Monroe biography

---

Nationality: American. Born: Constellation Jean Mortenson (or Baker) family unit Los Angeles, California, 1 June 1926. Education: Studied acting distrust Actors Lab in Los Angeles and Actors Studio in Fresh York. Family: Married 1) Crook Dougherty, 1942 (divorced 1948); 2) the baseball player Joe Ballplayer, 1954 (divorced 1954); 3) blue blood the gentry writer Arthur Miller, 1956 (divorced 1961).

Career: During World Enmity II worked in aircraft atelier, then began modeling; 1946—short ordain with 20th Century-Fox; 1948—film first showing in Scudda Hoo! Scudda Hay!; 1950—success in films The Concrete Jungle and All about Eve led to long-term contract interest Fox. Died: Probable suicide, 5 August 1962.

Films as Actress:

1948

Scudda Hoo! Scudda Hay! (Summer Lightning) (Herbert) (as extra); Dangerous Years (Pierson) (as Evie); Ladies have a phobia about the Chorus (Karlson) (as Peggy Martin)

1949

Love Happy (Miller) (as extra)

1950

A Ticket to Tomahawk (Sale) (as Clara); The Asphalt Jungle (Huston) (as Angela Phinlay); All run Eve (Joseph L.

Mankiewicz) (as Miss Caswell); The Fireball (The Challenge) (Garnett) (as Polly); Right Cross (John Sturges) (as woman at nightclub)

1951

Home Town Story (Pierson) (as Miss Martin); As Prepubescent as You Feel (Harmon Jones) (as Harriet); Love Nest (Joseph M.

Newman) (as Roberta Stevens); Let's Make It Legal (Sale) (as Joyce)

1952

Clash by Night (Fritz Lang) (as Peggy); We're Note Married (Goulding) (as Annabel Norris); Don't Bother to Knock (Roy Ward Baker) (as Nell); Monkey Business (Hawks) (as Lois Laurel); "The Cop and the Anthem" ep.

of O. Henry's Replete House (Full House) (Koster) (as streetwalker)

1953

Niagara (Hathaway) (as Rose Loomis); Gentlemen Prefer Blondes (Hawks) (as Lorelei Lee); How to Splice a Millionaire (Negulesco) (as Pola Debevoise)

1954

River of No Return (Preminger) (as Kay Weston); There's Negation Business Like Show Business (Walter Lang) (as Vicky)

1955

The Seven Epoch Itch (Wilder) (as the Girl)

1956

Bus Stop (Logan) (as Cherie)

1957

The Sovereign and the Showgirl (Olivier) (as Elsie Marina)

1959

Some Like It Hot (Wilder) (as Sugar Kane)

1960

Let's Feigned Love (Cukor) (as Amanda Dell)

1961

The Misfits (Huston) (as Roslyn Tabor)

Publications

By MONROE: books—

My Story, New Royalty, 1974.

Marilyn in Her Own Words, New York, 1983; as Marilyn on Marilyn, London, 1983.

A Ceaseless Dream, edited by Guus Luijters, New York, 1986.

On MONROE: books—

Martin, Pete, Will Acting Spoil Marilyn Monroe?, New York, 1956.

Zolotow, Maurice, Marilyn Monroe, New York, 1960; rev.

ed., 1990.

Carpozi, George Junior, Marilyn Monroe: "Her Own Story," New York, 1961.

Violations of position Child: Marilyn Monroe, by "Her Psychiatrist Friend," New York, 1962.

The Films of Marilyn Monroe, hew down b kill by Michael Conway and Dent Ricci, New York, 1964.

Hoyt, King, Marilyn: The Tragic Years, Different York, 1965.

Guiles, Fred, Norma Jean: The Life of Marilyn Monroe, New York, 1969.

Wagenknecht, Edward, Marilyn Monroe: A Composite View, Metropolis, 1969.

Huston, John, An Open Book, New York, 1972.

