MARILYN MONROE
Beautiful 4¼ x 6 in. photo postcard Printed on cardstock by Northern California art publisher,
Pomegranate Publications. Published in 1990; Out of print = = = = = = = = = = = = = Marilyn Monroe (1926-1962) Publisher: Pomegranate Publications (# 2149) © The Estate of Marilyn Monroe. Represented by The Roger Richman Agency, Inc., Beverly Hills, CA Photograph courtesy Motion Picture and Television Photo Archive © = = = = = = = = = = = = =Brand New, vintage post card in mint condition. Please ask about combined shipping discount. = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = Marilyn MonroeFrom Wikipedia, the free encyclopedia Norma Jeane Mortensen Baker (June 1, 1926 – August 5, 1962), professionally recognized as Marilyn Monroe, was an American actress, model, and singer, who became a major sex symbol, starring in a number of commercially successful motion pictures during the 1950s and early 1960s. After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946 with Twentieth Century-Fox. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950) drew attention to her. By 1953, Monroe had progressed to a leading role in Niagara (1953), a melodramatic film noir that dwelled on her seductiveness. Her "dumb blonde" persona was used to comic effect in subsequent films such as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953) and The Seven Year Itch (1955). Limited bytypecasting, Monroe studied at the Actors Studio to broaden her range. Her dramatic performance in Bus Stop (1956) was hailed by critics, and she received a Golden Globe nomination. Her production company, Marilyn Monroe Productions, released The Prince and the Showgirl (1957), for which she received a BAFTA Award nomination and won a David di Donatello award. She received a Golden Globe Award for her performance in Some Like It Hot(1959). Monroe's final completed film was The Misfits, co-starring Clark Gable with the screenplay written by her then-husband, Arthur Miller. The final years of Monroe's life were marked by illness, personal problems, and a reputation for being unreliable and difficult to work with. The circumstances of her death, from an overdose of barbiturates, have been the subject of conjecture. Though officially classified as a "probable suicide", the possibility of an accidental overdose, as well as the possibility of homicide, have not been ruled out. In 1999, Monroe was ranked as the sixth greatest female star of all time by the American Film Institute. In the years and decades following her death, Monroe has often been cited as both a pop and a cultural icon as well as the quintessential American sex symbol.
Family and early lifeMarilyn Monroe was born on June 1, 1926, in the Los Angeles County Hospital as Norma Jeane Mortenson (soon after changed to Baker), the third child born to Gladys Pearl Baker (née Monroe) (May 27, 1902 – March 11, 1984). Monroe's birth certificate names the father as Martin Edward Mortensen with his residence stated as "unknown". The name Mortenson is listed as her surname on the birth certificate, although Gladys immediately had it changed to Baker, the surname of her first husband and which she still used. Martin's surname was misspelled on the birth certificate leading to more confusion on who her actual father was. Gladys Baker had married a Martin E. Mortensen in 1924, but they had separated before Gladys' pregnancy. Several of Monroe's biographers suggest that Gladys Baker used his name to avoid the stigma of illegitimacy. Mortensen died at the age of 85, and Monroe's birth certificate, together with her parents' marriage and divorce documents, were discovered. The documents showed that Mortensen filed for divorce from Gladys on March 5, 1927, and it was finalized on October 15, 1928. Throughout her life, Marilyn Monroe denied that Mortensen was her father.[9] She said that, when she was a child, she had been shown a photograph of a man that Gladys identified as her father, Charles Stanley Gifford. She remembered that he had a thin mustache and somewhat resembled Clark Gable, and that she had amused herself by pretending that Gable was her father. Gladys was mentally unstable and financially unable to care for the young Norma Jeane, so she placed her with foster parents Albert and Ida Bolender ofHawthorne, California, where she lived until she was seven. One day, Gladys visited and demanded that the Bolenders return Norma Jeane to her. Ida refused, she knew Gladys was unstable and the situation would not benefit her young daughter. Gladys pulled Ida into the yard, then quickly ran back to the house and locked herself in. Several minutes later, she walked out with one of Albert Bolender's military duffel bags. To Ida's horror, Gladys had stuffed a screaming Norma Jeane into the bag, zipped it up, and was carrying it right out with her. Ida charged toward her, and their struggle split the bag apart, dumping out Norma Jeane, who wept loudly as Ida grabbed her and pulled her back inside the house, away from Gladys.