12 août 2022

VIDEO "C'est qui Marilyn Monroe ? - 1 jour, 1 question"

Cette émission répond chaque jour à une question en lien avec l'actualité, par un commentaire et un petit dessin avec pertinence et humour. Toutes les vidéos sont réalisées à partir de questions posées par les enfants. L'objectif est d'aider l'enfant à construire son propre raisonnement pour qu'il apprenne à forger sa propre opinion.
Vidéo production de France Télévision (disponible sur france.tv et lumni.fr)
"C'est qui Marilyn Monroe" a été réalisé en 2016.


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copyright text by GinieLand.

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04 août 2022

TV - Marilyn dans les JT en France - 03 et 04/08/2022

HOMMAGE MARILYN 
Journal Télévisé - France


Un sujet a été diffusé au journal télévisé de France Télévision:
France 3 (édition nationale le 12/13) et France 2 (JT de 13 heures)
ce mercredi 03 août 2022:
"60 ans après sa mort - Marilyn Monroe icône absolue"

JTfranceTV03aout2022 

- video en ligne : JT 12/13 de France 3 

- video en ligne:  JT 13h de France 2


Un sujet a été diffusé au journal télévisé le 12-45 de M6
ce jeudi 04 août 2022

- video en ligne : le 1245 sur 6play.fr 


Un sujet a été diffusé au journal télévisé le 13 heures de TF1
ce jeudi 04 août 2022

- video en ligne : le 13 heures de TF1 


© video copyright france 2 & france 3 / M6 / TF1

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18 juin 2022

Premières images du biopic "Blonde" de Netflix

Cela fait maintenant deux ans qu'on en parle (voir les photos de tournage en 2020) et la diffusion qui a sans cesse été repoussée, mais désormais cela se précise concrètement: le biopic "Blonde" de Netflix sera disponible sur la plateforme de streaming le 23 septembre 2022.

We've been talking about it for two years now (see the filming in 2020) and the broadcast has been constantly postponed, but now it's becoming more concrete: Netflix's "Blonde" biopic will be available on the streaming platform on the 23rd September 2022.


Netflix a dévoilé la bande-annonce le 16 juin dernier:

De même que l'actrice qui interprète Marilyn Monroe, Ana De Armas, qui publie sur son compte instagram ana_d_armas quelques photographies officielles:

As well as the actress who interprets Marilyn Monroe, Ana De Armas, who publishes on her instagram account ana_d_armas some official photographs:

Ana_De_Armas-2002-06-Instagram-6 
Ana_De_Armas-2002-06-Instagram-1 
Ana_De_Armas-2002-06-Instagram-2 
Ana_De_Armas-2002-06-Instagram-3 
Ana_De_Armas-2002-06-Instagram-4 
Ana_De_Armas-2002-06-Instagram-5 

La page instagram de FANDOM  allant même jusqu'à faire une comparaison en images de Ana VS Marilyn:
The FANDOM instagram page even makes an image comparison of Ana VS Marilyn:

Ana_De_Armas-2002-06-BLONDE-comparaison-1  


Inspiré du roman éponyme de Joyce Carol Oates, le biopic relate la partie plus intime de la vie de l'actrice. Telle est la description du synopsis: «Blonde est une relecture audacieuse de la trajectoire de Marilyn Monroe, l'une des icônes hollywoodiennes les plus atemporelles. De son enfance tumultueuse à son ascension fulgurante et à ses histoires d'amour complexes, de Norma Jeane à Marilyn, Blonde brouille la frontière entre réalité et fiction pour explorer l'écart de plus en plus important entre sa personnalité publique et la personne qu'elle était dans l'intimité.»
A noter que:
- Le livre Blonde de Oates est un roman (2000), et non une biographie réelle de Marilyn Monroe et qu'il a déjà été adapté à l'écran (pour la télévision) en 2001 avec Poppy Montgomery dans le rôle de Marilyn (> le Film Biopic Blonde );
- Ce biopic mouture 2022 a reçu aux États-Unis la classification NC-17, soit une interdiction aux moins de 17 ans, un classement qui a donné au film une réputation sulfureuse.