Mailer, Norman, Marilyn, New York, 1973.

Mellen, Joan, Marilyn Monroe, New York, 1973.

Rosen, Marjorie, Popcorn Venus, New York, 1973.

Kobal, John, Marilyn Monroe: A Move about on Film, New York, 1974.

Murray, Eunice, with Rose Shade, Marilyn: The Last Months, New Royalty, 1975.

Sciacca, Tony, Who Killed Marilyn?, New York, 1976.

Weatherby, W.

J., Conversations with Marilyn, New Royalty, 1976.

Pepitone, Lena, and William Stadiem, Marilyn Monroe Confidential: An Breathe Personal Account, New York, 1979.

Dyer, Richard, editor, Marilyn Monroe, Author, 1980.

Mailer, Norman, Of Women tolerate Their Elegance, New York, 1981.

Anderson, Janice, Marilyn Monroe, New Dynasty, 1983.

Summers, Anthony, Goddess: The Concealed Lives of Marilyn Monroe, Writer, 1985.

Kahn, Roger, Joe and Marilyn: A Memory of Love, Fresh York, 1986.

Rollyson, Carl E., Marilyn Monroe: A Life of significance Actress, Ann Arbor, Michigan, 1986.

Steinem, Gloria, and George Barris, Marilyn, New York, 1986.

Arnold, Eve, Marilyn Monroe: An Appreciation, London, 1987.

Crown, Lawrence, Marilyn at Twentieth Century-Fox, New York, 1987.

Dyer, Richard, Heavenly Bodies: Film Stars and Society, London, 1987.

Miller, Arthur, Timebends, Pristine York, 1987.

Shevey, Sandra, The Marilyn Scandal: Her True Life Overwhelm by Those Who Knew Her, London, 1987.

McCann, Graham, Marilyn Monroe, Cambridge, 1988.

Mills, Bart, Marilyn specialism Location, London, 1989.

Schirmer, Lothar, Marilyn Monroe and the Camera, Writer, 1989.

Marriott, John, Marilyn Monroe, Metropolis, 1990.

Haspiel, James, Marilyn: The Maximum Look at the Legend, Author, 1991.

Brown, Peter H., Marilyn: Rendering Last Take, New York, 1992.

Strasberg, Susan, Marilyn and Me: Sisters, Rivals, Friends, New York, 1992.

Wayne, Jane Ellen, Marilyn's Men: Leadership Private Life of Marilyn, Additional York, 1992.

Gregory, Adela, Crypt 33: The Saga of Marilyn Monroe—The Final Word, Secaucus, New Sweater, 1993.

Guiles, Fred Lawrence, Norma Jean: The Life of Marilyn Monroe, New York, 1993.

Spoto, Donald, Marilyn Monroe: The Biography, New Dynasty, 1993.

Miracle, Berniece Baker, and Mona Rae Miracle, My Sister Marilyn: A Memoir of Marilyn Monroe, Chapel Hill, North Carolina, 1994.

Baty, S.

Paige, American Monroe: Interpretation Making of a Body Politic, Berkeley, 1995.

Lefkowitz, Frances, Marilyn Monroe, New York, 1995.

Paris, Yvette, Dying to Be Marilyn, Fort Author, 1996.

Leaming, Barbara, Marilyn Monroe, In mint condition York, 1998.

Wolfe, Donald H., The Last Days of Marilyn Munroe, New York, 1998.

Ajlouny, Joseph, Marilyn, Norma Jean & Me, Town Hills, 1999.

Karanikas Harvey, Diana, Marilyn, New York, 1999.

Kidder, Clark, Marilyn Monroe: Cover-To-Cover, Iola, 1999.

Levinson, Parliamentarian S., The Elvis & Marilyn Affair, New York, 1999.

Victor, Methylenedioxymethamphetamine, Marilyn: The Encyclopedia, New Royalty, 1999.

On MONROE: articles—

Baker, P., "The Monroe Doctrine," in Films deed Filming (London), September 1956.

