The Secret Life Of Marilyn Monroe Part 20

I interviewed Stacy Baron on June 5, 2007.

Cathy interviewed Janet Leigh on July 1, 1991, and we utilized much of it here for background purposes.

I interviewed Frank Mankiewicz on August 27, 1998, and on October 5, 1998. Cathy interviewed Frank's son, Chris, in May 1999. Of interest to the reader may be that Frank Mankiewicz completed nine interviews for the Robert F. Kennedy Oral History Project: RFK#1: 6/26/1969; RFK#2: 7/10/1969; RFK#3: 8/12/1969; RFK#4: 9/30/1969; RFK#5: 10/2/1969; RFK#6: 11/6/1969; RFK#7: 11/25/1969; RFK#8: 12/4/1969; and RFK#9: 12/16/1969. Each is stunning in scope and can be found at the John F. Kennedy Presidential Library and Museum in Washington.

The following Secret Service agents a.s.signed to President John F. Kennedy were also interviewed: Anthony Sherman on September 29, 1998; Larry Newman on October 1, 1998, and October 13, 1998; and Joseph Paolella on September 12, 1998.

I interviewed Arlene Dahl on October 5, 2002.

I'd like to mention that once it became known that I was writing this book, many people contacted me and my researchers to tell me of their experiences with Marilyn Monroe. It was impossible to work all of their stories into this volume because of s.p.a.ce considerations. I feel badly that they so graciously gave of their time, only to then not appear in the text. Therefore, I would like to generally thank anyone who partic.i.p.ated in this project, named in the text or otherwise... and-who knows-maybe their stories will find their way into the paperback edition.

Specifically, I interviewed James Wright, Sinatra's chauffeur on April 16, 1997; Kennedy hairstylist Mickey Song twice-with Cathy Griffin on April 24, 1997, and with Charles Casillo on July 16, 1998. Cathy also conducted her own interview with him on August 17, 1991. Also, Cathy interviewed entertainment manager Jess Morgan on May 2, 1997; the talented Tony Martin and the beautiful Cyd Charisse on April 15, 1997; private investigator Fred Otash on August 29, 2001; Danny Cahn on April 28, 2008; and the wonderful Miss Ruta Lee on May 19, 2008. I also interviewed Cyd Charisse on June 1, 2007, regarding her role in Something's Got to Give Something's Got to Give. Jackie Bouvier Kennedy's cousin John Davis was interviewed in March 2008. No quotes from those sources were utilized in this book, but I referred to their stories for background purposes and certainly do thank them all for their time.

Cathy Griffin would like to thank the following people for helping to make her work on this project so much easier and worthwhile: Greg Shriner (of the "Marilyn Remembered" fan club), Harrison Held, Kathleen Hughes, Harlan Boll, Jayne Meadows, Larry Billman, Scott Fortner, Tanya Somova, Senator William J. Raggio, Dave Spencer, John Morris, Joshua Greene, and the Nevada Federal Bureau of Investigation.

And, in conclusion, James Pinkston wishes to acknowledge the following people for their help with his work on The Secret Life of Marilyn Monroe The Secret Life of Marilyn Monroe: Linda Harris Mehr, director of the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, and her dedicated staff, including Susan Oka; Jan and Ray Boyle (a.k.a. Jan Shepard and Dirk London); Armando Munoz, VideoWest; Robert T. Crane; Lisa and Chris Bonbright; Ron Parish; Meg Woodell Gregory; Hart Henson; David Streets, gallery director, Celebrity Vault; Marian Silverman; Gabriel Rotello; Cherry Vanilla; Hotch and Nita Rippere; Robert Schear; Joe Harvey; Hamilton Powell; Maude Schuyler Clay; Elizabeth Bowman Woolverton; Sandra Shafton; and Richard and Robert DuPont.

PERSONAL ACKNOWLEDGMENTS.