Inspired by the eponymous novel by Joyce Carol Oates, the biopic chronicles the most intimate part of the actress's life. This is the description of the synopsis: “Blonde is a bold reinterpretation of the trajectory of Marilyn Monroe, one of Hollywood's most timeless icons. From her tumultuous childhood to her meteoric rise and complex love stories, from Norma Jeane to Marilyn, Blonde blurs the line between fact and fiction to explore the ever-widening gap between her public persona and the person she is. she was intimate.”
To note that:
- The book Blonde by Oates is a novel (2000), not an actual biography of Marilyn Monroe and that it was already adapted for the screen (for television) in 2001 with Poppy Montgomery in the role of Marilyn (> the Film Biopic Blonde hair );
- This 2022 biopic has received the NC-17 classification in the United States, i.e. a ban on those under 17, a classification which has given the film a sulphurous reputation.

2000-blonde   2001-blonde  


Dans un communiqué de Netflix, Ana De Armas a déclaré que « L’ambition d’Andrew Dominik était très claire dès le départ : mettre en scène le parcours de Marilyn Monroe en adoptant son point de vue à elle. Andrew souhaitait que les spectateurs comprennent non seulement ce que Marilyn pouvait ressentir en tant que star, mais aussi en tant que Norma Jeane. »
« J’ai trouvé que c’était l’approche la plus courageuse, la plus décomplexée et la plus féministe sur la trajectoire de cette femme que j’aie jamais vue.»

In a statement from Netflix, Ana De Armas said that “Andrew Dominik's ambition was very clear from the start: to portray Marilyn Monroe's journey from her point of view. Andrew wanted viewers to understand not only how Marilyn felt as a star, but also as Norma Jeane."
"I found it to be the bravest, most uninhibited and feminist take on this woman's journey that I have ever seen."


Casting:
- Andrew Dominik: scénariste et réalisateur

2022-BLONDE-casting 

- Ana De Armas : Marilyn Monroe
- Adrien Brody : Arthur Miller
- Bobby Cannavale : Joe DiMaggio
- Julianne Nicholson : Gladys Pearl Baker


>Sur le web: article "Through her eyes" le netflixqueue 


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copyright text by GinieLand.

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01 mai 2022

VIDEO - "Deepfake" Marilyn dans biopic "My Week with Marilyn"

 Vidéo de deepfake ayant intégré le visage de Marilyn Monroe dans une séquence du film "My week with Marilyn" avec l'actrice Michelle Williams qui l'interpète.

Video of deepfake having integrated the face of Marilyn Monroe in a sequence of the film "My week with Marilyn" with the actress Michelle Williams who interprets it.


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copyright text by GinieLand.

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30 avril 2022

TV - "Journal Télévisé" de 20 h sur France 2 - Vendredi 29 avril 2022

Un sujet a été diffusé au journal télévisé de 20h de France 2 le vendredi 29 avril 2022:
"Culte ! Marilyn, les derniers mystères d'une étoile"


© video copyright france 2

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05 avril 2022

VIDEO - TABS - Clic droit sur MARILYN MONROE

La vie de Marilyn Monroe retracée en 13 min en français

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Tags :

VIDEO - "Deepfake" Marilyn dans biopic "Norma Jean & Marilyn"

C'est assez stupéfiant ce que peuvent réaliser les technologies d'aujourd'hui. Cette vidéo compile des extraits du film biopic "Norma Jeane & Marilyn" (1996), avec l'actrice Mira Sorvino. Ici, le créateur de ce montage a placé le visage de Marilyn sur celui de Mira Sorvino qui l'interprète: cela s'appelle le Deepfake.

VIDEO-montage_mira_mm-1  VIDEO-montage_mira_mm-2  VIDEO-montage_mira_mm-3 
VIDEO-montage_mira_mm-4  VIDEO-montage_mira_mm-5  VIDEO-montage_mira_mm-6 
VIDEO-montage_mira_mm-7  VIDEO-montage_mira_mm-8  VIDEO-montage_mira_mm-9 
VIDEO-montage_mira_mm-10  

It's quite amazing what today's technologies can make. This video compiles excerpts from the biopic film "Norma Jeane & Marilyn" (1996), with actress Mira Sorvino. Here, the creator of this montage has placed Marilyn's face on that of Mira Sorvino who interprets her: it is called the deepfake.