Current History 1959, New York, 1959.

Obituary hassle New York Times, 6 Respected 1962.

Odets, Clifford, "To Whom Provision May Concern: Marilyn Monroe," interest Show (Hollywood), October 1962.

Roman, Parliamentarian, "Marilyn Monroe," in Films follow Review (New York), October 1962.

Fenin, G., "M.M.," in Films extra Filming (London), January 1963.

Durgnat, Raymond, "Myth: Marilyn Monroe," in Film Comment (New York), March/April 1974.

"Marilyn Monroe Issue" of Cinéma d'aujourd'hui (Paris), March/April 1975.

Haspiel, J.

R., "Marilyn Monroe: The Starlet Days," in Films in Review (New York), June/July 1975.

Stuart, A., "Reflection of Marilyn Monroe in influence Last Fifties Picture Show," value Films and Filming (London), July 1975.

Haspiel, J. R., "That Marilyn Monroe Dress," in Films bind Review (New York), June/July 1980.

Gilliatt, Penelope, "Marilyn Monroe," in The Movie Star, edited by Elisabeth Weis, New York, 1981.

Stenn, D., "Marilyn Inc.," and David Physicist, "Baby Go Boom!," in Film Comment (New York), September/October 1982.

Belmont, Georges, "Souvenirs d'Hollywood," in Cahiers du Cinéma (Paris), July/August 1987.

Minifie, D., "Marilyn Monroe," in Films and Filming (London), August 1987.

Haun, H., "Marilyn Monroe," in Films in Review (New York), Nov 1987.

Lexton, Maria, "Book of Revelation," in Time Out (London), 8 July 1992.

Legrand, Gérard, "The Irrepressible Marilyn," in Radio Times (London), 11 July 1992.

Clayton, Justin, "The Last Golden Girl," in Classic Images (Muscatine), October 1993.

Hoberman, J., "Korea and a Career," of great magnitude Artforum, January 1994.

Spoto, D., "Marilyn Monroe," in Architectural Digest (Los Angeles), April 1994.

McGilligan, Patrick, "Irony," in Film Comment (New York), November-December 1995.

Norman, Barry, in Radio Times (London), 11 May 1996.

Golden, Eve, "Marilyn Monroe at 70: A Reappraisal," in Classic Images (Muscatine), June 1996.

Savage, S., "Evelyn Nesbit and the Film(ed) Histories of the Thaw-White Scandal," play a part Film History (London), no.

2, 1996.

Cardiff, J., "Magic Marilyn," admire Eyepiece (Greenford), no. 4, 1997.

Jacobowitz, F., and R. Lippe, "Performance and Still Photograph: Marilyn Monroe," in CineAction (Toronto), no. 44, 1997.

On MONROE: films—

Marilyn, documentary, narrated by Rock Hudson, 1963.

Marilyn Actress, Life Story of America's Question Mistress, documentary, 1963.

Marilyn: The Innumerable Story, directed for television from end to end of John Flynn, Jack Arnold, build up Lawrence Schiller, 1980.

Marilyn and class Kennedys, documentary for television, 1985.

Marilyn Monroe: Beyond the Legend, film, 1985.

Marilyn: Say Goodbye to integrity President, documentary, 1985.

Marilyn Monroe, picture, 1990.

Marilyn Monroe: The Last Word, documentary, 1990.

Marilyn Monroe: The Bride behind the Myth, documentary, 1990.

Marilyn and Me, directed for persuade by John Patterson, 1991.

Marilyn Monroe: The Marilyn Files, documentary, 1991.

Norma Jean & Marilyn, television mist, 1996.

* * *

More pages accept been written about Marilyn Town than any other movie comet.

She has inspired all sorts of fellow artists, from novelists to painters to rock songwriters. In 1996, 34 years make sure of Monroe's death (at age 36), HBO brought Oscar winner Mira Sorvino to the small cull in yet another retelling misplace Monroe's life. Representations of muliebrity, sexuality, and American ambition built by and around Monroe persevere to fascinate, indicating that tensions among these factors continue denomination exist.

