Additional information comes from: Marlon Brando, Songs My Mother Taught Me; Carroll Baker, Baby Doll: An Autobiography; Truman Capote, Music for Chameleons; Irene Mayer Selznick, A Private View.
CHAPTER EIGHT
Chapter Eight is based on letters and memos by Hugh Beaumont, Kermit Bloomgarden, Charles Feldman, Frank Ferguson, Vivien Leigh, Harry McIntyre, Arthur Miller, Laurence Olivier, Lew Schreiber, Irene Selznick, Spyros Skouras, Tennessee Williams, and Darryl Zanuck.
Collections include those of Charles Feldman, Ruth Gordon (Library of Congress), Joseph Rauh, and Tennessee Williams. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files.
Additional information comes from: Cindy Adams, Lee Strasberg: The Imperfect Genius of the Actors Studio; Eve Arnold, Marilyn Monroe; Philip Dunne, Take Two; James Haspiel, Marilyn: The Ultimate Look at the Legend; Laurence Olivier, Confessions of an Actor; Laurence Olivier, On Acting; Tarquin Olivier, My Father Laurence Olivier; Maureen Stapleton, A Hell of a Life.
CHAPTER NINE
Chapter Nine is based on letters and memos by Hugh Beaumont, Kermit Bloomgarden, Charles Feldman, Lloyd Garrison, William Gordon, Milton Greene, Ben Kadish, Elia Kazan, Arthur Miller, Joseph Rauh, Larry Rice, Sid Rogell, Lew Schreiber, Irving Stein, and Paula Strasberg.
Collections include those of Carson McCullers (University of Texas), Joseph Rauh, and Tennessee Williams. Also important are Marilyn Monroe’s Twentieth Century–lFox legal files, as well as the production files and daily production reports for Bus Stop.
Additional information comes from Joshua Greene, Milton’s Marilyn; Joshua Logan, Movie Stars, Real People, and Me; Arthur Miller, Timebends.
CHAPTER TEN
Chapter Ten is based on letters and memos by Charles Feldman, Lloyd Garrison, Lillian Hellman, Arthur Miller, Joseph Rauh, and Francis E. Walter.
Collections include those of Charles Feldman, Hedda Hopper, and Joseph Rauh.
The transcript of Arthur Miller’s HUAC testimony is contained in “Investigation of the Unauthorized Use of United States Passports—Part 4.”
Additional information comes from: Lillian Hellman, Scoundrel Time; Elia Kazan, A Life; Arthur Miller, Timebends; Arthur Miller and Inge Morath, In the Country; Victor Navasky, Naming Names; Norman Rosten, Marilyn: An Untold Story; Frederick Ungeheuer with Lewis and Ethel Hurlbut, Roxbury Remembered; Robert Vaughn, Only Victims: A Study of Show Business Blacklisting.
CHAPTER ELEVEN
Chapter Eleven is based on letters and memos by Hugh Beaumont, Lloyd Garrison, Vivien Leigh, Arthur Miller, Laurence Olivier, Joseph Rauh, and Harry Sokolov.
Collections include those of Charles Feldman, Joseph Rauh, Irene Selznick (Boston University), and Tennessee Williams.
My sense of Laurence Olivier’s character owes much to conversations with Orson Welles and Kenneth Tynan.
The best portrait by far of the filming of The Prince and the Showgirl is Colin Clark’s The Prince, The Showgirl and Me. Also invaluable is Jack Cardiff’s memoir, Magic Hour: The Life of a Cameraman.
Additional information comes from: Joshua Greene, Milton’s Marilyn; Fred Lawrence Guiles, Legend; Radie Harris, Radie’s World; Anthony Holden, Olivier; Laurence Olivier, Confessions of an Actor; Laurence Olivier, On Acting; Tarquin Olivier, My Father Laurence Olivier; Sandra Shevey, The Marilyn Scandal; Donald Spoto, Marilyn Monroe; Susan Strasberg, Marilyn and Me; Kenneth Tynan, Curtains; Hugo Vickers, Vivien Leigh; Geoffrey Wansell, Terence Rattigan; W. J. Weatherby, Conversations with Marilyn.
CHAPTER TWELVE
Chapter Twelve is based on letters and memos by Hugh Beaumont, Kermit Bloomgarden, Charles Feldman, Lloyd Garrison, Harold Halperin, Lillian Hellman, Arthur Miller, Joseph Rauh, and Harry Sokolov.
Collections include those of Kermit Bloomgarden, Charles Feldman, Arthur Miller, and Joseph Rauh. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files.