- VIDEO -


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21 mai 2021

Clin d'oeil à Marilyn dans "Feud"

Les clins d'oeils à Marilyn dans les Séries
The references to Marilyn in the television series


   - Feud  -

"Feud" est une série dont la saison 1 intitulée "Bette and Joan" (la seule et unique saison - en 2017, en 8 épisodes) relate la rivalité entre les actrices Joan Crawford (interprétée par Jessica Lange) et Bette Davis (jouée par Susan Sarandon) pendant le tournage du film "Qu'est-il arrivé à Baby Jane ?" en 1962; un fait relate notamment la jalousie de Joan Crawford envers Marilyn Monroe. Si la série présente l'histoire en 1961 lors de la cérémonie des Golden Globes qui sacre Marilyn Monroe pour coller au scénario, la vraie histoire se passe en fait en 1953 pendant la remise du prix Photoplay à Marilyn Monroe (voir sur le blog l'article 09/02/1953, Beverly Hills Hotel - Marilyn reçoit le prix Photoplay).

"Feud" is a series whose season 1 entitled "Bette and Joan" (the one and only season - in 2017, in 8 episodes) relates the rivalry between the actresses Joan Crawford (played by Jessica Lange) and Bette Davis (played by Susan Sarandon) during the shooting of the movie "What Ever Happened to Baby Jane ?" in 1962; one fact relates in particular the jealousy of Joan Crawford towards Marilyn Monroe. If the series presents the story in 1961 during the Golden Globes ceremony which crowns Marilyn Monroe to stick to the screenplay, the real story actually takes place in 1953 during the ceremony of Photoplay awarded to Marilyn Monroe (see on the blog the article 09/02/1953, Beverly Hills Hotel - Marilyn reçoit le prix Photoplay).


- extrait 1 - Episode 1 - Joan Crawford & Marilyn Monroe -
Dans la série, Crawford assiste à la soirée des Golden Globes de 1961
En réalité, Crawford assiste à la cérémonie Photoplay de 1953
In the series, Crawford is in the audience at the 1961 Golden Globes ceremony
In reality, Crawford attends the 1953 Photoplay ceremony

- extrait 2 - Joan Crawford & Hedda Hopper -
Dans la série, Crawford parle de Marilyn à la journaliste Hedda Hopper
Dans la réalité, Crawford s'est adressée au journaliste Bob Thomas
In the series, Crawford talks about Marilyn to journalist Hedda Hopper
In reality, Crawford spoke to journalist Bob Thomas


FEUD-bette_and_joan-1Série: Feud
Saison 1, 8 épisodes - Bette and Joan
Année: 2017
Pays: USA
Réalisateur: Ryan Murphy
Genre: anthology
Distribution: Jessica Lange (Joan Crawford), Susan Sarandon (Bette Davis), Judy Davis (Hedda Hopper), Stanley Tucci (Jack Warner), Catherine Zeta-Jones (Olivia de Havilland), Kathy Bates (Joan Blondell)...
L'histoire: En 1961, Joan Crawford, 57 ans, n'a pas tourné depuis trois ans, ses jours de gloire s'éloignent peu à peu et elle assiste à l'avénement d'une nouvelle génération d 'actrices (comme Marilyn Monroe). Veuve, en difficulté financières, elle décide de prendre en main son avenir: elle met la main sur "Qu'est-il arrivé à Baby Jane ?", un roman de Henry Farrell, et demande à Robert Aldrich – lui aussi en quête d'un film de qualité – de réaliser son adaptation. Et, idée dangereusement géniale, de proposer à Bette Davis, sa plus grande rivale, de partager l'affiche avec elle. Davis, autre vedette du Hollywood des années 1930, de quatre ans sa cadette, a échouée à relancer sa carrière à Broadway. Elle accepte donc, bien décidée à surpasser Crawford…
Pour info: Le rôle de Marilyn Monroe, aperçue furtivement dans la série, est joué par l'actrice Alisha Soper.