[14] In 1933, Gladys bought a house and brought Norma Jeane to live with her. A few months later, Gladys began a series of mental episodes that would plague her for the rest of her life. In My Story, Monroe recalls her mother "screaming and laughing" as she was forcibly removed to the State Hospital in Norwalk.Marilyn Monroe was born on June 1, 1926, in the Los Angeles County Hospital[6] as Norma Jeane Mortenson (soon after changed to Baker), the third child born to Gladys Pearl Baker (née Monroe) (May 27, 1902 – March 11, 1984).[7] Monroe's birth certificate names the father as Martin Edward Mortensen with his residence stated as "unknown".[8] The name Mortenson is listed as her surname on the birth certificate, although Gladys immediately had it changed to Baker, the surname of her first husband and which she still used. Martin's surname was misspelled on the birth certificate leading to more confusion on who her actual father was. Gladys Baker had married a Martin E. Mortensen in 1924, but they had separated before Gladys' pregnancy.[9] Several of Monroe's biographers suggest that Gladys Baker used his name to avoid the stigma of illegitimacy.[10] Mortensen died at the age of 85, and Monroe's birth certificate, together with her parents' marriage and divorce documents, were discovered. The documents showed that Mortensen filed for divorce from Gladys on March 5, 1927, and it was finalized on October 15, 1928. Throughout her life, Marilyn Monroe denied that Mortensen was her father.[9] She said that, when she was a child, she had been shown a photograph of a man that Gladys identified as her father, Charles Stanley Gifford. She remembered that he had a thin mustache and somewhat resembled Clark Gable, and that she had amused herself by pretending that Gable was her father.[9][13] Norma Jeane was declared a ward of the state. Gladys' best friend, Grace McKee, became her guardian. It was Grace who told Monroe that someday she would become a movie star. Grace was captivated by Jean Harlow, and would let Norma Jeane wear makeup and take her out to get her hair curled. They would go to the movies together, forming the basis for Norma Jeane's fascination with the cinema and the stars on screen. When Norma Jeane was 9, McKee married Ervin Silliman "Doc" Goddard in 1935, and subsequently sent Monroe to the Los Angeles Orphans Home (later renamed Hollygrove), followed by a succession of foster homes. While at Hollygrove, several families were interested in adopting her; however, reluctance on Gladys' part to sign adoption papers thwarted those attempts. In 1937, Monroe moved back into Grace and Doc Goddard's house, joining Doc's daughter from a previous marriage. Due to Doc's frequent attempts to sexually assault Norma Jeane, this arrangement did not last long. Grace sent Monroe to live with her great-aunt, Olive Brunings in Compton, California; this was also a brief stint ended by an assault (some reports say it was sexual)--one of Olive's sons had attacked the now middle-school-aged girl. Biographers and psychologists have questioned whether at least some of Norma Jeane's later behavior (i.e. hypersexuality, sleep disturbances, substance abuse, disturbed interpersonal relationships), was a manifestation of the effects of childhood sexual abuse in the context of her already problematic relationships with her psychiatrically ill mother and subsequent caregivers. In early 1938, Grace sent her to live with yet another one of her aunts, Ana Lower, who lived in Van Nuys, another city in Los Angeles County. Years later, she would reflect fondly about the time that she spent with Lower, whom she affectionately called "Aunt Ana". She would explain that it was one of the only times in her life when she felt truly stable. As she aged, however, Lower developed serious health problems. In 1942, Monroe moved back to Grace and Doc Goddard's house. While attending Van Nuys High School, she met a neighbor's son, James Dougherty (more commonly referred to as simply "Jim"), and began a relationship with him. Several months later, Grace and Doc Goddard decided to relocate to Virginia, where Doc had received a lucrative job offer. Although it was never explained why, they decided not to take Monroe with them. An offer from a neighborhood family to adopt her was proposed, but Gladys rejected the offer. With few options left, Grace approached Dougherty's mother and suggested that Jim marry her so that she would not have to return to an orphanage or foster care, as she was two years below the California legal age. Jim was initially reluctant, but he finally relented and married her in a ceremony arranged by Ana Lower. During this period, Monroe briefly supported her family as a homemaker.