I want to thank Stephen Gregory for his priceless contribution to this book. He has been one of the most important people on my team for many years, and his understanding of the human mind continues to astound me. His own talent as a storyteller and writer has made his counsel during the production of this, and many of my books, invaluable. I thank him sincerely for always reminding me that my goal is to treat everyone represented in all of my books with compa.s.sion first and foremost. I am honored to have him as a coworker, and proud to call him my friend.

My sincere thanks to Jonathan Hahn. Not only is he a brilliant writer and my personal publicist, he also happens to be my best friend. I thank him for so many years of support in all of my endeavors, both personal and professional. We have had an amazing run, and I think the best is yet to come. I would also like to acknowledge his wife, Alysia Garrison, also a trusted and loyal friend to me.

As I have often stated, without a loyal team of representatives, an author usually finds himself sitting at home writing books no one reads. Therefore, I thank all of those from "USA Team JRT" who mastermind the chaos in my office: attorneys Joel Loquvam and James M. Leonard; C.P.A. Michael Horowitz of Horowitz, McMahon and Zarem in Southern California, Inc.; Felinda deYoung, also of Horowitz et. al.

I must thank Jeff Hare, a vice president of Dreamworks, for being such a good and trusted friend. I can always count on Jeff to read my books, and I truly appreciate that.

Brian Evan Newman, George Solomon, Frank Bruno, and Jeff Cook have been such good pals to me, and I would like to acknowledge as much here. Also, I would like to especially thank Andy Hirsch for his invaluable contributions to my life. In fact, it means the world to me to be blessed with so many good friends, including: Al Kramer, Richard Tyler Jordan, Steve Ivory, Hazel and Rob Kragulac, Bruce Rheins and Dawn Westlake, Manuel Gallegos, Lisa Reiner, Matthew Barasch, Steve Ridgeway, Andy Skurow, Billy Barnes, Scherrie Payne, Lynda Laurence, Barbara Ormsby, John Pa.s.santino, Linda DeStefano, Mr. and Mrs. Joseph Tumolo, Daniel Tumolo, Charles Casillo, John Carlino, David Spiro, Mr. and Mrs. Adolph Steinlen, David and Frances Snyder, Abby and Maddy Snyder, Maribeth and Don Roth.e.l.l, Mary Alvarez, Andy Steinlen, Jared Murphy, Mark Bringelson, Hope Levy, Tom Lavagnino and little Sam, Mich.e.l.le Caruso, Leslie Miller, Roman D'Angelo, Yvette Jarecki, Scott Allen, Phil Filomowicz, Jonathan Fousek, Master Aaron Lawrence of Quest Martial Arts, as well as Nolan Blackford, Erik Rodriguez, Brandon Visco, Magda Vamos, and Daniel and Erika Feser.

There are two other fellows who have meant more to me than I can say over the last few years-G.C. and B.P. They know who they are and the impact they've had on my life. Both have my undying loyalty. Also, I want to thank D.B. and V.B. for their many kindnesses along the way.

I have always been so blessed to have a family as supportive as mine. My thanks and love go out to: Roslyn and Bill Barnett and Jessica and Zachary, Rocco and Rosemaria Taraborrelli and Rocco and Vincent, and Arnold Taraborrelli. Special thanks to my father, Rocco, who has always been my inspiration. He has encouraged me in ways too numerous to mention.

My mom, Rose Marie, would have loved this book as she did pretty much everything I ever wrote. She was my biggest fan, and I was most certainly hers. We miss her very much.

Finally, I must also acknowledge those readers of mine who have loyally followed my career over these many years. As I have often said in the past, the reason that I write about people such as Marilyn Monroe is to bring about an exchange of ideas concerning how others have lived in the hope that we may learn by their choices. Never did I dream that I would have a global audience for such communication. I am indebted to each and every reader who has stuck by me over the course of my career. I receive so many letters from people who have enjoyed my books-as well as from those who have taken issue with certain aspects of my work. Whatever the response, I am eternally grateful to anyone who takes the time to pick up one of my books and read it.

Thank you so much, J. Randy Taraborrelli Winter 2008

MARILYN MONROE FILMOGRAPHY.

