Fifteen: The Misfits: Life into Art
1. Arthur Miller, The Misfits (New York: Dell, 1961), p. 53, and Miller, Timebends, p. 369; Miller, Misfits (Dell), pp. 169–170; 18; Bigsby, Remembering Arthur Miller, p. 264.
In an early version of the script, which has a weaker ending, Gay speaks the last line to Perce, not Roslyn. This version was published in Film Scripts Three, ed. George Garrett, O.B. Hardison, Jr. and Jane Gelfman (1972; New York, 1989), pp. 204–382.
2. Coetzee, Inner Workings, p. 222; Leslie Fiedler, Waiting for the End (1964; London, 1967), p. 97.
3. Miller, Misfits (Dell), pp. 64; 58; Coetzee, Inner Workings, p. 224; Miller, Echoes Down the Corridor, p. 246.
4. Hollis Alpert, "Arthur Miller: Screenwriter," Saturday Review of Literature, 44 (February 4, 1961), 47; Miller, Misfits (Dell), pp. 135; 133, 185.
The word "shit" is left out of the film.
5. Miller, Misfits (Dell), pp. 53, 60; 72–73, 33.
6. Miller, Misfits (Dell), p. 134;Goode, Making "Misfits", p.206;Wallace Stevens, "Stars at Tallapoosa," Collected Poems (1954; New York, 1982), p. 71.
In All My Sons (1947; New York, 2000), p. 74, Miller wrote, "every man does have a star. The star of one's honesty. And you spend your life groping for it."
7. Marijane Meaker, "Marilyn and Norma Jeane," Sudden Endings (New York, 1964), p. 42n;Victor, Marilyn Encyclopedia, p. 115; The Making of "The Misfits", unpublished script for twenty-minute featurette, Herrick Library; Conway, Films of Marilyn Monroe, p. 157.
8. Bigsby, Remembering Arthur Miller, pp. 91, 263; Brater, Arthur Miller, p. 87; Guiles, Legend, p. 376; Gottfried, Arthur Miller, p. 343; Letter from Arthur Miller to Jeffrey Meyers, January 17, 1981.
9. Miller, Echoes Down the Corridor, p. 190; Dr. Ralph Greenson, in Summers, Goddess, p. 189; Cardiff, Magic Hour, p. 212.
10. Weatherby, Conversations with Marilyn, p. 187; Jordan, Norma, p. 227.
11. Gussow, Conversations with Miller, p. 25; Bigsby, Remembering Arthur Miller, p. 271; Gussow, Conversations with Miller, p. 96.
12. John Huston: Interviews, pp. 109, 111; Huston, in Sarah Churchwell, The Many Lives of Marilyn Monroe (New York, 2004), p. 337.
13. Miracle, My Sister Marilyn, p. 183; Leaming, Marilyn Monroe, p. 380.
Sixteen: Something's Got to Give
1. Lambert, On Cukor, p. 174; Elisabeth Young-Bruehl, Anna Freud: A Biography (New York, 1988), p. 371;Greenson, in Spoto, Marilyn Monroe, p. 427; Letter from Ralph Greenson to Agnes Bene, December 9, 1969, Library of Congress.
2. Roberts, in Spoto, Marilyn Monroe, pp. 558; 429; Victor, Marilyn Encylcopedia, p. 209.
3. Greenson, in Summers, Goddess, p. 269; Miller, in Guiles, Legend, pp. 277, 276.
4. Susan Strasberg, Marilyn and Me, p. 227; Jane Russell, Jane Russell: My Paths and My Detours (New York, 1985), p. 280; Stephen Farber and Marc Green, "Romeo and Marilyn," Hollywood on the Couch: A Candid Look at the Overheated Love Affair between Psychiatrists and Moviemakers (New York, 1993), p. 94; Susan Strasberg, in Remembering Marilyn, Vestron video, 1988.
5. See Carol Brightman, Writing Dangerously: Mary McCarthy and Her World (New York, 1992), p. 176;David Roberts, Jean Stafford: A Biography (Boston, 1988), p. 254; Carr, Lonely Hunter, pp. 300–301.
6. Letter to Strasbergs, in Victor, Marilyn Encylcopedia, p. 190; Letter to Greenson, in Spoto, Marilyn Monroe, pp. 460; 462–463; 459.
7. Cardiff, Magic Hour, p. 213; Farber, Hollywood on the Couch, p. 94; Cramer, Joe DiMaggio, p. 391.
8. Miracle, My Sister Marilyn, p. 157; Cramer, Joe DiMaggio, p. 417; Victor, Marilyn Encylcopedia, p. 143.
9. Barris, Marilyn: Her Own Words, p. 143; Bogdanovich, Who the Hell's In It, pp. 417, 419.
10. Murray, Marilyn:The Last Months, p. 25; Kitty Kelley, His Way:The Unauthorized Biography of Frank Sinatra (1986; New York, 1987), p. 312; Monroe, FBI file, February 25, 1962.