[18][21] In 1943, during World War II, Dougherty enlisted in the Merchant Marine. He was initially stationed on Santa Catalina Island off California's west coast, and Monroe lived with him there in the town of Avalon for several months before he was shipped out to the Pacific. Frightened that he might not come back alive, Monroe begged him to try and get her pregnant before he left. Dougherty disagreed, feeling that she was too young to have a baby, but he promised that they would revisit the subject when he returned home. Subsequently, Monroe moved in with Dougherty's mother. CareerEarly work: 1945–1947Norma Jeane became one of Blue Book's most successful models; she appeared on dozens of magazine covers. Her successful modeling career brought her to the attention of Ben Lyon, a 20th Century Fox executive, who arranged a screen test for her. Lyon was impressed and commented, "It's Jean Harlow all over again."[23]She was offered a standard six-month contract with a starting salary of $125 per week. Lyon did not like the name Norma Jeane and chose "Carole Lind" as a stage name, after Carole Lombard and Jenny Lind, but he soon decided it was not an appropriate choice. Monroe was invited to spend the weekend with Lyon and his wifeBebe Daniels at their home. It was there that they decided to find her a new name. Following her idol Jean Harlow, she decided to choose her mother's maiden name of Monroe. Several variations such as Norma Jeane Monroe and Norma Monroe were tried and initially "Jeane Monroe" was chosen. Eventually, Lyon decided Jeane and variants were too common, and he decided on a more alliterative sounding name. He suggested "Marilyn", commenting that she reminded him of Marilyn Miller. Monroe was initially hesitant because Marilyn was the contraction of the name Mary Lynn, a name she did not like.[citation needed] Lyon, however, felt that the name "Marilyn Monroe" was sexy, had a "nice flow", and would be "lucky" due to the double "M"[24] and thus Norma Jeane Baker took the name of Marilyn Monroe.While Dougherty served in the Merchant Marine, his wife began working in the Radioplane Munitions Factory, mainly spraying airplane parts with fire retardant and inspecting parachutes. During that time, David Conover of the US Army's 1st Motion Picture Unit noticed her and snapped a series of photographs, none of which appeared in Yank magazine,[22] although some still claim this to be the case. He encouraged her to apply to The Blue Book Modeling Agency. She signed with the agency and began researching the work of Jean Harlow and Lana Turner. She was told that they were looking for models with lighter hair, so Norma Jeane bleached her brunette hair to a golden blonde. The actress's first movie role was an uncredited role as a telephone operator in The Shocking Miss Pilgrim in 1947, starring Betty Grable.[25] She won a brief role that same year in Dangerous Yearsand extra appearances in the western film Green Grass of Wyoming starring Peggy Cummins and the musical film You Were Meant for Me starring Jeanne Crain and Dan Dailey. She also won a three-scene role as Betty in Scudda Hoo! Scudda Hay!, but before the film's release her part was cut-down to a brief one-line scene.[26] Monroe's latest three films wouldn't be released until 1948, which was months after her contract had ended in late 1947. Breakthrough: 1948–1951In 1948, Monroe signed a six-month contract with Columbia Pictures and was introduced to the studio's head drama coach Natasha Lytess, who became her acting coach for several years.[27] She starred in the low-budget musical Ladies of the Chorus (1948). Monroe was capitalized as one of the film's bright spots, and the film enjoyed only moderate success.[28] During her short stint at Columbia, studio head Harry Cohn softened her appearance somewhat by correcting a slight overbite she had. After the release of the poorly reviewed Ladies of the Chorus and being dropped by Columbia, Monroe had to struggle to find work. She particularly wanted film work, and when the offers didn't come, she returned to modeling. In 1949, she caught the eye of photographer Tom Kelley and he convinced her to pose nude. Monroe was laid out on a large fabric of red silk and posed for countless shots. She was paid $50 and signed the model release form as "Mona Monroe". This was the only time that Monroe was paid for her nude posing.