The Shocking Miss Pilgrim (1947) (1947) Betty Grable, d.i.c.k Haymes, Anne RevereBoston and the Gay Nineties provide setting and period, as Grable strikes a blow for women's rights while learning the typewriter. In Technicolor. Monroe appears (unbilled) as a telephone operator. 85 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: William Perlberg D DIRECTOR/WRITER: George Seaton C CINEMATOGRAPHER: Leon Shamroy Dangerous Years (1947) (1947) Billy Halop, Scotty Beckett, Marilyn Monroe (waitress)A half dozen former child stars play overage juvenile delinquents in this low-budget exploitation film. They seem unwilling to be rehabilitated, but we don't really care. Marilyn has a bit as a waitress at the Gopher Hole, a juke joint where the juvies hang out. 62 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Sol M. Wurtzel D DIRECTOR: Arthur Pierson W WRITER: Arnold Belgard C CINEMATOGRAPHER: Benjamin Kline Scudda-Hoo! Scudda-Hay! (1948) (1948) June Haver, Lon McCallister, Marilyn Monroe (girl in canoe)June Haver competes with a pair of prizewinning mules for the affections of farmboy Lon McCallister in rural Indiana, all dressed up in Technicolor. Marilyn can be spotted in two scenes. 98 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Walter Morosco D DIRECTOR/WRITER: F. Hugh Herbert C CINEMATOGRAPHER: Ernest Palmer Green Gra.s.s of Wyoming (1948) (1948) Peggy c.u.mmins, Robert Arthur, Marilyn Monroe (extra at square dance)A second sequel to Mary O'Hara's beloved story My Friend Flicka My Friend Flicka-a boy, a girl, and a wild white stallion, photographed in the lush Wyoming countryside. Charles G. Clark was Oscar-nominated for his Technicolor cinematography. 88 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Robert Ba.s.sler D DIRECTOR: Louis King W WRITER: Martin Berkeley C CINEMATOGRAPHER: Charles G. Clarke Ladies of the Chorus (1948) (1948) Adele Jergens, Marilyn Monroe (Peggy Martin)Beautiful blonde Adele Jergens is a former burlesque queen who aims to see that her daughter (Monroe) avoids the same mistakes she made. Marilyn is impressive in her first lead, sings two songs. 61 minutes. Columbia Pictures Corp. Columbia Pictures Corp.PRODUCER: Harry A. Romm D DIRECTOR: Rick Karlson W WRITERS: Joseph Carole and Harry Sauber C CINEMATOGRAPHER: Frank Redman Love Happy (1950) (1950) Harpo Marx, Groucho Marx, Marilyn Monroe (chorus girl)This is mostly Harpo's show (he wrote the original story), and is remembered mainly as the sad cinematic swan song of the legendary Marx Brothers. A low-budget backstage romp, involving an impoverished theatrical troupe trying to put on a Broadway show. Detective Groucho is the story's narrator, his trademark zaniness reined in, as he tries to solve the theft of a Romanov diamond. 85 minutes. United Artists United ArtistsPRODUCER: Lester Cowan, Mary Pickford (as a founder of UA) D DIRECTOR: David Miller W WRITERS: Ben Hecht, Frank Tashlin (story by Harpo Marx) C CINEMATOGRAPHER: William C. Mellor A Ticket to Tomahawk (1950) (1950) Dan Dailey, Anne Baxter, Marilyn Monroe (Clara)A race between a train and a stagecoach will determine the owner of the rights to the pa.s.senger route to Tomahawk, Colorado. Comic, colorful actioner, set against the towering Rockies near Durango. Marilyn has a bit part as one of Madame Adelaide's showgirls. 90 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Robert Ba.s.sler D DIRECTOR/WRITER: Richard Sale C COWRITER: Mary Loos C CINEMATOGRAPHER: Harry Jackson The Asphalt Jungle (1950) (1950) Sterling Hayward, Louis Calhern, Marilyn Monroe (Angela Phinlay)A major jewelry heist by a group of career criminals goes off as planned, but all the princ.i.p.als are either dead or in custody as the gritty film noir's end credits roll. Told from the criminals' point of view. Marilyn stands out in a small part as the mistress of an elderly, crooked lawyer, played by Calhern. Nominated for four Oscars, including writing, directing, and cinematography. 