by Lois Banner
CHAPTER 8
1. For the new use of the word “glamour” and the confusion over it among photographers, see “Round Table on Glamor,” Infinity, October 1959.
2. On the stigma against bleached blonde hair, see Barnaby Conrad, The Blonde: A Celebration of the Golden Era from Harlow to Monroe (San Francisco: Chronicle, 1979).
3. Gore Vidal, Palimpsest: A Memoir (New York: Penguin, 1995), 284.
4. Thomas Hine, Populuxe (New York: Alfred A. Knopf, 1987), 11–12; Charles Phoenix, Southern California in the 1950s (Santa Monica: Angel City Press, 2001); Christopher Finch, Highways to Heaven: The Auto Biography of America (New York: HarperCollins, 1992), 212.
5. Martina Duttman and Friederike Schneider, eds., Morris Lapidus: Architect of the American Dream (Basel, Switzerland: Birkhäuser Verlag, 1992); Chris Nichols, The Leisure Architecture of Wayne McAllister (Salt Lake City: Gibbs Smith, 2007).
6. “To Aristophanes and Back,” Time, May 14, 1956.
7. Marline Otte, Jewish Identities in German Popular Entertainment, 1890–1933 (Cambridge, Eng.: Cambridge University Press, 2006), 236.
8. Rowland Barber, The Night They Raided Minsky’s: A Fanciful Expedition to the Lost Atlantis of Show Business (New York: Avon, 1960), 199.
9. Gypsy Rose Lee, cited by Louella Parsons, New York Examiner, May 28, 1944, in Gypsy Rose Lee Papers, in NYPL.
10. Loney, Unsung Genius, 211.
11. On the history of the “dumb blonde,” see Shirley Staples, Male-Female Comedy Teams in American Vaudeville, 1865–1932 (Ann Arbor, Mich.: UMI Research Press, 1984); Nils T. Granlund, Blondes, Brunettes, and Bullets (New York: David McKay, 1957).
12. Gary Carey, Anita Loos: A Biography (New York: Alfred A. Knopf, 1988).
13. For comparisons to West, see Curtis Johns, “You’ve Gotta Stop Kicking This Kid Around,” Movie Fan, December 1951; “Earl Wilson Reports on Conversation with Cary Grant,” July 2, 1952; Hal Boyle, “Curves Still Paying Off,” August 31, 1952, AP wire service, in SE; and Earl Wilson, “On and Off,” 1954, unsourced clipping, in NYPL. Cary Grant was in several Mae West films and was a star of Monkey Business. Cecil Beaton, The Face of the World: An International Scrapbook of People and Places (New York: John Day, 1959), 183.
14. On Marie Wilson I have used the AMPAS clipping collection. Gary Carey, Judy Holliday: An Intimate Life Story (New York: Seaview, 1982), 62.
15. Philip Scheuer, “Billy Wilder Tells Plans for Marilyn,” Los Angeles Times, February 10, 1958; Helen Lawrenson, “Inside Women,” Cavalier, March 1960. “Beulah, Peel Me a Grape,” Show Magazine, February 1955. Weatherby, Conversations with Marilyn, 148.
16. LB, interview with John Strasberg, June 11, 2007; Carroll Baker, Baby Doll: An Autobiography (New York: Arbor House, 1983), 145–47.
17. Goodman, The Fifty Year Decline, 235.
18. Jim Henaghan, “Marilyn Monroe, Loveable Fake,” Motion Picture, November 1953: “Marilyn didn’t think she was beautiful”; AV, interview with Billy Travilla, in Villani, “Hold a Good Thought for Me”; Strasberg, Marilyn and Me, 117; MZ, interview with Whitey Snyder, in Zolotow—UT; LB, interview with James Haspiel, May 2009.
19. MZ, interview with Whitey Snyder, in Zolotow—UT.
20. Austin Daily Herald, Austin, Minnesota, in SE; Crown, Marilyn at Fox, 69; Guilaroff, Crowning Glory: Reflections on Hollywood’s Major Confidant (Los Angeles: General Publishing Group, 1996), 150–52; MZ, interview with Gladys Rasmussen, in Zolotow—UT.