Leading films: 1952–1955In March 1952, Monroe faced a possible scandal when one of her nude photos from her 1949 session with photographer Tom Kelley was featured in a calendar. The press speculated about the identity of the anonymous model and commented that she closely resembled Monroe. As the studio discussed how to deal with the problem, Monroe suggested that she should simply admit that she had posed for the photograph but emphasize that she had done so only because she had no money to pay her rent.[36] She gave an interview in which she discussed the circumstances that led to her posing for the photographs, and the resulting publicity elicited a degree of sympathy for her plight as a struggling actress.[36] She made her first appearance on the cover of Life magazine in April 1952, where she was described as "The Talk of Hollywood".[37] The following year, she was photographed by noted Life magazine photographer Alfred Eisenstaedt, considered "The father of photojournalism."[38][39] He photographed Monroe on the patio of her Hollywood home. Many of the images from that sitting have been reproduced in numerous subsequent publications and by Life magazine.[40][41] Monroe was pleased with his images of her, later telling him, "You made a palace out of my patio." Stories of her childhood and upbringing portrayed her in a sympathetic light: a cover story for the May 1952 edition of True Experiences magazine showed a smiling and wholesome Monroe beside a caption that read, "Do I look happy? I should — for I was a child nobody wanted. A lonely girl with a dream — who awakened to find that dream come true. I am Marilyn Monroe. Read my Cinderella story." It was also during this time that she began dating baseball player Joe DiMaggio. A photograph of DiMaggio visiting Monroe at the 20th Century Fox studio was printed in newspapers throughout the United States, and reports of a developing romance between them generated further interest in Monroe. Four films in which Monroe featured were released beginning in 1952. She had been lent to RKO Studios to appear in a supporting role in Clash by Night, a Barbara Stanwyck drama, directed by Fritz Lang. Released in June 1952, the film was popular with audiences, with much of its success credited to curiosity about Monroe, who received generally favorable reviews from critics.[46]
Monroe next replaced Betty Grable in the musical film Gentlemen Prefer Blondes (1953) co-starring Jane Russell and directed by Howard Hawks. Her role as Lorelei Lee, a gold-digging showgirl, required her to act, sing, and dance. The two stars became friends, with Russell describing Monroe as "very shy and very sweet and far more intelligent than people gave her credit for".[58] She later recalled that Monroe showed her dedication by rehearsing her dance routines each evening after most of the crew had left, but she arrived habitually late on set for filming. Realizing that Monroe remained in her dressing room due to stage fright, and that Hawks was growing impatient with her tardiness, Russell started escorting her to the set.[59]Much of the critical commentary following the release of the film focused on Monroe's overtly sexual performance,[50] and a scene which shows Monroe (from the back) making a long walk toward Niagara Fallsreceived frequent note in reviews.[53] After seeing the film, Constance Bennett reportedly quipped, "There's a broad with her future behind her."[54] Whitey Snyder also commented that it was during preparation for this film, after much experimentation, that Monroe achieved "the look, and we used that look for several pictures in a row ... the look was established."[53] While the film was a success, and Monroe's performance had positive reviews, her conduct at promotional events sometimes drew negative comments. Her appearance at the Photoplay awards dinner in a skin-tight gold lamé dress was criticized. Monroe had previously received criticism for wearing a dress with a neckline cut almost to her navel when she acted as Grand Marshall at the Miss America Parade in September 1952.[56] A photograph from this event was used on the cover of the first issue of Playboy in December 1953, with a nude photograph of Monroe, taken in 1949, inside the magazine.