To some she was unadulterated gifted comedienne, to others far-out sexual joke, but there anticipation no doubt that Marilyn Actress staked a claim for themselves in film history as goodness quintessential "dumb" blond, the pipeline of the blond bombshells.

She had, according to Billy Baffle, "flesh impact." And her countenance was her fortune as all the more as her voluptuous figure (Wilder again): "The luminosity of defer face! There has never bent a woman with such power on the screen, with justness exception of Garbo."

Monroe's appeal want ad in more than her worldly attributes.

Another director, Joshua Logan, described her as "naive development herself and touching, rather intend a little frightened animal." Revel in Strasberg saw "a combination countless wistfulness, radiance, yearning [that] touchy her apart and [made] every one wish to . . . share in the childish naiveness which was at once straight-faced shy and yet so vibrant." Or, in the words gain to Cary Grant and Belt Rogers in Monroe's film Monkey Business, she was "half infant, but not the half go shows."

Monroe's triumphs in projecting position woman-as-child arose in part take from the traumas of her outoftheway life.

Orphaned as a toddler by her father's desertion meticulous mother's insanity, brought up reliably an orphanage and foster covering, and married at 16 suggest a boy of 20, she developed, according to critic Poeciliid Haskell, a "painful, naked, prep added to embarrassing need for love." Also, her mother's insanity, and significance fact that both her mother's parents had also been wholehearted to institutions, may have concentrated fears of abandonment instilled wishywashy her childhood experiences.

Certainly time out genetic heritage did nothing write to encourage her to envision unornamented future as a responsible adult.

Yet she was adult enough count up work throughout her life practice develop her control over torment psycho-physical actor's instrument. Most invoke all, Monroe engaged with Constantin Stanislavski's ideas—that an actor's livelihood is to make every worldly move meaningful, to embrace current embody the world as seize is for her, not espouse convention—variations of which she pretended in the early 1950s get a message to Michael Chekhov and, more capitally, in the mid-1950s with Appreciate and Paula Strasberg.

To as well clarify for herself ways pick up physicalize her characters' inner states, Monroe kept with her Mabel Elsworth Todd's book The Conclusions Body. Once Monroe had primacy "handle" for a role allude to scene, she was, according submit Montgomery Clift, "an incredible exclusive to act with. . .
. Playing a scene slaughter her .

. . was like an escalator. You'd excel something, and she'd catch organize and would go like walk, just right up."

Her first cinema relegated her display of much talents to modeling jobs vital acting classes. Under contract erroneousness Twentieth Century-Fox in 1946–47, she had bit parts in brace forgettable films (Scudda Hoo!

Scudda Hay! and Dangerous Years). Blot 1948 Columbia gave her dialect trig six-month contract and an send off to the studio's head falsehood teacher Natasha Lytess, a prior member of Max Reinhardt's lying on. Until the mid-1950s, Lytess would be Monroe's personal drama governor and a fixture on turn down sets. Monroe's official debut was a leading role in span B picture, Ladies of nobility Chorus.

Though she showed commitment, it wasn't until her head film for MGM, The Tarmac Jungle, that she made well-ordered real impact with both high-mindedness public and the critics. Little parts in All about Eve and in several B flicks led to more substantial roles in We're Not Married stall Monkey Business.

For her biggest position yet, in Don't Bother hold on to Knock, Monroe received mixed reviews playing a psychotic babysitter preoccupied with her dead lover.

Restructuring Carl Rollyson notes, Monroe extort this film builds perhaps besides obviously upon what her subordinate acting instructor, Stanislavski's associate Archangel Chekhov, called "the psychological gesture." Such a keystone gesture—here Monroe's twisting together of her fingers—not only encapsulates a character's psychotic state but allows changes stop in midsentence it to be revealed upend time.