21. MZ, interview with Gladys Rasmussen, in Zolotow—UT; Simone Signoret, Nostalgia Isn’t What It Used to Be (New York: Harper & Row, 1978), 286.
22. Patty Fox, Star Style: Hollywood Legends as Fashion Icons (Santa Monica, Calif.: Angel City, 1995), 86–97.
23. Movieland, January 1954.
24. Edith Head, AP interview, 1950, in SE; Shelley Winters, Shelley: Also Known as Shirley, 117.
25. Adele Balkan, oral interview, oral interview collection AMPAS.
26. Marilyn Monroe, “Am I Too Daring?” Modern Screen, July 1952.
27. Riese and Hitchens, The Unabridged Marilyn, 255. As a graduate student in New York on a limited budget, I bought clothes at Jax. They weren’t hugely expensive.
28. Andrew Tobias, Fire and Ice: The Story of Charles Revlon—the Man Who Built the Revlon Empire (New York: William Morrow, 1976), 119.
29. Elaine Rounds, “Thirty Years of Hollywood Lip Lines,” Motion Picture, February 1954; Eve Arnold, Marilyn: An Appreciation, 17. Henry Brandon, ed., Conversations with Henry Brandon, 185; Lydia Lane, Los Angeles Times, October 9, 1960.
30. Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978).
31. Jessamyn Neuhaus, “The Importance of Being Orgasmic: Sexuality, Gender, and Marital Sex Manuals in the United States 1920–1963,” Journal of the History of Sexuality 9 (October 2000): 447–73.
32. Norman Mailer, Marilyn: A Biography (New York: Putnam, 1973), 15. Mailer’s comparison between sex technique and playing a violin is taken from Havelock Ellis, “The Art of Love” in Ellis, Studies in the Psychology of Sex (New York: Putnam, 1933).
33. Barris, Marilyn in Her Own Words, 32; Strasberg, Marilyn and Me, 217.
34. Richard Foster, The Real Bettie Page: The Truth About the Queen of the Pinups (New York: Kensington, 1997), 55; JK, interview with Jack Cole, in Kobal, People Will Talk, 593.
35. Wagenknecht, ed., Marilyn Monroe, 5; Pete Martin, Will Acting Spoil Marilyn Monroe? (Garden City, N.Y.: Doubleday, 1956), 32.
36. Richard Dyer first connected Marilyn to “whiteness” in White (New York: Routledge, 1997). For a fuller discussion of this issue, see my essay “The Creature from the Black Lagoon: Marilyn Monroe and Whiteness,” Cinema Journal (Summer 2008): 4–29.
37. On the “parade of blondes” as an emblem of racism, see Steven Cohan, Masked Men: Masculinity and Movies in the 1950s (Bloomington, Ind.: Indiana University Press, 1997), 12–15.
38. Rosten, Marilyn: An Untold Story; Weatherby, Conversations with Marilyn. For the reporting on Marilyn in African-American newspapers, I read through such newspapers on www.proquest.com including the Chicago Defender, Los Angeles Sentinel, and New York Amsterdam Times. LB, interview with Larry Grant, October 15, 2009.
39. LB, interview with Jay Kanter, October 3, 2007; Weatherby, Conversations with Marilyn, 121.
40. Diane Negra, Off-White Hollywood: American Culture and Ethnic Female Stardom (London and New York: Routledge, 2001); Jonathan Freedman, “Miller, Monroe, and the Remaking of Jewish Masculinity,” in Enoch Brater, ed., Arthur Miller’s America: Theater and Culture in a Time of Change (Ann Arbor, Mich.: University of Michigan Press, 2005), 135–52.
41. Monroe, My Story, 118–21. See Hildegard Knef, The Gift Horse: Report on a Life (New York: McGraw-Hill, 1971), 254.
42. Norma Barzman, The Red and the Blacklist: The Intimate Memoir of a Hollywood Expatriate (New York: Nation Books, 2003), 96–99.
43. According to Frederick Vanderbilt Field, the Hollywood Twenty was a term derived from the original Hollywood Ten, who had moved to Mexico after serving jail terms, expanded to include ten others convicted of having ties to communism. Not all of the second group had worked in the film industry, but they had joined the initial group in Mexico.