Additional information on The Prince and the Showgirl comes from the works listed for Chapter Eleven.
CHAPTER THIRTEEN
Chapter Thirteen is based on letters and memos by Herb Brenner, Charles Feldman, Frank Ferguson, Lloyd Garrison, Richard S. Harris, John Huston, Harry McIntyre, Arthur Miller, Robert H. Montgomery, Jr., Joseph Moskowitz, Joseph Rauh, May Reis, Lew Schreiber, Frank Taylor, Spyros Skouras, Harry Sokolov, and George Stephenson.
Collections include those of John Huston, Arthur Miller, and Joseph Rauh. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files. Drafts of “I Don’t Need You Anymore” are on deposit in the Arthur Miller collection at the University of Texas.
Additional information comes from: Tony Curtis, Tony Curtis: The Autobiography; Radie Harris, Radie’s World; Laurence Olivier, Confessions of an Actor; Laurence Olivier, On Acting; Lena Pepitone, Marilyn Monroe Confidential; Norman Rosten, Marilyn: An Untold Story; Susan Strasberg, Marilyn and Me; Maurice Zolotow, Billy Wilder in Hollywood.
CHAPTER FOURTEEN
Chapter Fourteen is based on letters and memos by Buddy Adler, Harold Bow, Herb Brenner, Ned Brown, Ted Cain, George Chasin, Jack Codd, George Cukor, Bill D’Arcy, Frank Ferguson, H. William Fitelson, Ralph Greenson, Richard S. Harris, John Huston, Elia Kazan, Marianne Kris, Irving Lazar, Harry McIntyre, Arthur Miller, Robert H. Montgomery, Jr., Joseph Rauh, Sid Rogell, Lew Schreiber, Abe Steinberg, Frank Taylor, Jerry Wald, Peter Witt, and Darryl Zanuck.
Collections include those of Brooks Atkinson (Lincoln Center), Kermit Bloomgarden, Montgomery Clift (Lincoln Center), George Cukor (Academy of Motion Picture Arts and Sciences), Robert Downing (University of Texas), Anna Freud (Library of Congress), Ralph Greenson, John Huston, Paul Osborn (State Historical Society of Wisconsin), and Joseph Rauh.
Also important are Elia Kazan’s, Arthur Miller’s, and Marilyn Monroe’s Twentieth Century–Fox legal files, as well as the production files and daily production reports for Let’s Make Love.
Additional information comes from: Cheryl Crawford, My Fifty Years in the Theater; Catherine David, Simone Signoret; Lawrence Grobel, The Hustons; Hervé Hamon and Patrick Rotman, Yves Montand: You See I Haven’t Forgotten; Elia Kazan, A Life; Gavin Lambert, On Cukor; Robert Lewis, Slings and Arrows; Arthur Miller, Timebends; Berniece Baker Miracle and Mona Rae Miracle, My Sister Marilyn; Lena Pepitone, Marilyn Monroe Confidential; Simone Signoret, Nostalgia Isn’t What It Used to Be; Susan Strasberg, Marilyn and Me; Maurice Zolotow, Billy Wilder in Hollywood.
CHAPTER FIFTEEN
Chapter Fifteen is based on letters and memos by John Bodnar, Harry Brand, George Chasin, George Cukor, Frank Ferguson, Ralph Greenson, David Hall, Richard S. Harris, Gladys Hill, John Huston, Vivien Leigh, Arthur Miller, Joseph Rauh, Sid Rogell, Lew Schreiber, Paula Strasberg, Frank Taylor, Marietta Tree, Jerry Wald, and Max Youngstein.
Collections include those of George Cukor, Anna Freud, Hedda Hopper, John Huston, and Joseph Rauh. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files, as well as the production files and daily production reports for Let’s Make Love.
Additional information comes from: Eve Arnold, Marilyn Monroe; Catherine David, Simone Signoret; Hervé Hamon and Patrick Rotman, Yves Montand: You See I Haven’t Forgotten; James Goode, The Making of The Misfits; Lawrence Grobel, The Hustons; Fred Lawrence Guiles, Legend; James Haspiel, Marilyn: The Ultimate Look at the Legend; Elia Kazan, A Life; John Kobal, People Will Talk; Alice McIntyre, “Making the Misfits,” Esquire, March 1961; Arthur Miller, Timebends; Lena Pepitone, Marilyn Monroe Confidential; Norman Rosten, Marilyn: An Untold Story; Simone Signoret, Nostalgia Isn’t What It Used to Be.