David Thomson's In Nevada (New York, 1999) provides a lurid account of this weekend. When I asked for his source, he did not provide it.
11. Pepitone, Monroe Confidential, p. 193; Ronald Brownstein, The Power and the Glitter: The Hollywood-Washington Connection (1990; New York, 1992), p. 317; Hersh, Dark Side of Camelot, p. 454.
12. Arthur Schlesinger, Jr., Journals, 1952–2000 (New York, 2007), p. 162; Monroe, FBI file, July 18, 1962; Pepitone, Monroe Confidential, p. 211.
13. Summers, Goddess, p. 224; Heymann, RFK, p. 313; Summers, Goddess, paperback edition (New York, 1986), pp. 427–428; Heymann, RFK, p. 474.
14. Monroe, FBI file, January 26, 1965;Heymann, RFK, p. 319;Donald Wolfe, The Last Days of Marilyn Monroe (New York, 1998), p. 93.
15. Jean Negulesco, "Marilyn Monroe: A Vulnerable Phenomenon, " Things I Did . . . and Things I Think I Did (New York, 1984), p. 224; Guiles, Legend, p. 422;Walter Bernstein, "Marilyn Monroe's Last Picture Show," Esquire, 80 (July 1973), 106; 108; Interview with Walter Bernstein, New York, December 2, 2007.
16. Bernstein, in Marilyn: The Final Days, Prometheus video, 2001, which includes about thirty rough minutes of the movie; Interview with Walter Bernstein.
17. Kennedy, in Rollyson, Marilyn Monroe, p. 194; Arthur Schlesinger, Jr., Robert Kennedy and His Times (1978; New York, 1979), p. 636; Interview with Billy Wilder, Beverly Hills, California, September 12, 1995;Tynan, Profiles, p. 144.
18. Patrick McGilligan, George Cukor:A Double Life (New York, 1997), pp. 272–273; Emanuel Levy, George Cukor: Master of Elegance (New York, 1994), p. 272.
19. Interview with Walter Mirisch;Marilyn:The Final Days, Prometheus video, 2001.
Something's Got to Give was never completed. In 1963 the remake was remade as Move Over Darling, with Doris Day as a feeble stand-in for Marilyn.
Seventeen: Suicide
1. Letter from Richard Meryman to Jeffrey Meyers, February 10, 2008;Monroe, FBI file, February 21,1962;Frost, "Provide, Provide" (1934), Poetry, p. 307.
2. Lawford, in Leaming, Marilyn Monroe, p. 425; Patricia Seaton Lawford and Ted Schwarz, The Peter Lawford Story (New York, 1988), p. 176; Shaw and Rosten, Marilyn Among Friends, p. 190; Rosten, in Wagenknecht, ed., Marilyn Monroe, p. 102.
3. Conrad, Heart of Darkness, p. 246; Monroe, My Story, p. 66.
4. Greenson, in Summers, Goddess, pp. 190, 243; Heymann, RFK, p. 312; Greenson, in Spoto, Marilyn Monroe, p. 515.
5. Thomas Noguchi, with Joseph DiMona, "Marilyn Monroe, " Coroner (New York, 1983), pp. 72; 74; Engelberg, in Marilyn: The Final Days, Prometheus video, 2001; Huston, in Wagenknecht, ed., Marilyn Monroe, p. 168.
6. Noguchi, Coroner, pp. 72; 70, 80; 56; 79–80; 85.
7. For the conspiracy theories, see Farber, Hollywood on the Couch, p. 105; Heymann, RFK, p. 325; Noguchi, Coroner, p. 83.
Ted Jordan claimed that he owned the Red Diary, which contained Marilyn's secret thoughts but did not have any secret information. He was never able to produce that diary.
8. Monroe, FBI file, July 9, 1963; Hersh, Dark Side of Camelot, p. 104; Frank Saunders, with James Southwood, The Torn Lace Curtain (New York, 1982), pp. 141–142.
9. Letter from Ralph Greenson to Anna Freud, June 22, 1962; Letter from Anna Freud to Ralph Greenson, July 2, 1962, Library of Congress; Letter from Greenson to Norman Rosten, August 15, 1962, courtesy of Patricia Rosten Filan.
10. Greenson, in Victor, Marilyn Encyclopedia, p. 132; Letters from Ralph Greenson to Anna Freud, August 20, 1962, January 13, 1963 and May 27, 1963, Library of Congress.
