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Barbara Leaming's Marilyn Monroe is a complex, sympathetic portrait that will forever change the way we view the most enduring icon of America sexuality. To those who think they have heard all there is to hear about Marilyn Monroe, think again. Leaming's book tells a brand-new tale of sexual, psychological, and political intrigue of the highest order. Told for the first time in all its complexity, this is a compelling portrait of a woman at the center of a drama with immensely high stakes, a drama in which the ...
Barbara Leaming's Marilyn Monroe is a complex, sympathetic portrait that will forever change the way we view the most enduring icon of America sexuality. To those who think they have heard all there is to hear about Marilyn Monroe, think again. Leaming's book tells a brand-new tale of sexual, psychological, and political intrigue of the highest order. Told for the first time in all its complexity, this is a compelling portrait of a woman at the center of a drama with immensely high stakes, a drama in which the other players are some of the most fascinating characters from the worlds of movies, theater, and politics. It is a book that shines a bright light on one of the most tumultuous, frightening, and exciting periods in American culture.
Basing her research on new interviews and on thousands of primary documents—including revealing letters by Arthur Miller, Elia Kazan, John Huston, Laurence Olivier, Tennessee Williams, Darryl Zanuck, Marilyn's psychiatrist Dr. Ralph Greenson, and many others—Leaming has reconstructed the tangle of betrayal in Marilyn's life. For the first time, a master storyteller has put together all of the pieces and told Marilyn's story with the intensity and drama it so richly deserves.
At the heart of this book is a sexual triangle and a riveting story that has never been told before. You will come away filled with new respect for Marilyn's incredible courage, dignity, and loyalty, and an overwhelming sense of tragedy after witnessing Marilyn, powerless to overcome her demons, move inexorably to her own final, terrible betrayal of herself.
Marilyn Monroe is a book that will make you think—and will break your heart.
Place this in the hands of not only those readers who are nuts over Hollywood but also those who simply enjoy well-done biographies.
On January 16, 1951, a black Lincoln convertible pulled into the driveway at 2000 Coldwater Canyon Drive in Beverly Hills. Arthur Miller and Elia Kazan had just traveled cross-country by train from New York. Miller, tall and lean, had a dark, angular, weathered face and a receding hairline. Kazan, known as Gadget or Gadg to his friends, was small with a large nose and a mop of wavy black hair. The men were in Los Angeles to set up their first film together. Miller had written a screenplay for Kazan to direct, and both had a great deal riding on the venture. But already there was a serious problem. On the train, Kazan had read the most recent draft of The Hook, a story of union corruption on the Brooklyn waterfront, and he'd been disappointed by what Miller had accomplished so far. Kazan made it clear that the script needed to be much better.
Greeted at the front door by a servant, Miller and Kazan entered the home of Charles Feldman, a prominent Hollywood agent and independent film producer. He was producing Kazan's latest project, the film of Tennessee Williams's A Streetcar Named Desire, starring Marlon Brando and Vivien Leigh. As Feldman told his friend and investor Joseph P. Kennedy, he believed that Kazan's work had been outstanding. Shooting had been completed before the holidays, but some post-production work remained to be done. Feldman, away on business and anxious to keep the director happy, had offered Kazan the run of his art-filled house. An inveterate collector, Feldman purchased paintings and bibelots in quantity, often sight unseen. The furniture, mostly English antiques and modern pieces, was kept to a minimum to emphasize the Chagalls, Renoirs, and Toulouse-Lautrecs that covered the walls. There were Thai bronze Buddhas. There were Ming and Sui stone heads. There were Tang and Chou horses and birds.
In the garden, steps led up to a heated swimming pool, beside which Miller set up his typewriter on a glass table. To understand the strain he was under, it is essential to keep in mind that The Hook was not just any screenplay. It was to be the work with which Miller followed Death of a Salesman, which had been a huge success on Broadway in 1949, directed by Kazan. Many critics thought the thirty-three-year-old Miller had written the great American play, and some pronounced it the century's finest drama. There was a price to be paid for acclaim of that magnitude. After the premiere, Miller confided to his producer, Kermit Bloomgarden, that he knew he was going to have a hell of a time topping that. Indeed, there had been moments when Miller wondered whether he would be able to write another play at all.
As Kazan perceived, Miller was not a playwright who invented stories. He needed to find his material in his own life. Yet The Hook was not based on anything Miller had actually experienced. The screenplay did not come out of a crisis that he himself had endured, and as a result he did not completely trust it. Miller began to worry that for a man his age, he had not lived enough. Yet the pressure was on to revise quickly while they pitched to Twentieth, Warner Bros., and Columbia Pictures. Unfortunately, Miller was not like his rival Tennessee Williams, who could work anywhere, under almost any conditions. He was a creature of routine, who found it difficult to write in unfamiliar surroundings.