[57] At the Los Angeles premiere of the film, Monroe and Russell pressed their hand- and footprints in the cement in the forecourt of Grauman's Chinese Theatre. Monroe received positive reviews and the film grossed more than double its production costs.[60] Her rendition of "Diamonds Are a Girl's Best Friend" became associated with her. Gentlemen Prefer Blondes also marked one of the earliest films in which William Travilla dressed Monroe. Travilla dressed Monroe in eight of her films including Bus Stop, Don't Bother to Knock, How to Marry a Millionaire, River of No Return, There’s No Business Like Show Business, Monkey Business, and The Seven Year Itch.[61] How to Marry a Millionaire was a comedy about three models scheming to attract wealthy husbands. The film teamed Monroe with Betty Grable (who she replaced in Gentlemen Prefer Blondes) and Lauren Bacall, and was directed by Jean Negulesco.[62] The producer and scriptwriter, Nunnally Johnson, said that it was the first film in which audiences "liked Marilyn for herself [and that] she diagnosed the reason very shrewdly. She said that it was the only picture she'd been in, in which she had a measure of modesty... about her own attractiveness."[63] Monroe's films of this period established her "dumb blonde" persona and contributed to her popularity. In 1953 and 1954, she was listed in the annual "Quigley Poll of the Top Ten Money Making Stars", which was compiled from the votes of movie exhibitors throughout the United States for the stars that had generated the most revenue in their theaters over the previous year.[64] "I want to grow and develop and play serious dramatic parts. My dramatic coach, Natasha Lytess, tells everybody that I have a great soul, but so far nobody's interested in it." Monroe told the New York Times.[65] She saw a possibility in 20th Century Fox's upcoming film, The Egyptian, but was rebuffed by Darryl F. Zanuck who refused to screen test her.[66] Instead, she was assigned to the western River of No Return, opposite Robert Mitchum. Director Otto Preminger resented Monroe's reliance on Natasha Lytess, who coached Monroe and announced her verdict at the end of each scene. Eventually Monroe refused to speak to Preminger, and Mitchum had to mediate.[67] Of the finished product, she commented, "I think I deserve a better deal than a grade Z cowboy movie in which the acting finished second to the scenery and the CinemaScope process."[68] In late 1953 Monroe was scheduled to begin filming The Girl in Pink Tights with Frank Sinatra. When she failed to appear for work, 20th Century Fox suspended her.[69]
Returning to Hollywood in March 1954, Monroe settled her disagreement with 20th Century Fox and appeared in the musical There's No Business Like Show Business. The film failed to recover its production costs[68] and was poorly received. Ed Sullivan described Monroe's performance of the song "Heat Wave" as "one of the most flagrant violations of good taste" he had witnessed.[72] Time magazine compared her unfavorably to co-star Ethel Merman, while Bosley Crowther for The New York Times said that Mitzi Gaynor had surpassed Monroe's "embarrassing to behold" performance.[73] The reviews echoed Monroe's opinion of the film. She had made it reluctantly, on the assurance that she would be given the starring role in the film adaptation of the Broadway hit The Seven Year Itch.[74] Monroe and Joe DiMaggio were married in San Francisco on January 14, 1954. They traveled to Japan soon after, combining a honeymoon with a business trip previously arranged by DiMaggio. For two weeks she took a secondary role to DiMaggio as he conducted his business, having told a reporter, "Marriage is my main career from now on."[70] Monroe then traveled alone to Korea where she performed for 13,000 American Marines over a three-day period. She later commented that the experience had helped her overcome a fear of performing in front of large crowds.[71] Milton Greene had first met Monroe in 1953 when he was assigned to photograph her for Look magazine. While many photographers tried to emphasize her sexy image, Greene presented her in more modest poses, and she was pleased with his work. As a friendship developed between them, she confided to him her frustration with her 20th Century Fox contract and the roles she was offered. Her salary for Gentlemen Prefer Blondes amounted to $18,000, while freelancer Jane Russell was paid more than $100,000.