11. Ralph Greenson, "On Transitional Objects and Transference, " Explorations in Psychoanalysis (New York, 1978), pp. 493–494.
12. Cramer, Joe DiMaggio, p. 418; Gladys Baker, in Barris, Marilyn: Her Own Words, p. 157; Strasberg, in Conway, Films of Marilyn Monroe, p. 7.
13. Riese and Hitchens, Unabridged Marilyn, p.553; Adams, Lee Strasberg, p. 27; Samuel Johnson, "The Vanity of Human Wishes" (1749), Complete English Poems, ed. J. D. Fleeman (New York, 1971), p. 85.
In the Monroe file, no date, the FBI reported that a " 'Frenchtype' movie depict
ed Marilyn Monroe, deceased actress, in unnatural acts with unknown male. . . . DiMaggio had attempted to purchase this film from *** and had offered him $25,000 . . . but he would not part with it."
14. Miller, in Brater, Arthur Miller, p. 102; Miller, Timebends, p. 531; Weatherby, Conversations with Marilyn, p. 219; Miller, in Summers, Goddess, p. 314.
15. Miller, in Guiles, Legend, p. 441; Bigsby, Remembering Arthur Miller, p. 60; Miller, Timebends, pp. 528; 242.
Eighteen: Miller's Tragic Muse
1. Charles Baudelaire, Selected Letters, trans. and ed. Rosemary Lloyd (Chicago, 1986), p. 49; Henry Popkin, "Arthur Miller:The Strange Encounter," Sewanee Review, 68 (1960), 56; Miller, Timebends, p. 326.
2. Richard and Nancy Meyer, "After the Fall: A View from the Director's Notebook," Theatre, 2 (1965), 57, 68; Arthur Miller, After the Fall: Final Stage Version (New York, 1964), p. 1, and Miller, Timebends, p. 536.
3. Gottfried, Arthur Miller, p. 365; Miller, After the Fall, pp. 40; 39; 28; 29–30.
4. Rebecca Buselle, "In Remembrance: Inge Morath," Aperture, 171 (2003), 76; Miller, After the Fall, p. 22; Gottfried, Arthur Miller, p. 346.
5. Albert Camus, The Fall, trans. Justin O'Brien (1956; New York, 1957), p. 70; Roudané, Conversations with Arthur Miller, p. 336; Miller, After the Fall, pp. 67 and 111.
6. Miller, After the Fall, pp. 44, 47, 71, 72, 80 ("whereas"); 24, 77.
7. Miller, After the Fall, p. 108; Roudané, Conversations with Arthur Miller, pp. 354, 357.
8. Miller, After the Fall, pp. 44; 47; 82; 72.
See Mailer, Marilyn, p. 93, quoting her on the Communists: "They're for the people, aren't they?"
9. David Savran, Communists, Cowboys and Queers: The Politics of Masculinity in the Work of Arthur Miller and Tennessee Williams (Minneapolis, 1992), p. 56; Roudané, Conversations with Arthur Miller, p. 79; Gottfried, Arthur Miller, p. 363; Arthur Miller, "With Respect for Her Agony – But with Love," Life, February 7, 1964, p. 66.
10. Meyer, "Director's Notebook," pp. 63, 65, 70; Kazan, Life, p. 630.
11. Miller, After the Fall, pp. 96; 107; 83; 97.
12. Robert Brustein, "Arthur Miller: Mea Culpa," New Republic, 150 (February 8, 1964), 26, 28; Russell, in Jeffrey Meyers, D.H. Lawrence and the Experience of Italy (Philadelphia, 1982), p. 82; Richard Gilman, "The Stage: Still Falling," Commonweal, 79 (February 17, 1964), 601; Noël Coward, Diaries, ed. Graham Payn and Sheridan Morley (Boston, 1982), pp. 557–558.
13. Gussow, Conversations with Miller, p. 182; Miller, Timebends, p. 229; Oriana Fallaci, "A Propos of After the Fall," World Theatre, 14 (January 1965), 79.
14. Miller, "Paris Review" Interviews, p. 224; Letter from Heather Kenney, Roxbury Probate Court, to Jeffrey Meyers, October 11, 2007.
15. Arthur Miller, Broken Glass (New York, 1994), pp. 7, 107; 63; 68; 69; 70.
Impotence is also a major theme in A View From the Bridge.
16. Miller, Broken Glass, pp. 26; 83; 131; 137.
17. Arthur Miller, Mr. Peters' Connections (New York, 1999), pp. 4; 53; 13; 22; 24; 54.
18. Arthur Miller, "The Bare Manuscript," Presence (New York, 2007), pp. 70; 90.
19. Arthur Miller, Finishing the Picture, unpublished last play (2004), pp. 8; 42; Miller, Timebends, p. 385; Miller, Finishing the Picture, pp. 29; 21; 21; 24.