Adding to the playwrights pressures was the threat of losing Kazan. In a period dubbed by the critic Brooks Atkinson the Williams/Miller era, Kazan seemed at times to enjoy playing each against the other. Kazan, wavering provocatively between the two, had finally chosen to film A Streetcar Named Desire instead of Death of a Salesman. Afterward, when Williams had had every expectation that Kazan would do his new play, The Rose Tattoo, on Broadway, the director jumped ship at the last minute, going off to Los Angeles for The Hook. Evidently, Kazan was not about to give either playwright reason to take him for granted. Always the director, he controlled people and situations; he didn't like being controlled by them.
Kazan was then probably the most powerful director in America. On Broadway, he had directed three Pulitzer Prize-winning plays. His association with Miller and Williams had earned him a reputation for being a playwright's director, but he was also clearly an actor's director. His work with Marlon Brando in the first stage production of A Streetcar Named Desire in 1947 had broken exciting new ground. In Hollywood, he'd negotiated a six-picture, non-exclusive deal with Twentieth Century Fox, at the highest per-picture director's salary the studio had ever agreed to pay. Kazan had already won an Academy Award as Best Director for Gentleman's Agreement, but it was Streetcar, on which the advance word was spectacular, that promised to be his watershed. Before that, despite the Oscar, Kazan had confided in Williams that he didn't really know how to make films yet. In Streetcar, Kazan demonstrated the mastery he so often showed on stage. The Hook was particularly important to Kazan, since he needed to follow Streetcar with another great film; that's why the current draft had been such a big disappointment. As it was, the script wasn't going to give either man what he needed.
There was an even greater pressure burdening Kazan. The House Un-American Activities Committee, which since 1938 had been attempting to document the Communist infiltration of American film and theater, was preparing to launch motion picture industry hearings in March. Its investigations had been given new and vigorous life by Americas entry into the Korean War in 1950. Having belonged to the Communist Party for about nineteen months between 1934 and 1936, Kazan figured it was only a matter of time before HUAC summoned him. He was visible. He was successful. He was very much in demand. Those qualities made him a prime target for a committee whose raison dêtre, in large part, was publicity. If they call me, I'll tell them to go fuck themselves, Kazan vowed to Kermit Bloomgarden. If he did that, his Hollywood career would be destroyed. The inevitability seemed to shadow Kazan's every action.
The climate of fear in Hollywood also had an impact on the particular project he and Miller were selling. When they met with Darryl Zanuck in his high-domed office at Twentieth Century Fox, the production chief turned down The Hook because of its politically sensitive subject matter. Zanuck, though eager to begin Kazan's next film, wouldn't touch Miller's script, concerned as it was with unions and labor. Abe Lastfogel, Kazan's agent at William Morris, left the meeting and went directly to Warner Bros. to try his luck there.
Meanwhile, Kazan had something else he wanted to do on the Fox lot. Ostensibly, he took Miller to the set of As Young as You Feel to visit the director, Harmon Jones, who had previously worked as Kazan's film editor. But the real reason was to see a girl he had heard about from Charlie Feldman. The detour offered a way to blow off some of the tension.
Before Miller and Kazan actually saw her, her name echoed through the studio. Marilyn! an assistant shouted frantically while Jones told Kazan about the trouble he'd been having with the twenty-four-year-old actress. She was forever disappearing from the set. Worse, when she returned, her eyes were often swollen from crying, making it difficult to film her. Fortunately, her role was a small one. This was to be her final day, if only Jones could get the shots he needed. She appeared at last, her skin-tight black dress disclosing a body perfect even by Hollywood standards. She had blue-gray eyes, a turned-up nose, and luminous white skin. She wore her fine blonde hair pinned on top of her head.
Marilyn Monroe was in crisis. When she finished work on this picture, she had no further assignments. After today, she had nothing to do and nowhere to go. A career that meant everything to her might well be over. Though Marilyn was under contract to Twentieth, Darryl Zanuck, who loathed her, was unlikely to pick up her option in May. Though she had signed a three-year contract with the William Morris Agency as recently as December 5, suddenly no one there would take her calls. Marilyn felt as if she were about to fall off the face of the earth.
Highlighting Marilyn's predicament was the fact that she had just had the best year of her professional life. She owed it all to Johnny Hyde, a partner and senior agent at William Morris. For two years, he had worked tirelessly on her behalf. Very much in love with Marilyn, the dwarf-like agent believed in her, and in her dream of being a star, as no one had done before.
|List of Illustrations||vii|
|Notes on Sources||432|
Posted May 17, 2012
Was interested in learning more about her life but I found this book dragged on talking more about the people surrounding Marilyn and their lives rather than hers.
3 out of 3 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted December 29, 2011
I would definitly recomend it too anyone eger to learn about her life, husbands, sexual experiances, and tragic death. I am in the 6th grade so some of it is a bit inapropreate, but ither way i can make an exception. I am a total monroe junkie and have loved finding ways that she and me are similor.
