky Parker. The typed and handwritten pages include fabric swatches, scene information and list of accessories worn by Monroe with the costumes. Eight wardrobe continuity photographs appear to be from a key book: four for Ethel Merman, three for Mitzi Gaynor and one for an unknown woman. Approximately 29 black and white photographs are believed to be from a key book with two hole punches at the top of each, six with Monroe and Donald O'Connor. A collection of 15 publicity photographs with studio markings, including four with scenes of Monroe. Seven images of Monroe performing in the film from the collection of John Wind. Twelve copies of studio publicity stills and other stills from the film, most showing Marilyn Monroe. And one colorized still.
Estimate: $4 000 - $6000
   
 lot128401 lot128402 
lot128403 lot128404 lot128405
lot128406 lot128407 lot128408
lot128409 lot128410
lot128411 lot128412
lot128413 lot128414


lot n°769: MARILYN MONROE PUBLICITY STILL ARCHIVE
   Publicity stills from two of Marilyn Monroe's films, The Prince and the Showgirl (Warner Bros., 1957) and The Misfits (Seven Arts, 1961). The Misfits archive contains three black and white original publicity stills and one black and white scene still reproduction image. The Prince and the Showgirl archive contains six color lobby card (8 by 10 inches) images, seven original black and white promotional images, six black and white scene still reproduction images, and one color scene still reproduction image.
Estimate: $400 - $600
lot128430 lot128433
lot128431 lot128434  


lot n°770: "SEVEN YEAR ITCH" AND "SOME LIKE IT HOT" PUBLICITY STILL ARCHIVE
   Two groups of publicity photo stills, one from the film The Seven Year Itch (20th Century, 1955) and one from Some Like It Hot (UA, 1959). The Seven Year Itch archive includes three small black and white photographs shot on set; nine black and white images that are a mixture of publicity stills released to theatres and stills for unknown use; and 10 wardrobe continuity images for actresses Carolyn Jones and Marguerite Chapman. The Some Like It Hot archive includes two black and white images stamped "Photo by Coburn" on verso; two poster artwork images; and 15 black and white publicity images distributed by the studio for reproduction in newspapers and magazines.
Estimate: $600 - $800
 
lot128435  
lot128436 lot128438 lot128440 
lot128437 lot128439
lot128441 lot128442 lot128443


lot n°773: MARILYN MONROE "SOME LIKE IT HOT" PHOTOGRAPH
   A black and white photograph of Marilyn Monroe and Jack Lemmon on the beach filming Some Like It Hot (United Artists, 1959). Gelatin silver print, printed later. Stamp on verso marked "Silver Screen."
Estimate: $200 - $400
 
lot128446 


lot n°774"SOME LIKE IT HOT" ITALIAN MOVIE POSTER
   A Some Like It Hot (UA, 1959) Italian 1970s re-release one-sheet movie poster, fully folded.
Estimate: $100 - $200
 
lot128447 


  lot n°776: "BUS STOP" ARCHIVE
   An archive of continuity and publicity photographs for the film Bus Stop (20th Century, 1956). The collection includes approximately 100 publicity photographs stamped on verso by the Advertising Code Administration. Twelve of these photographs have been additionally stamped "Retouch as Indicated" in red ink, and the surface of the photo has been drawn on where censors indicated to make Marilyn Monroe's wardrobe less revealing in the photographs. Nineteen small black and white prints also stamped by the Advertising Code Administration of Hollywood. Three black and white small prints stamped "Marilyn Monroe Productions Approved by _______" on verso. Nineteen black and white snapshots taken on and off the set. Sixteen black and white publicity images. Two wardrobe shots with the transparencies of Don Murray. A small number of other photographs for unknown use. And nine color publicity clips that would have been sent to newspapers and magazines for promotion of the film.
Estimate: $1 000 - $1 500

lot128453 lot128454 lot128455
lot128456 lot128457 lot128458 
lot128459 lot128460
lot128461 lot128462
lot128463 lot128464
lot128465 lot128466
lot128467 lot128468
lot128469 lot128470 
lot128471 lot128472
lot128473 lot128474 
lot128475 lot128476
lot128477 lot128478
lot128479 lot128480 lot128481


lot n°780: "LET'S MAKE LOVE" PUBLICITY PHOTOGRAPH ARCHIVE
   An archive of publicity images from the film Let's Make Love (20th Century, 1960). The archive includes four small black and white photographs from the set of the film: two of Marilyn Monroe in her revealing black costume, one with notations on where to phototouch the image, and two of co-star Yves Montand. Approximately 45 stills from the set have been stamped on verso by the Advertising Code Administration of Hollywood. Seven publicity stills distributed to newspapers and other print media to publicize the film. And two additional images for an unknown use.
Estimate: $500 - $700
 
 lot128487 lot128488
lot128489 lot128490

09 mars 2013

6/02/1956 Cort Theatre

Le 6 février 1956, Marilyn Monroe et Laurence Olivier retrouvent l'actrice Susan Strasberg dans les coulisses du théâtre Cort Theatre de New York, après la représentation de la pièce "Le journal d'Anne Franck", dans laquelle joue Susan.
Laurence Olivier avait quitté Londres le 5 février, en prenant l'avion pour New York; il ne reste à New York qu'une semaine, en partie pour discuter avec Marilyn pour le prochain tournage du "Prince et la Danseuse". Il quittera New York le 11 février pour regagner Londres.
Photographies de Leo Friedman pour le magazine Look.