CHAPTER SIXTEEN
Chapter Sixteen is based on letters and memos by David Brown, Jack Codd, George Cukor, Joseph V. DiMauro, Charles Feldman, Frank Ferguson, Aaron R. Frosch, Bob Goldstein, Ralph Greenson, Gladys Hill, John Huston, Marianne Kris, C. S. Landau, Irving Lazar, Owen McLean, W. C. Michel, Arthur Miller, Joseph Rauh, Milton Rudin, Lew Schreiber, Spyros Skouras, Harry Sokolov, Ted Strauss, Frank Taylor,
and Jerry Wald.
Collections include those of George Cukor, Charles Feldman, Anna Freud, Ralph Greenson, and John Huston. Also important are Lee Strasberg’s and Marilyn Monroe’s Twentieth Century–Fox legal files, as well as the production file for Something’s Got to Give.
Additional information comes from: Eve Arnold, Marilyn Monroe; Philip Dunne, Take Two; James Hilty, Robert Kennedy: Brother Protector; Berniece Baker Miracle and Mona Rae Miracle, My Sister Marilyn; Eunice Murray, Marilyn: The Last Months; Lena Pepitone, Marilyn Monroe Confidential; Norman Rosten, Marilyn: An Untold Story; Edward Wagenknecht, ed., Marilyn Monroe; Nathan Weiss and Jack Brodsky, The Cleopatra Papers. Monroe’s letter to Dr. Greenson is quoted in full in Donald Spoto, Marilyn Monroe.
CHAPTER SEVENTEEN
Chapter Seventeen is based on letters and memos of Alvah Bessie, George Cukor, Phil Feldman, Frank Ferguson, Anna Freud, Ralph Greenson, Stan Hough, Vivien Leigh, Peter Levathes, F. L. Metzler, Arthur Miller, W. C. Michel, Marilyn Monroe, Jesse R. O’Malley, Larry Rice, and Milton Rudin.
Collections include those of Alvah Bessie (State Historical Society of Wisconsin), George Cukor, Robert Downing, Anna Freud, Ralph Greenson, Hedda Hopper, Arthur Miller, and Joseph Rauh. Also important are Marilyn Monroe’s Twentieth Century–Fox legal files, as well as the production file and daily production reports for Something’s Got to Give.
Additional information comes from: George Barris, Marilyn; Joshua Greene, Milton’s Marilyn; Elia Kazan, A Life; Arthur Miller, Timebends, Eunice Murray, Marilyn: The Last Months; Victor Navasky, Naming Names; Richard Reeves, President Kennedy: Profile of Power; Norman Rosten, Marilyn: An Untold Story; Arthur M. Schlesinger, Jr., Robert Kennedy and his Times; Bert Stern, “The Last Sitting,” Vogue, September 1982; Susan Strasberg, Marilyn and Me; Edward Wagenknecht, ed. Marilyn Monroe; Nathan Weiss and Jack Brodsky, The Cleopatra Papers; Earl Wilson, Show Business Laid Bare; Earl Wilson, The Show Business Nobody Knows; Elizabeth Young-Bruehl, Anna Freud: A Biography.
Acknowledgments
To Betty A. Prashker, my editor at Crown Publishers in New York, I owe a tremendous debt of gratitude. We have done two books together, and I have learned from her in countless ways. I have benefited from Betty’s wisdom at every stage of this project. The insight and care with which she guided this biography from the day I first had the idea to the very last draft of the manuscript have contributed immeasurably to whatever strengths it may have. I am deeply grateful for the opportunity to work with her. She is a great inspiration both as a woman and a friend.
Ion Trewin, at Weidenfeld & Nicolson in London, did everything possible to make this book a reality. Of particular importance were his ideas about the shape the story ought to take. His questions are always probing and astute, and he has a fantastic ability to help focus a project. I am enormously fortunate to have him as one of the mainstays of my writing life.
Allegra Huston was my editor at Weidenfeld for many years. She took time from her own projects to come back and work on this book with me. I cannot begin to thank her properly for agreeing to do that. Without Allegra’s incomparable sense of structure, this biography would be something very different indeed. I can’t imagine doing a book without her. Her thinking continues to amaze me with its clarity and originality. She is also the most beloved of friends.
And then there is Lois Wallace, my agent, my friend, and my most trusted adviser. Without Lois, none of this would be possible. She has the courage to say no—as well as yes. As an agent, Lois is without peer. As a friend, she has stood the test of time.