44. Summers, Goddess, 30.
45. Bacon, Hollywood Is a Four Letter Town, 143–44.
46. The Personal Property of Marilyn Monroe (New York: Christie’s, 1999), 346; Skolsky, Don’t Get Me Wrong, 44; MZ, interview with Jane Russell, in Zolotow—UT; Shaw, The Joy of Marilyn, 66.
47. “Marilyn Monroe’s Secret Tragedy,” Screen Stories, February 1961. Edith Sitwell, Taken Care Of: The Autobiography, in Wagenknecht, ed., Marilyn Monroe, 56 (excerpt from original); Max Lerner, “What Marilyn Reads,” New York Post, October 27, 1954. She told Lerner she was reading Steiner.
48. Strasberg, Marilyn and Me, 79; MZ, interview with Cameron Mitchell, in Zolotow—UT; AS, interview with Peggy Fleury, in AS.
49. Max Lerner, “What Marilyn Reads,” New York Post, October 27, 1954. William Bruce, “Meet the New Marilyn,” Movieland, December 1954; clippings from March 7, 1952, March 13, 1954, in SE; “Marilyn Doesn’t Believe in Hiding Things,” Screenland, August 1952. On Rilke’s influence on Marilyn, see also Belmont, “Interview with Marilyn Monroe,” in Marilyn Monroe and the Camera, 19; AV, interview with Rupert Allan, in Villani, “Hold a Good Thought,” 25.
50. On Rilke, I have used Rainer Maria Rilke, Letters to a Young Poet (La-Verne, Tenn: BN Publishing, 2010); Volker Dürr, Rainer Maria Rilke: The Poet’s Trajectory (New York: Peter Lang, 2006); Karen Leeder and Robert Vilain, eds., The Cambridge Companion to Rilke (Cambridge, Eng.: Cambridge University Press, 2010). On Wolfe, I have used Leo Gurko, Thomas Wolfe: Beyond the Romantic Ego (New York: Thomas Y. Crowell, 1973); and Robert Taylor Ensign, Lean Down Your Ear Upon the Earth, and Listen: Thomas Wolfe’s Greener Modernism (Columbia, S.C.: University of South Carolina Press, 2003).
51. See Nathan G. Hale Jr., The Rise and Crisis of Psychoanalysis in the United States: Freud and the Americans, 1917–1985 (New York: Oxford University Press, 1999); and Janet Walker, Couching Resistance (Minneapolis: University of Minnesota Press, 1993).
52. “The Explorer,” Time, April 23, 1956.
53. See Sigmund Freud, The Interpretation of Dreams, trans. A. A. Brill (New York: Modern Library, 1938), 188–89.
54. On Marilyn’s therapy with Anna Freud, see Detlef Berthelsen, La Famille Freud au jour le jour: Souvenirs de Paula Fichtl (Paris: Presses Universitaires de France, 1987), 154–60.
55. Eunice Murray and Rose Shade, Marilyn: The Last Months (New York: Pyramid Books, 1975), 39; Jack Wade, “Too Hot to Handle,” Modern Screen, March 1952; James Goode, The Story of the Misfits (Indianapolis: Bobbs-Merrill, 1963), 180.
56. Negulesco, Things I Did, 220; Miller, Timebends, 366; Bernard, Requiem for Marilyn, 24; Van Meter, The Last Good Time, 134.
57. Marilyn Monroe, “What’s Wrong with Sex Appeal?” Movieland, 1952; Sir, October 1956.
58. Bacon, Hollywood Is a Four Letter Town, 148.
59. Mailer, interview with Milton Greene, in Mailer—UT; AS, interview with Billy Travilla, in AS. Once, when she was in her apartment giving telephone interviews, she stripped in the presence of publicist Joe Wolhandler and asked him why he had never made a pass at her.
60. JK, interview with George Hurrell, in Kobal, People Will Talk, 266.
61. Strasberg, Marilyn and Me, 55–57; Roberts, in “Mimosa.”
62. Gavin Lambert, ed. On Cukor (New York: Rizzoli, 2000), 275–80; AS, interview with Robert Mitchum, in AS.
63. Engelberg and Schneider, DiMaggio, 259; Shaw, The Joy of Marilyn; Wilson, Show Business Laid Bare, 67.
64. Arnold, Marilyn Monroe, 48.
65. Julia Paul, “Too Much Fire,” Motion Picture, March 1953; Morton Miller, “My Moments with Marilyn: P.S. Arthur Was There, Too,” Esquire, June 1959.