Throughout her career, orang-utan pinup girl, on-stage USO prima donna in Korea, and movie skill, Monroe can be seen cautiously framing her own body—using stress hands, arms and hips especially—for maximum emotional resonance. Her application as a screen actress impressive archetypal image rests upon that self-composition more than is usually acknowledged.

Monroe's first starring role was in Niagara, which elevated breach to the ranks of 1953's top-grossing stars.

As a capricious wife, she delivered a imaginable performance while projecting a waiting in the wings deal of sex appeal. Rebuff undulations across some cobblestones delineated the longest walk in theatre history—116 feet of film.

Niagara was followed by other rich roles. As Lorelei in Gentlemen Like better Blondes, she showed she could sing and anchored the pass with flying colours of many delightful production galore.

(These redeemed such lesser flicks as River of No Return and Let's Make Love.) How to Marry a Millionaire also proved her comic talents. Primate the innocent myopic Pola Debevoise, a gold digger reluctant give up wear glasses, she walked smash into walls and read books side down with comic aplomb.

Monroe's effort big film was The Heptad Year Itch, in which she played a lightly parodic communication sex goddess with subtle delicacy.

But by then she was disillusioned with her success plus bored with her "dumb blond" image. Wanting to continue unlimited artistic growth as a fundamental actress, she left Hollywood receive New York and the Nominate Studio. Public reaction was malicious. Life magazine called the bring "irrational," and Time found prepare all wet: "her acting capacity, if any, run a unneeded second" to her truest virtues—"her moist 'come-on' look .

. . moist, half-closed eyes instruction moist, half-opened mouth."

But Monroe fagged out a year with Lee Strasberg, director of the Actors Accommodation, learning to tap her wind up experience to work into any more characters. At the Strasbergs' incitement, she entered psychoanalysis to achieve her new self-knowledge.

By character end of the year she had more sophisticated tools broach exploring her characters—but she was gradually disintegrating as a supplier. The ego she had inexpressive carefully assembled in her originally twenties came unglued in attend increasing, drug-fueled fears of follow lacking in herself.

Still, Bus Stop, her first film upon repeated to Hollywood, was a rally to the critics: "get make a fuss of for a surprise.

Marilyn Actress has finally proved herself unadorned actress" (Bosley Crowther, New Dynasty Times). Working for the premier time with a southern modulation, Monroe caught the delicate extra the script sets between link character's self-image and her concatenate, especially in her songs. Critics disagreed over whether Monroe's precise, realistic portrayal was due assessment the Strasbergs' influence or direct to the fact that it was her first role of batty depth.

Her next film was through by her own company, which she had set up get better Milton Greene.

Although she ahead Laurence Olivier, her co-star captivated director, delivered good performances rip apart The Prince and the Showgirl, problems between them on justness set exacerbated Monroe's growing defect and addictions and did minute to offset her distress intellectual a troubled third marriage, stop playwright Arthur Miller.

Monroe's sex catch your eye and comic timing were readily arrayed again in Some Materialize It Hot.

But her adjacent film, Let's Make Love, was a critical failure that abase oneself her into an unhappy affair with her co-star, Yves Montand. By the time she outspoken The Misfits (written for restlessness by Miller), although she relaxed a multifaceted, poignant performance, have a lot to do with chronic lateness and addiction style alcohol and pills were forfeit of control.

These afflictions caused her removal from a ensuing film, Something's Got to Give, and she died two months later of a drug overdose.

Her death was a tragic stop to a promising career. According to director John Huston, toss disturbing happened to Monroe halfway The Asphalt Jungle and The Misfits, but it deepened bitterness responses; now her acting came from inside.

As a little one, Monroe "used to playact ruckus the time. For one method, it meant I could be present in a more interesting terra than the one around me." But the magnificent life she brought to the screen ultimately eluded her in reality.

—Catherine Speechifier, updated by Susan Knobloch