Also at Crown Publishers, I would like to thank all the people who have worked with such skill and dedication on my books. In particular I must single out Tina Constable and Andrew Martin, who have worked so effectively and with such care on my behalf.
I have been equally fortunate at Weidenfeld & Nicolson, where, after five books, I always know that I am in safe hands. From Orson Welles on, the wonderful staff at Weidenfeld has done everything possible to publish my books with flair and intelligence. I am very grateful.
Whitney Cookman designed the Crown jacket and Nick Castle did the Weidenfeld jacket. I am grateful to both for their brilliant work.
Thanks also to my London agent, Bill Hamilton, and my Paris agent, Michelle Lapautre, for their efforts on my behalf. And to Tony Cartano, my editor at Editions Albin Michel in Paris, I give my thanks for his support of this project.
I would like to thank the many people who so generously provided the information I needed to write this book. They include: Nan Abell, Charles Bell, Alan Brawn, Ann Caiger, Virginia Kaye Chilewich, Frank Corsaro, Judith Dike, Dr. Norman Farberow, Elsa Feminella, Esther Flores, Edwin Guthman, Jane Harvey, Eva Heilweil, Alfred Hayes, Jr., Marietta Hayes, Kathy Henderson, Gladys Irvis, Evelyn Keyes, Hope Lange, Esther Maltz, Charles Marcus, Edith Marcus, George Masters, Nancy McKechnie, Ross Miller, Dr. Jay Nagdimon, Walter Neville, Edward Parone, Elaine Pike, Howard Prouty, Tony Randall, Mary Ellen Rogan, Merel Rogers, Patricia Rosten, Sarah Samis, Meta Shaw, Sam Shaw, Senator George Smathers, Barbara Smith-LaBorde, Mickey Song, Marjorie Stengel, Shirlee Strahm, Theodore Strauss, Frank Taylor, Faye Thompson, Eli Wallach, and Brian Woo.
I also drew on past interviews with Henry Hathaway, Patrick O’Neal, Hermes Pan, Kenneth Tynan, Orson Welles, and Maurice Zolotow.
Many thanks to the archives, libraries, and historical societies, where I collected the material for this book: Vassar College, Special Collections, Poughkeepsie, New York; Academy of Motion Picture Arts and Sciences, Los Angeles, California; State Historical Society of Wisconsin, Archives Division, Wisconsin Center for Film and Theater Research, Madison, Wisconsin; UCLA, Special Collections, Los Angeles, California; UCLA, Film Collections, Los Angeles, California; University of Texas at Austin, Harry Ransom Humanities Research Center, Special Collections, Austin, Texas; American Film Institute, Louis B. Mayer Library, Special Collections, Los Angeles, California; Library of Congress, Special Collections, Washington, D.C.; The John Gray Park Library at the Kent School, Kent, Connecticut; The Lincoln Center Library for the Performing Arts, New York, New York; and Boston University, Mugar Memorial Library, Special Collections, Boston, Massachusetts.
Finally, special thanks to Steve Boucher, for patience beyond the call of duty.
And most of all, I must thank my husband, David. He is the light at the very center of my life and the reason for everything good in it.
About the Author
BARBARA LEAMING is the author of the New York Times best-seller Katharine Hepburn (Crown), as well as the much-acclaimed Orson Welles. She was for many years professor of theater and film at Hunter College in New York City. Her articles have appeared in Vanity Fair and The New York Times Magazine. She lives in Connecticut.
Copyright © 1998 by Barbara Leaming
All rights reserved. No part of this book may be reproduced or transmitted
in any form or by any means, electronic or mechanical, including photocopying,
recording, or by any information storage and retrieval system, without
permission in writing from the publisher.
Published by Three Rivers Press, New York, New York.
Member of the Crown Publishing Group.
Random House, Inc. New York, Toronto, London, Sydney, Auckland
www.randomhouse.com
THREE RIVERS PRESS is a registered trademark and the Three Rivers Press colophon is a trademark of Random House, Inc.
Originally published in hardcover by Crown Publishers in 1998.
Library of Congress Cataloging-in-Publication Data
Leaming, Barbara.
Marilyn Monroe/Barbara Leaming.— 1st paper ed.
1. Monroe, Marilyn, 1926–1962. 2. Motion picture actors and actresses—
United States—Biography. I. Title.
PN2287.M69L34 1998
791.43′028′092—dc21
[B]
98-18378
CIP
eISBN: 978-0-307-55777-3<
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v3.0
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