- Alisha Soper joue Marilyn Monroe -
FEUD-Alisha_Soper-1  
FEUD-Alisha_Soper-2  FEUD-Alisha_Soper-3 

FEUD-bette_and_joan-2 Series: Feud
Season 1, 8 episodes - Bette and Joan
Year: 2017
Country: USA
Director: Ryan Murphy
Genre: anthology
Cast: Jessica Lange (Joan Crawford), Susan Sarandon (Bette Davis), Judy Davis (Hedda Hopper), Stanley Tucci (Jack Warner), Catherine Zeta-Jones (Olivia de Havilland), Kathy Bates (Joan Blondell) ...
The story: In 1961, Joan Crawford, 57, has not making movies for three years, her glory days are slowly fading away and she witnesses the advent of a new generation of actresses (like Marilyn Monroe). Widowed, in financial difficulties, she decides to take charge of her future: she gets her hands on "What Ever Happened to Baby Jane?", a novel by Henry Farrell, and asks to Robert Aldrich - also in search of a quality film - to realize its adaptation. And, dangerously brilliant idea, to propose to Bette Davis, her biggest rival, to share the cast with her. Davis, another Hollywood star of the 1930s, four years younger, failed to revive her Broadway career. So she accepts, determined to surpass Crawford ...
For info: The role of Marilyn Monroe, glimpsed in the series, is played by actress Alisha Soper.


 FEUD-bette_and_joan-3-1 
FEUD-bette_and_joan-3-2 
FEUD-bette_and_joan-3-3 
FEUD-bette_and_joan-3-4 
FEUD-bette_and_joan-3-5 


Sur le web
- en ligne: article "...the real fight between Crawford / Monroe..." sur Vanity Fair
- présentation de la série sur wikipedia.fr


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copyright text by GinieLand.

07 février 2020

Doc - Hollywood Without Make-up

Hollywood Without Make-up

docu_hollywood_without_makeup-01-2 
docu_hollywood_without_makeup-01-1 docu_hollywood_without_makeup-01-3 docu_hollywood_without_makeup-01-4 

Année: 1963
Réalisation: Rudy Behlmer, Loring d'Usseau,
et Ken Murray

Produit par: Ken Murray
Ecrit par: Royal Foster
Narrateur: Ken Murray
Pays: USA
Durée: 50 min

docu_hollywood_without_makeup-02-1  Documentaire composé d'images d'archives des stars de l'âge d'or d'Hollywood des années 1930s à 1950s, hors plateau de cinéma: des films privés, des premières de films, des soirées et galas... des images appartenant à Ken Murray, acteur et journaliste de radio et de lé télévision américaine: June Allyson, Mary Astor, Cary Grant, Lucille Ball, Humphrey Bogart, Clara Bow, Clark Gable, Claudette Colbert, Charlie Chaplin, Linda Darnell, Walt Disney, Kirk Douglas, Errol Flynn, William Holden, Laurel et Hardy, Mae West etc... Marilyn Monroe y apparaît à la fin, avec des extraits filmés lors de la première de "Call Me Madam", où elle est interviewée par Ken Murray, qui présente ce documentaire, et qui l'a co-écrit et produit.
>> Fiche du documentaire sur imdb


Captures

docu_hollywood_without_makeup-03-1 docu_hollywood_without_makeup-03-2 docu_hollywood_without_makeup-03-3 
docu_hollywood_without_makeup-03-4 docu_hollywood_without_makeup-03-5 docu_hollywood_without_makeup-03-6 
docu_hollywood_without_makeup-03-7 docu_hollywood_without_makeup-03-8 docu_hollywood_without_makeup-03-9 
docu_hollywood_without_makeup-04-1 docu_hollywood_without_makeup-04-2 docu_hollywood_without_makeup-04-3 
docu_hollywood_without_makeup-04-4 docu_hollywood_without_makeup-04-5 docu_hollywood_without_makeup-04-6 
docu_hollywood_without_makeup-04-7 docu_hollywood_without_makeup-04-8 docu_hollywood_without_makeup-04-9 
docu_hollywood_without_makeup-04-10 docu_hollywood_without_makeup-04-11 docu_hollywood_without_makeup-04-12 
docu_hollywood_without_makeup-05-1 docu_hollywood_without_makeup-05-2 docu_hollywood_without_makeup-05-3 
docu_hollywood_without_makeup-05-4 docu_hollywood_without_makeup-05-5 docu_hollywood_without_makeup-05-6 
docu_hollywood_without_makeup-05-7 docu_hollywood_without_makeup-05-8 docu_hollywood_without_makeup-05-9 
docu_hollywood_without_makeup-05-10 docu_hollywood_without_makeup-05-11 docu_hollywood_without_makeup-05-12 
docu_hollywood_without_makeup-05-13 docu_hollywood_without_makeup-05-14 docu_hollywood_without_makeup-05-15 
docu_hollywood_without_makeup-05-16 docu_hollywood_without_makeup-05-17 docu_hollywood_without_makeup-05-18 
docu_hollywood_without_makeup-06-1 docu_hollywood_without_makeup-06-2 docu_hollywood_without_makeup-06-3 
docu_hollywood_without_makeup-06-4 docu_hollywood_without_makeup-06-5 docu_hollywood_without_makeup-06-6 
docu_hollywood_without_makeup-06-7 docu_hollywood_without_makeup-06-8 docu_hollywood_without_makeup-06-9 
docu_hollywood_without_makeup-06-10 docu_hollywood_without_makeup-06-11 docu_hollywood_without_makeup-06-12 