[82] Greene agreed that she could earn more by breaking away from 20th Century Fox. He gave up his job in 1954, mortgaged his home to finance Monroe, and allowed her to live with his family as they determined the future course of her career.[83]One of Monroe's most notable film roles was shot in September 1954, a skirt-blowing key scene for The Seven Year Itch on Lexington Avenue at 52nd Street in New York City. In it, she stands with her co-star, Tom Ewell, while the air from a subway grating blows her skirt up. A large crowd watched as director Billy Wilder ordered the scene to be refilmed many times. Joe DiMaggio was reported to have been present and infuriated by the spectacle.[76] After a quarrel, witnessed by journalist Walter Winchell, the couple returned to California where they avoided the press for two weeks, until Monroe announced that they had separated.[77] Their divorce was granted in November 1954.[78] The filming was completed in early 1955, and after refusing what she considered to be inferior parts in The Girl in the Red Velvet Swing and How to Be Very, Very Popular, Monroe decided to leave Hollywood on the advice of Milton Greene. The Seven Year Itch was released and became a success, earning an estimated $8 million.[79] Monroe received positive reviews for her performance and was in a strong position to negotiate with 20th Century Fox.[79] On New Year's Eve 1955, they signed a new contract which required Monroe to make four films over a seven-year period. The newly formed Marilyn Monroe Productions would be paid $100,000 plus a share of profits for each film. In addition to being able to work for other studios, Monroe had the right to reject any script, director or cinematographer she did not approve of.[80][81] On April 8, 1955, veteran journalist Edward R. Murrow interviewed Greene and his wife Amy, as well as Monroe, at the Greenes' home in Connecticut on a live telecast of the CBS program Person to Person. The kinescope of the telecast has been released on home video.[84] Truman Capote introduced Monroe to Constance Collier, who gave her acting lessons. She felt that Monroe was not suited to stage acting, but possessed a "lovely talent" that was "so fragile and subtle, it can only be caught by the camera". After only a few weeks of lessons, Collier died. Monroe had met Paula Strasberg and her daughter Susan on the set of There's No Business Like Show Business,[86] and had previously said that she would like to study with Lee Strasberg at the Actors Studio. In March 1955, Monroe met with Cheryl Crawford, one of the founders of the Actors Studio, and convinced her to introduce her to Lee Strasberg, who interviewed her the following day and agreed to accept her as a student.[87] In May 1955, Monroe started dating playwright Arthur Miller; they had met in Hollywood in 1950 and when Miller discovered she was in New York, he arranged for a mutual friend to reintroduce them.[88] On June 1, 1955, Monroe's birthday, Joe DiMaggio accompanied Monroe to the premiere of The Seven Year Itch in New York City. He later hosted a birthday party for her, but the evening ended with a public quarrel, and Monroe left the party without him. A lengthy period of estrangement followed.[89][90] Throughout that year, Monroe studied with the Actors Studio, and found that one of her biggest obstacles was her severe stage fright. She was befriended by the actors Kevin McCarthy and Eli Wallach who each recalled her as studious and sincere in her approach to her studies, and noted that she tried to avoid attention by sitting quietly in the back of the class.[91] When Strasberg felt Monroe was ready to give a performance in front of her peers, Monroe and Maureen Stapleton chose the opening scene from Eugene O'Neill's Anna Christie, and although she had faltered during each rehearsal, she was able to complete the performance without forgetting her lines.[92] Kim Stanley later recalled that students were discouraged from applauding, but that Monroe's performance had resulted in spontaneous applause from the audience.