20. Miller, Finishing the Picture, pp. 42; 92; 32, 94; Interview with Brian Dennehy.
Bibliography
I. Arthur Miller
Bigsby, Christopher. Arthur Miller: A Critical Study. Cambridge, England: Cambridge University Press, 2005.
——, ed. The Cambridge Companion to Arthur Miller. Cambridge: Cambridge University Press, 1997.
——, ed. Remembering Arthur Miller. London: Methuen, 2005.
Bloom, Harold, ed. Arthur Miller: Modern Critical Views. New Edition. New York: Chelsea House, 2007.
Brater, Enoch. Arthur Miller: A Playwright's Life and Works. London: Thames & Hudson, 2005.
Caute, David. The Great Fear:The Anti-Communist Purge Under Truman and Eisenhower. New York: Simon and Schuster, 1978.
Corrigan, Robert, ed. Arthur Miller: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1969.
Goldstein, Laurence, "The Fiction of Arthur Miller," Michigan Quarterly Review, 37 (Fall 1998), 725–745.
Gottfried, Martin. Arthur Miller: His Life and Work. New York: Da Capo, 2003.
Gussow, Mel. Conversations with Arthur Miller. New York: Applause, 2002.
Hellman, Lillian, "Lillian Hellman Wants a Little Respect for Her Agony," Show, 4 (May 1964), 12–13.
Kazan, Elia. A Life. New York: Knopf, 1988.
Koorey, Stefani. Arthur Miller's Life and Literature: An Annotated Comprehensive Guide. Lanham, Maryland: Scarecrow Press, 2000.
Levin, David, "Salem Witchcraft in Recent Fiction and Drama," New England Quarterly, 28 (December 1955), 538–542.
Liebling, A.J. "The Mustang Buzzers" (1954). Liebling at the "New Yorker": Uncollected Essays. Ed. James Barbour and Fred Warner. Albuquerque: University of New Mexico Press, 1994. Pp. 131–147.
Mandelstam, Nadezhda, "Letters to Arthur Miller and Inge Morath," ed. Michael Wachtel, Russian Review, 61 (October 2002), 505–516.
McCarthy, Mary. "Naming Names: The Arthur Miller Case." On the Contrary: Articles of Belief, 1946–1961. New York: Farrar, Straus and Giroux, 1966. Pp. 147–154.
——. "The American Realist Playwrights." Theatre Chronicles, 1937–1962. New York: Farrar, Straus and Giroux, 1963. Pp. 225–227.
Meyers, Jeffrey."Review of Arthur Miller's Timebends," National Review, 40 (January 22, 1988), 58–60.
——. "Arthur Miller." Privileged Moments: Encounters with Writers. Madison: University of Wisconsin Press, 2000. Pp. 30–50.
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——.Conversations with Arthur Miller. Ed. Matthew Roudané. Jackson: University Press of Mississippi, 1987.
——. "The Crucible":Text and Criticism. Ed. Gerald Weales. New York: Penguin, 1977.
——. Echoes Down the Corridor: Collected Essays, 1944–2000. Ed. Steven Centola. New York:Viking, 2000.
——. Finishing the Picture. Unpublished last play. Produced at the Goodman Theatre, Chicago, October 2004.
——. The Hook. Unpublished screenplay, 1949.
——."Please Don't Kill Anything" (1960) and "The Misfits" (1957). I Don't Need You Any More. New York:Viking, 1967. Pp. 71–77, 78–113.
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——. A View from the Bridge. New York:Viking, 1955.
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II. Marilyn Monroe
Bernstein, Walter, "Marilyn Monroe's Last Picture Show," Esquire, 80 (July 1973), 105–108, 178.
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Churchwell, Sarah. The Many Lives of Marilyn Monroe. New York: Holt, 2004.
Clark, Colin. The Prince, the Showgirl and Me. New York: St. Martin's, 1996.
Cramer, Richard Ben. Joe DiMaggio:The Hero's Life. New York: Simon and Schuster, 2000.
Crowe, Cameron. Conversations with Billy Wilder. New York: Knopf, 1999.
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Goode, James. The Making of "The Misfits". 1963;New York: Limelight, 1986.
Goodman, Ezra."The Girl with Three Blue Eyes." The Fifty Year Decline and Fall of Hollywood. New York: Simon and Schuster, 1961. Pp. 213–236.
Greenson, Ralph. "On Transitional Objects and Transference." Explorations in Psychoanalysis. New York: International Universities Press, 1978. Pp. 493–494.
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