Video (Marilyn à 47min 30sec)


Le documentaire existe en DVD

docu_hollywood_without_makeup-dvd1  docu_hollywood_without_makeup-dvd2 
Langue: anglais
Nombre de disque: 1
Région: Zone 2 (ne peut être visualisé en dehors de l'Europe)
ASIN: B01I06SQC4


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copyright text by GinieLand.

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15 janvier 2017

The Lost Footage of Marilyn Monroe

 logo_thenytimes   The Lost Footage of Marilyn Monroe
That film image of Ms. Monroe’s skirt rising high in a gust of air? It’s a reshoot of a discarded and more risqué scene seldom seen until now.

published in January 13, 2017
by HELENE STAPINSKIJAN
en ligne sur nytimes.com

thenytimes-01-15MARILYN2-superJumbo 
A still of Marilyn Monroe filming “The Seven Year Itch” on the Upper East Side from the found footage of Jules Schulback, a furrier and avid taker of home movies.
 Credit Jules Schulback, via Bonnie Siegler

It happened one night in the late summer of 1954.
Jules Schulback, a New York furrier and taker of home movies, heard that Marilyn Monroe would be on the Upper East Side of Manhattan filming scenes again for her new picture, “The Seven Year Itch.” Two days earlier, Mr. Schulback had taken footage of her with his 16-millimeter Bolex movie camera around the corner from his townhouse apartment.

So he grabbed the camera — the one usually used for family picnics and parades and the stuff of everyday life — and headed over to the subway grate in front of Wright’s Food shop, just down the street from the Trans-Lux movie theater on Lexington Avenue and 52nd Street.
Though it was around 1 a.m., a large crowd had already gathered, mostly newspaper photographers and curious men waiting to see Marilyn. The movie studio and the director, Billy Wilder, had counted on this, inviting the press and the public to drum up buzz for the new movie, which starred Ms. Monroe as “the Girl Upstairs,” who entices a middle-aged executive, played by Tom Ewell, while his wife is away with the kids for the summer.

thenytimes-02-15MARILYN1-master675 
Mr. Schulback captured Billy Wilder, the director of “The Seven Year Itch,”
with Ms. Monroe in the background in her famous dress,
accessorized by a white clutch and a red-and-white scarf.
Credit Jules Schulback, via Bonnie Siegler 

In the famous street scene, the two are leaving the movies as Ms. Monroe pauses over a grate to enjoy the breeze from the subway as it blows up her dress on a hot summer night. “Isn’t it delicious ?” she purrs. The breeze came from a large fan under the grate operated by the film’s special effects chief. The night — Sept. 15 — was actually quite chilly. But the stunt worked. It became known as “the shot seen around the world.”

But there was a dark subtext to the comedy. Gathered at that late hour were hundreds of gawkers, almost all men, who catcalled and yelled things like, “Higher! Higher !” as Ms. Monroe’s dress blew up over her head. For two hours, the men watched from surrounding buildings and from the street.

Unfortunately, one of them was her husband, Joe DiMaggio,” Mr. Wilder is quoted as saying in his biography, “Nobody’s Perfect.” “And he didn’t like what he saw, or what everyone else was seeing.
Mr. DiMaggio hadn’t planned on visiting the set that night, and was waiting for his wife at the St. Regis Hotel, where the couple were staying. But the columnist Walter Winchell had persuaded him to come along. Ms. Monroe was not happy her husband had shown up. But he was even more unhappy and angrily stormed off. Later that night the couple had a screaming fight in their room. The next morning, her hairdresser covered up Ms. Monroe’s bruises with makeup. Three weeks later, Ms. Monroe filed for divorce.