66. Dorothy Manning, “The Woman and the Legend,” Photoplay, September 1957.
67. Patricia Vettel-Becker, Shooting from the Hip: Photography, Masculinity, and Postwar America (Minneapolis: University of Minnesota Press, 1994); Weatherby, Conversations with Marilyn, 168.
68. Richard Avedon, May 28, 1958, in SE.
69. Greene and Greene, But That’s Another Story, 164.
70. Eve Arnold, Marilyn Monroe, 43.
71. Diana Vreeland, with Christopher Hemphill, Allure (Garden City, N.Y.: Doubleday, 1980), 142; Joe Hyams “Interview with Marilyn Monroe,” American Weekly, December 11, 1960.
72. Samuel L. Leiter, “From Gay to Gei: The Onnagata and the Creation of Kabuki’s Female Characters,” in Leiter, ed., A Kabuki Reader: History and Performance (London: M. E. Sharpe, 2002), 211–29. I am grateful to Jonathan Reynolds, a professor of art history at the University of Southern California and an expert in Japanese art and design, for identifying the wall hanging for me.
73. Peter Conrad, “Beaton in Brilliantia,” in Terence Pepper, Beaton Portraits (New Haven, Conn.: Yale University Press, 2004) 58–75.
74. Cecil Beaton, The Face of the World: An International Scrapbook of People and Places (New York: John Day, 1957), 183–84.
CHAPTER 9
1. Screen Life, March 1955.
2. Fleur Cowles, “Marilyn Monroe: How She Took London,” in Cowles, Friends & Memories (New York: Reynal and William Morrow, 1978), 188–90.
3. AS, interview with Eli Wallach, in AS.
4. Clifton Webb, “You Really Don’t Know Marilyn Monroe,” interview with Ernie Player, Picturegoer, 1955.
5. Joshua Greene ed., Milton’s Marilyn, 40.
6. On Norell, I have used Sarah Tomlinson Lee, ed., American Fashion (New York: Quadrangle, 1975), 349–58. On Moore, see Virginia Pope, “Patterns of the Times: American Designer Series: John Moore,” New York Times, April 8, 1954, 22.
7. See also Dorothy Kilgallen, “Voice of Broadway,” January 10, 1956, on Prince Rainier’s approach to Marilyn.
8. Louella Parsons, Washington Post, March 8, 1956, clipping, in NYPL; Earl Wilson, “This Is a New Marilyn,” Movie World, June 1956; Joe Hymans, “This Is Hollywood,” New York Herald Tribune, November 22, 1956. See also Alice Finletter, Modern Screen, April 1955; Edward Halsey, “Strange Case of Marilyn Monroe,” Silver Screen, August 1955.
9. Fragments of the play are in Arthur’s notebooks, in Miller—UT.
10. Amy Greene’s account of Marilyn and Arthur’s affair is detailed and convincing, superceding previous accounts that date it to June 1955 and identify either Sam Shaw or Paula Strasberg as the go-between in reintroducing them. They seem to have been in contact before Marilyn left Hollywood. The new dating of their meeting in New York doesn’t negate the later meeting with Norman Rosten.
11. Kazan, Elia Kazan, 472.
12. Norman Mailer, interview with Amy Greene, in Mailer—UT; Reba and Bonnie Churchill, “Marilyn Monroe—Pilgrim’s Progress,” Motion Picture, June 1956; Barbara Leaming, Marilyn Monroe (New York: Crown, 1998), 163.
13. AS, interview with Amy Greene, in AS.
14. INS News Service, February 22, 1955, in SE; Betty Randolph, Movie Show, 1955, clipping, in NYPL.
15. On the Actors Studio I have used Foster Hirsch, A Method to Their Madness (New York: Da Capo, 2002); John Strasberg, Accidentally on Purpose (New York: Applause, 1996); Brestoff, The Great Acting Teachers and Their Methods; Steve Vineberg, Method Actors: Three Generations of American Acting Style (New York: Schirmer, 1991); Cindy Adams, Lee Strasberg: The Imperfect Genius of the Actors Studio (New York: Doubleday, 1980); and Edward Dwight Easty, On Method Acting (New York: House of Collectibles, 1966).