2 out of 5 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted December 6, 2011
although this book doesn't talk about a whole lot of her childhood, it is very detailed in the rest of her life. it gives detailed occurences of most of the movies she made and detailed dilemas that she faced on a day-to-day basis. it also goes very in-depth about the people around her and her husbands. i would definitely recommend it!
1 out of 1 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted December 6, 2011
it is a great book to read if you wish to have a much deeper knowledge about Marilyn manroes life. It is well written and easy to follow. I would most certainly reccomend it to a friend. The author did a great job, by telling a very detailed story of her life. Just by reading the first few pages of it you are eager to find out mroe about her unpredictable life. reading this book is deffinatly a positive experience.
1 out of 1 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted November 6, 2011
I was so disappointed in this book. It's very dry, reads like a compilation of production notes from her movie sets plus newspaper articles, with a thesis thrown in on the writings of Arthur Miller and how his wife Marilyn influenced his work. The insights into Miller's writing is interesting, but you have to know that that's what you're in for before reading this book. Personally, I was in the mood for more Marilyn.
1 out of 2 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted November 20, 2013
Posted November 24, 2012
Very personal look at what it must have been like to be closely involved with Marilyn--her drug abuse, emotional dependency, paranoia. Still doesn't detract from the attraction she holds for us all, for some reason. She knew what she wanted to be from childhood, and she became that despite all her fears--one of the biggest fear was acting, ironically.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted September 21, 2012
Posted April 11, 2012
Posted April 17, 2010
Very touching look at how Monroe struggled with self-esteem and apparent inherited mental illness. Gives her a much more substantive image - way more intelligence behind this sexy beauty than I ever realized.... Also an interesting look at other famous people during these times. Highly recommended for anyone aware of what was going on in the 50's - it will fill you in on a lot of what was happening behind the scenes....Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted April 9, 2010
New insight into the relationship between Arthur Miller & Marilyn, absolutely falls flat for the last 8 months of her life. No energy & a terribly dull ending to the life story of a woman who still almost 50 years later generates interest. Her concensus that her dealth is a suicide and nothing more is a boorish way to end the book.
Just decided to change my overall rating, as I rethink the writing.
Posted December 1, 2009
Although the book was okay, it seemed to me that it focused too much around the circumstances and people surrounding the movies productions Marilyn was involved with. All of that seemed to be filler for a biography that doesn't offer much more than any other book about her.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted March 4, 2009
I bought this book because my daughter wanted to write a report about Marilyn Monroe. Why? I have no idea. After she finished with it, I picked it up and read it. I thought the author had a few bits of gossip that she stretched to the maximum. There was one part of the book in which the author recounts a dinner meeting, and she describes in detail what some woman (not Marilyn Monroe) wore to the dinner. It was almost like the only information she had about this event was a photograph, and she described everything she saw in the photo. I wish I could say I hung onto the book, but I no longer have it. I donated it to a "Friends of the Library" book sale for our local public library.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted March 1, 2008
Posted October 9, 2007
This biography of Marilyn Monroe focused on a few certain subjects instead of focusing on all subjects in her life. The book talked a lot of about Marilyn's marriage with Arthur Miller, but not as much with Joe DiMaggio. It also talked about all of her accomplishments and also the affair she had with John F. Kennedy. It didn't explain much of her childhood and why she changed her name, and also how she got into the acting career which would have made the book better. I wish they would have talked about why her death is still a mystery.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted October 4, 2004
this bbok would be good for any Marilyn Monroe fan because it does tell a lot about her and her relationships to Arthur Miller and Joe DI MAGGIO. I would recommend it to anybody that likes Marilyn Monroe a lotWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted March 25, 2003
the book focuses mostly on marilyns life with miller, it barely mentions dimaggio and doesnt leave any room for the mystery surrondong her death or life. it doesnt mention any of the scandal and missing things regarding her death. i feel that the book shouldve been named arthuer and marilyn. it was informative but other books have done a better job exploring and explaining her life. her deathwasnt as clean cut as it sounded in the book and i felt that it shouldve been. overall the book was good but borrow it from someone, dont buy it and dont expect to hear much else excpet for her life with miller.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted December 29, 2001
She had it all but happiness. If she were here, I would give it all to her. This book makes you want to give anything just to see her laugh. How sad it was for her to live that roller-coaster life that flesh and spirit could not survive. After reading this novel, there will not be a day that goes by you will not think of her. The spirit of an tormented soul cries out the truth on these pages.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted March 27, 2000
Great biography of Marilyn. If you want more on the trouble behind the making of Monroe's last film, The Misfits, check out John W. Law's Curse of the Silver Screen - Tragegy & Disaster Behind the MoviesWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted November 22, 2009
No text was provided for this review.