Mr. Wilder never used the Lexington Avenue footage and reshot the scene on a closed lot in Hollywood, though photographs of that night appeared everywhere. Except for some brief, grainy shots from a newsreel covering the divorce, footage from that night was never screened.
The footage immediately disappeared,” Mr. Wilder said in the biography. “But one day I’m sure some film scholar will dig it up.


A filmstrip discovered in a shopping bag filled with home movies offers a rare glimpse of
Marilyn Monroe in color in New York.
By JULES SCHULBACK, VIA BONNIE SIEGLER

The story of the night Marilyn Monroe’s white halter-top dress blew up was well known among Jules Schulback’s children, and even among his grandchildren. His granddaughter Bonnie Siegler said he bragged from time to time about his personal film shoot with Marilyn.
He was a real raconteur,” said Ms. Siegler, a graphic designer who runs her own company, Eight and a Half. “I didn’t know if the story was real.” But even though she had never seen it, she often told people that her grandfather had footage of Marilyn Monroe on the subway grate.

Ms. Siegler’s older sister, Rayna Dineen, said her grandfather, whom they called Opi (a German term of endearment), was rarely without his camera. “He would be filming everywhere, all the time.” There were reels of vacations, family picnics, birthday parties and bar mitzvahs. He had even filmed a 12-minute day in the life of his daughters, depicting them waking up, brushing their teeth and going to school.
But the Marilyn story was one of his favorite stories to tell,” Ms. Dineen said.
It was just one of dozens of amazing tales. Mr. Schulback had a long, technicolorful life, one so filled with drama that his Monroe story sometimes seemed like a footnote.

In 1938, Mr. Schulback had argued with his family in Germany that Adolf Hitler was much more dangerous than anyone thought. According to Ms. Siegler, his family believed that Hitler’s hate speech was simply rhetoric, and that he wouldn’t act on anything he was saying. Mr. Schulback, 25 at the time, urged them to pack their bags and leave Berlin with him. But they resisted, opting to wait and see how things developed, never imagining the horror that awaited them and millions of other European Jews.
Mr. Schulback was not taking any chances.

thenytimes-0315MARILYN5-blog427 Mr. Schulback was a furrier by trade. He chronicled his family and the odd serendipitous moment in his neighborhood — such as Marilyn Monroe on location — with his 16-millimeter Bolex movie camera.

In 1938, Jews immigrating to the United States needed a sponsor, someone to take financial responsibility for them. Mr. Schulback sold everything he had, bought an expensive suit, booked passage on the Queen Mary, reserved a room at the Plaza and headed to America to find a sponsor for him and his wife, Edith, and their daughter Helen, who was then a toddler.

He was like: ‘I’m your lost, rich relative. I won’t be a burden.’ But he had no money. He played it,” Ms. Siegler said. He secured a signature, then returned to collect his family, but was stopped trying to enter Nazi Germany by a suspicious border guard. Knowing the Germans were big fans of the 1934 Clark Gable hit, “It Happened One Night,” Mr. Schulback told the guard he was the distributor for Mr. Gable’s new movie. He claimed that if he couldn’t enter the country, neither would the film. “The guy was like, ‘Oh, we love Clark Gable,’ and waved him through,” Ms. Siegler said.

Mr. Schulback grabbed Edith and Helen, again imploring his other relatives to leave, and escaped back to the United States with a few suitcases, claiming to the Nazi immigration officers that his family was going on vacation. The date was Nov. 8, the day before Kristallnacht.

In Berlin, he had been a furrier, and his shop was destroyed that night. His remaining family — four sisters, parents and in-laws — would all perish in the Holocaust.
The United States was good to Mr. Schulback. He and his family lived a happy, successful life in New York, much of it preserved in his home movies.

As a child, Ms. Siegler loved going to her grandfather’s Upper East Side apartment not just because of his great stories and sense of humor, but also because he lived opposite the New York Doll Hospital. From his apartment window, she could see the buckets of doll eyes and doll arms. “It was really intense,” she said.

When Edith had a stroke in the 1970s, she was given only a few weeks to live. But Mr. Schulback, always a man of action, refused to let his wife die in the hospital and took her home. The couple moved into the ground-floor apartment of a building around the corner, and Mr. Schulback became her nurse. “Half her body was paralyzed, she couldn’t speak,” Ms. Siegler said. “But he loved her and took care of her for 26 years until she finally died.