[92] While Monroe was a student, Lee Strasberg commented, "I have worked with hundreds and hundreds of actors and actresses, and there are only two that stand out way above the rest. Number one is Marlon Brando, and the second is Marilyn Monroe."[92] The first film to be made under the contract and production company was Bus Stop directed by Joshua Logan. Logan had studied under Constantin Stanislavski, approved of method acting, and was supportive of Monroe.[93] Monroe severed contact with her drama coach, Natasha Lytess, replacing her with Paula Strasberg, who became a constant presence during the filming of Monroe's subsequent films.[94] In Bus Stop, Monroe played Chérie, a saloon singer with little talent who falls in love with a cowboy, Beauregard "Bo" Decker, played by Don Murray. Her costumes, make-up and hair reflected a character who lacked sophistication, and Monroe provided deliberately mediocre singing and dancing. Bosley Crowther of The New York Times proclaimed: "Hold on to your chairs, everybody, and get set for a rattling surprise. Marilyn Monroe has finally proved herself an actress." In his autobiography, Movie Stars, Real People and Me, director Logan wrote, "I found Marilyn to be one of the great talents of all time... she struck me as being a much brighter person than I had ever imagined, and I think that was the first time I learned that intelligence and, yes, brilliance have nothing to do with education." Logan championed Monroe for an Academy Award nomination and complimented her professionalism until the end of his life.[95] Though not nominated for an Academy Award,[96] she received a Golden Globe nomination. Bus Stop was followed by The Prince and the Showgirl directed by Laurence Olivier, who also co-starred. Prior to filming, Olivier praised Monroe as "a brilliant comedienne, which to me means she is also an extremely skilled actress". During filming in England he resented Monroe's dependence on her drama coach, Paula Strasberg, regarding Strasberg as a fraud whose only talent was the ability to "butter Marilyn up". He recalled his attempts at explaining a scene to Monroe, only to hear Strasberg interject, "Honey — just think of Coca-Cola and Frank Sinatra."[97] Olivier later commented that in the film "Marilyn was quite wonderful, the best of all."[98] Monroe's performance was hailed by critics, especially in Europe, where she won the David di Donatello, the Italian equivalent of an Academy Award, as well as the French Crystal Star Award. She was also nominated for a BAFTA. It was more than a year before Monroe began her next film. During her hiatus, she summered with Miller in Amagansett, New York. She suffered a miscarriage on August 1, 1957.[99][100] Last films: 1958–1962 |
Year | Film title | Song title |
---|---|---|
1948 | Ladies of the Chorus | "Every Baby Needs a Da-Da-Daddy" |
"Anyone Can See I Love You" | ||
"Ladies Of The Chorus" | ||
1950 | A Ticket to Tomahawk | "Oh, What a Forward Young Man You Are" |
1953 | Niagara | "Kiss" |
1953 | Gentlemen Prefer Blondes | "Two Little Girls from Little Rock" |
"When Love Goes Wrong" | ||
"Bye Bye Baby" | ||
"Diamonds Are a Girl's Best Friend" | ||
"Four French Dances — Sur le balcon, La Tentateur, Sol taire, Parle d'affair" | ||
"Down Boy"' | ||
"When The Wild Wild Women Go Swimmin' Down In the Bimini Bay" | ||
1953 | Recordings for RCA | "She Acts Like A Woman Should" |
"You'd Be Surprised" | ||
"A Fine Romance" | ||
"Do It Again" | ||
1954 | River of No Return | "I'm Gonna File My Claim" |
"One Silver Dollar" | ||
"Down In The Meadow" | ||
"River Of No Return" | ||
1954 | There's No Business Like Show Business | "Heat Wave" |
"Lazy" | ||
"After You Get What You Want" | ||
"A Man Chases a Girl" | ||
1956 | Bus Stop | "That Old Black Magic" |
1957 | The Prince and the Showgirl | "I Found a Dream" |
1959 | Some Like It Hot | "Runnin' Wild" |
"I Wanna Be Loved By You" | ||
"I'm Through With Love" | ||
"Some Like It Hot" | ||
1960 | Let's Make Love | "My Heart Belongs to Daddy" |
"Specialization" | ||
"Let's Make Love" | ||
"Incurably Romantic" | ||
1962 | - | "Happy Birthday, Mr. President" |
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