1956_02_06_cort_theatre_the_diary_of_anne_franck_1_1  1956_02_06_cort_theatre_the_diary_of_anne_franck_1_1a  1956-02-19-cort_theatre 
1956_02_06_cort_theatre_the_diary_of_anne_franck_1_3 1956-ny-by_Leo_Friedman-566482_02184
 1956_02_06_cort_theatre_the_diary_of_anne_franck_1_2 1956_02_06_cort_theatre_the_diary_of_anne_franck_1_3a  

> Fichier Leo Friedman, Look Magazine
1956_02_06_Leo_Friedman__Olivier__Strasberg 


On February 6, 1956, Marilyn and Laurence Olivier attended a representation of "The Diary of Anne Franck" in which Susan Strasberg played, at the Cort Theater, New York.
Laurence Olivier has leaved London on Fébruary 5, by taking plane for New York; he stayed in New York only a week, essentially to prepare the movie The Prince and the Showgirl with Marilyn Monroe. He leaved New York on February 11 to go back in London.
Photographs by Leo Friedman for Look Magazine.

Posté par ginieland à 13:35 - - Commentaires [0] - Permalien [#]
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19 décembre 2012

Les critiques de The Prince and the Showgirl

Le prince et la danseuse
Lecritiques 

The New York Times
Nous nous devons de vous dire que Miss Monroe n'ôte jamais sa robe et que Mr. Rattigan ne sort jamais du cercle vicieux dans lequel il a laissé sa maigre intrigue tomber. (...) Il n'a pas permis au film de faire davantage que de tourner en rond, encore et encore, pour s'achever sur une note triste.

New York Herald Tribune
A condition de ne pas le prendre au sérieux, 'Le Prince et la danseuse' est extrêmement divertissant. C'est assurément ce que voulait son auteur, Terrence Rattigan. Il s'amuse, nous offrant deux heures de distraction, et les acteurs ont un plaisir immense à jouer cette farce. Ils s'efforcent de garder leur sérieux, mais une étincelle dans leurs yeux suffit à les trahir.
Dans le cas de Laurence Olivier, cette étincelle doit vaincre l'obstacle d'un épais monocle pour être perceptible, et elle y parvient. Un humour subtil caractèrise son interprétation. (...) Le rôle de Marilyn est bien moins nuancé. Son personnage est celui d'une danseuse de music-hall aimable et sotte, mais rien de plus. Tout au long du film, aux rires, à l'innocence puérile, aux gloussements de plaisir et aux moues ennuyées de Miss Monroe, succèdent les roulements d'yeux grands comme des soucoupes, sans oublier les très plaisantes ondulations d'un corps tout en courbes.

New York World-Telegram and Sun
Les hauts et les bas imprévisibles qui ont marqué jusqu'à présent la carrière d'actrice de Marilyn Monroe, promettent de déboucher sur un triomphe dans 'Le prince et la danseuse'. (...) Cette charmante comédie n'a d'égale que la surprise que nous révèle Marilyn. Partenaire principal et réalisateur, Laurence Olivier révèle des dons auxquels les précédents films de l'actrice ne nous avaient pas habitués. Sa gaieté communicative est d'une folle espièglerie. Elle joue les scènes d'amour comme s'il s'agissait de jeux de petite fille. Elle interprète cette comédie bouffonne sans effort et tourne les moments solennels à la plaisanterie.

The Los Angeles Times
C'est, j'en suis sûr, la meilleure oeuvre cinématographique de Miss Monroe. Sous la direction de Laurence Olivier, elle révèle un véritable talent comique. Elle prouve également qu'elle peut désormais attirer l'attention autrement qu'avec sa célèbre démarche chaloupée.

New York Post
En tant qu'individu et actrice comique, Marilyn Monroe n'a jamais semblé aussi sûre d'elle-même. Elle réussit à faire rire sans sacrifier la véritable Marilyn à la comédie; c'est bien évidemment le propre à de grands artistes, talentueux et expérimentés. La surprise est d'autant plus agréable que Marilyn Monroe a été jusqu'à présent moitié actrice, moitié phénomène.


> dans la presse (scans perso)
img056 img057 img057a

Posté par ginieland à 18:12 - - Commentaires [0] - Permalien [#]
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