After 35 years in that same apartment, Mr. Schulback — who had been president of the 61st Street Block Association — was forced to leave. The Andrew W. Mellon Foundation had bought the townhouse where he lived and the one behind it and wanted to reconfigure the property. So Ms. Siegler and her husband, Jeff Scher, helped move her 92-year-old grandfather to a new place on the other side of Central Park.

thenytime-04-15MARILYN6-superJumbo 
Bonnie Siegler examines film of Ms. Monroe taken by Mr. Schulback,
who was her grandfather, over a light box in her studio.
Credit Ryan Christopher Jones for The New York Times
 

In 2004, in the arduous packing up of Mr. Schulback’s home, the couple came across a big stash of film. It was stored in a back room that the family called “Opi’s fur room,” where Mr. Schulback had once assembled garments from animal pelts for his business. “No one ever wanted to go back there,” Ms. Siegler said. “But when we went in, we found this plastic bag filled with just tons of film, home movies, bought movies and everything mixed together.

Ms. Siegler’s husband, an experimental filmmaker, couldn’t wait to screen the films. He was particularly interested in seeing whether Marilyn and the subway grate footage actually existed. “It was like this family myth,” Mr. Scher said. “So long rumored and never confirmed.”

The same was true for its source material. For decades, innuendo swirled around the Lexington Avenue shoot for “The Seven Year Itch.” Ms. Monroe and Mr. DiMaggio had married that January and had already had a bumpy ride, the Yankee Clipper enraged by her exhibitionism and by rumors of infidelity, according to Lois W. Banner, the author of the 2012 biography “Marilyn: The Passion and the Paradox.”
She was having an affair with her musical director at the time, and everyone knew about it in the business,” said Dr. Banner, a professor emeritus of history and gender studies at the University of Southern California. So before he even arrived on set, there was tension. “DiMaggio,” Dr. Banner said, “was not happy with Marilyn.”

There are several theories as to why the footage from that night was never used. Some believe the Manhattan shoot was done purely as a publicity stunt, which was made even more sensational when Mr. DiMaggio showed up. Some biographers say the enthusiastic crowd was just too noisy, making the film unusable.
A third theory was that the footage was too risqué and Ms. Monroe wanted to shoot a more demure version, so as not to further infuriate her husband. There was even talk at the time that she wasn’t wearing any underwear. Mr. Wilder tried to put those rumors to rest in his biography. She had put on not just one, but two sets of underwear, he said.

 thenytimes-05-15MARILYN3-master675 
Before the billowing-skirt scene, Mr. Schulback filmed Ms. Monroe in a terry robe
greeting fans and members of the press on the stoop of 164 East 61st Street.

Credit Jules Schulback, via Bonnie Siegler

Dr. Banner said all three reasons quite likely played into the final decision to reshoot. “But the photographs of that night had gone viral by the time the film was being put together,” she said, “and played a great role in her fame.” The skirt-blowing scene used in the finished film is incredibly brief and tame. The image many people have of that moment comes from the press shots and publicity stills in New York, and not from the finished movie.

Back in the pelt room of Mr. Schulback’s apartment, Mr. Scher excitedly gathered up the old metal film canisters. None were labeled, Mr. Scher recalled. Some of the film was off the reel and sitting there like big balls of spaghetti, as if there had been a projector mishap years ago.
Later that night in his studio in the couple’s apartment on West 16th Street, Mr. Scher slowly and carefully wound the film, since some of it was very brittle and in danger of breaking. He did a few repairs and then began looking at it using a light box, spooling it from reel to reel by hand. There were about 50 rolls of 16-millimeter film and around 75 rolls of 8 millimeter.
There were the family outings and parades. The birthdays and bar mitzvahs.
And there, amid the mundane scenes of precious everyday life, was Marilyn Monroe, in crisp, colorful Kodachrome. “This stuff just popped out,” Mr. Scher said. “It was real! Preserved like the home movies are, too. Just these moments in time.”
Mr. Scher could clearly see the actress’s dress billowing up. “Like a parachute with a pair of legs attached,” he said. “It was startling. Like seeing a myth materialize.”
It was a shadow version of lost footage amid home movies of a family that almost certainly wouldn’t have existed had the Schulbacks stayed in Germany.

thenytimes-06-15MARILYN4-superJumbo-v2  
Ms. Siegler zeroing in to Ms. Monroe by using a photographer’s loupe.
The Schulback footage has been seldom seen since it was taken in 1954.
Credit Ryan Christopher Jones for The New York Times

Mr. Scher called out to his wife: “It’s really here!” They watched all 3 minutes 17 seconds in amazement.
There was something so magical about it,” Ms. Siegler said. “For years I didn’t know if it was real. I certainly didn’t believe it wholeheartedly. And there it was. It was like the end of the story.
The film starts with a spliced-in intertitle that reads “World Premiere,” Mr. Schulback’s little inside joke.