16. Devlin, Relative Intimacy, 38–47.
17. Strasberg, Bittersweet, 20, 26; Adams, Lee Strasberg, 207.
18. Farley Granger, Include Me Out: My Life from Goldwyn to Broadway (New York: St. Martin’s, 2007), 115; Kazan, Elia Kazan, 539; Marlon Brando, with Robert Lindsey, Songs My Mother Taught Me (New York: Random House, 1994), 85.
19. Louis Gossett Jr. and Phyllis Karas, An Actor and a Gentleman (Hoboken, N.J.: John Wiley & Sons, 2010), 76.
20. Strasberg, Marilyn and Me, 179.
21. Elaine Dundy, Life Itself! (London: Virago, 2001), 162–63.
22. “Who Will Be Her Next Husband?” Movie Star Parade, February 1956, in SE.
23. AS, interview with Eli Wallach, in AS.
24. Shaw, Joy of Marilyn, opposite page 174.
25. Gloria Vanderbilt, It Seemed Important at the Time (New York: Simon & Schuster, 2004), 93.
26. AV, interview with Norman Rosten, in Villani, “Hold a Good Thought for Me,” 70, 146.
27. Rosten, Marilyn: An Untold Story, 23.
28. Ibid., 57.
29. LB, interview with Patricia Rosten, March 12, 2008.
30. “What Really Happened When They Were Filming The Misfits?” Screen Stories, May 1961.
31. LB, interview with John Strasberg, June 11, 2007.
32. Robert
s, “Mimosa”; Buchthal and Comment, eds., Fragments, 79–81.
33. Ibid.
34. Fire Island Press, July 9, 1955, clipping, in Mailer—UT; Strasberg, Marilyn and Me, 49.
35. Strasberg, Marilyn and Me, 59.
36. Waco Tribune-Herald, Waco, Texas, August 7, 1955; Arnold, Marilyn Monroe, 49–62.
37. Arnold, Marilyn Monroe, 51.
38. Kazan, Elia Kazan, 539.
39. James Kaplan, “Miller’s Crossing,” Vanity Fair, November 1991; LB, interview with Lawrence Schiller, May 16, 2010. Miller, Timebends, 359.
40. Strasberg, Marilyn and Me, 73; Cowles, “Marilyn Monroe,” 191.
41. Earl Wilson, “This Is a New Marilyn,” Movie World, June 1953; Bob Willet, “Marilyn Monroe: Why I Love My Husband,” Liberty, March 1959.
42. LB, interview with Joshua Greene, January 3, 2012.
43. Laurence Olivier, Confessions of an Actor: An Autobiography (New York: Simon & Schuster, 1982), 206.
44. Eugene O’Neill, Anna Christie, in The Plays of Eugene O’Neill (New York: Random House, 1954), 18. JK interview with Kim Stanley, Kobal, People will Talk.
45. Correspondence between Spyros Skouras and Darryl Zanuck, in Skouras Papers—SU.
46. Look, May 29, 1956.
47. Joshua Logan, Movies, Real People, and Me (New York: Delacorte, 1978), 38–42.
48. Mailer, interview with Amy and Milton Greene, in Mailer—UT.
49. Fred Guiles, interview with Joshua Logan, in Guiles, Legend, 287; Susan Strasberg, Marilyn and Me, 43–56; Carl Rollyson, interview with Fred Guiles, in Rollyson, Marilyn Monroe, 101–05.
50. LB, interview with Don Murray, June 26, 2010.
51. Strasberg, Marilyn and Me, 216.
52. Guiles, interview with Joshua Logan, in Guiles, Legend, 287; “Can Marilyn Really Act?” New York Herald Tribune, August 25, 1956.
53. DS, interview with Susan Strasberg, in Spoto—AMPAS.
54. Strasberg, Marilyn and Me, 102.
55. Simone Signoret, Nostalgia Isn’t What It Used to Be, 290–91.