And then there is Marilyn Monroe, in a white terry robe, coming down the stoop of a white-shuttered building at 164 East 61st Street, between Lexington and Third Avenues. It was the earlier scene — before the subway grate footage — that Mr. Schulback had shot. Cameramen and press photographers are gathered outside as the actress smiles and waves.

Cut to Ms. Monroe in a second-floor window wearing a slip and blow-drying her hair. Mr. Ewell walks down the street and into the building. The film cuts inexplicably to 30 seconds of what must be a Shriners parade in Manhattan, then jumps to another intertitle, which reads “Our Baby.”

And suddenly, there is Ms. Monroe again, this time on the subway grate in that famously fluttering white dress, holding a matching white clutch in her right hand and a red-and-white-striped scarf in her left.

Mr. Schulback was incredibly close, filming right behind Mr. Wilder’s shoulder, stopping to wind his hand-held camera every 25 seconds. Now and then, a silhouette of the director’s arm intrudes into Mr. Schulback’s crystal-clear shot. At one point Mr. Wilder, in a fedora, passes across the frame. Ms. Monroe gets into position and yawns, while the cinematographer sets up the camera. Through a gap in the film crew, Mr. Schulback captures just her face, looking off to the left, serious and unsmiling.

thenytimes-07-15MONROE1-master675-v2 
 Another skirt-goes-wild still from the Schulback footage.
Credit Jules Schulback, via Bonnie Siegler

Then Mr. Ewell is there, chatting with Ms. Monroe, who pushes him into position. The dress flutters again, Ms. Monroe holds it down, bending slightly, smiling and talking to Mr. Ewell, but it flutters up some more and she laughs, her head thrown back. It blows up again, but she doesn’t push it down this time, and it flies up over her head, clearly revealing two pairs of underwear that, because of the bright lights, do not protect Ms. Monroe’s modesty quite as much as she might have liked.

Then, as suddenly as she appeared, Marilyn is gone, and the film reverts to home-movie mode: Edith Schulback walking on the grass at a family outing in the country. It’s like being shaken from some crazy dream, back to reality.
Interest in that moment in film history from more than 50 years ago endures. The new movie musical starring Ryan Gosling and Emma Stone, “La La Land,” makes brief filmic reference to it in the opening number, with a young dancer’s yellow dress blowing up. And a Snickers commercial from the Super Bowl last year stars Willem Dafoe, Eugene Levy and a computer-generated Monroe on the famous set. “It’s that iconic image,” said Dr. Banner, the Monroe biographer. “People are still fascinated by the context in which it all happened.”

After screening the film with her husband, Ms. Siegler immediately told her grandfather that she had found the footage. “I was so excited about it — more for the reason that his story was true.” She shrugged. “But he never had any doubts.” Mr. Schulback moved in 2005 and died six months later.
Ms. Siegler and Mr. Scher made a print and screened it for about 100 people in 2004 at the upstate home of their friends Kurt Andersen and his wife, Anne Kreamer. The two couples had started a small film festival for neighbors and friends, hanging a sheet on the side of a barn and serving popcorn, ice pops and beer.

The people in the audience that summer night had no idea what they were in for.
That scene is one of the most iconic scenes in American cinema,” said Mr. Andersen, an author, radio host and a founder of Spy magazine. “So to have film of it actually being shot, it’s like watching the Zapruder film. It’s just extraordinary.
The crowd that evening sat in silence as Marilyn Monroe’s dress blew up on the side of the barn. “People were gob-smacked,” Mr. Andersen said. “They were like, ‘What did I just see ?’”

That was the only time anyone outside the family had seen the film. Until now.

Correction: January 13, 2017 
 An earlier version of this article misspelled the surname of the writer who screened the Marilyn Monroe home movie in his backyard. He is Kurt Andersen, not Anderson


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13/09/1954 Sur le tournage de The Seven Year Itch 15 - partie 2
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