112 minutes. Metro-Goldwyn-Mayer Metro-Goldwyn-MayerPRODUCER: Arthur Hornblow Jr. D DIRECTOR/COWRITER: John Huston C COWRITER: Ben Maddow C CINEMATOGRAPHER: Harold Rosson The Fireball (1950) (1950) Mickey Rooney, Pat O'Brien, Marilyn Monroe (Polly)Thirty-year-old Rooney plays a teenage fugitive from an orphanage who struggles before becoming a skating star in the roller derby, very big on early TV. Father O'Hara (O'Brien) tries to save him from himself, much as Father Flanagan did for Whitey Marsh in Boys' Town Boys' Town fifteen years earlier. 84 minutes. fifteen years earlier. 84 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Bert Friedlob D DIRECTOR/COWRITER: Tay Garnett C COWRITER: Horace McCoy C CINEMATOGRAPHER: Lester White All About Eve (1950) (1950) Bette Davis, Anne Baxter, Marilyn Monroe (Claudia Ca.s.swell)A ruthless, conniving ingenue insinuates her way into the inner circle of a legendary, aging Broadway star, leaving wrecked lives and shattered relationships in her wake, as she claws her way to the very pinnacle of theatrical stardom. Of the set pieces, Marilyn shines in two of them, earning kudos from the critics. Widely considered the best film about the theater ever made and, by the American Film Inst.i.tute, among others, one of the best films of all time. The script contains a number of memorable lines, not the least being Davis's warning to her captive audience to "fasten your seatbelts." Nominated for fourteen Academy Awards, winning six, including Best Picture, Best Director, and Best Screenplay. 138 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Darryl F. Zanuck D DIRECTOR/WRITER: Joseph L. Mankiewicz C CINEMATOGRAPHER: Milton Krasner Right Cross (1950) (1950) June Allyson, d.i.c.k Powell, Ricardo Montalban, Marilyn Monroe (Dusky LeDoux)Anglo-Latino romantic entanglements are unresolved as they play out against the story of a Chicano fighter (Montalban) trying to hang on to his boxing career after a hand injury leaves him a noncontender. Allyson is in his corner, but not necessarily in his bed. Marilyn plays a bar girl who has a brief encounter with Powell, Montalban's best friend. Pretty dull going, but good production values help. 90 minutes. Metro-Goldwyn-Mayer Metro-Goldwyn-MayerPRODUCER: Armand Deutsch D DIRECTOR: John Sturges W WRITER: Charles Schnee C CINEMATOGRAPHER: Norbert Brodine Home Town Story (1951) (1951) Jeffrey Lynn, Donald Crisp, Marilyn Monroe (Iris Martin)After losing a hard-fought reelection bid to the legislature, Jeffrey Lynn a.s.sumes control of the hometown newspaper and launches a bitter attack on the man he holds responsible for his defeat, Donald Crisp, the powerful head of the town's biggest business. The film was made on the MGM lot by General Motors' public relations department, which rejected the final result as substandard. Metro deemed it unworthy of copyright renewal and it languished in the public domain until Marilyn's fans rediscovered it. She has a two-minute scene as a receptionist in the newspaper office. 61 minutes. Metro-Goldwyn-Mayer Metro-Goldwyn-MayerPRODUCER/WRITER/DIRECTOR: Arthur Pierson C CINEMATOGRAPHER: Lucien Andriot As Young as You Feel (1951) (1951) Monty Wooley, Thelma Ritter, David Wayne, Constance Bennett, Marilyn Monroe (Harriet)A sixty-five-year-old factory worker (Wooley), forced into an unwanted retirement, impersonates the company president and saves the firm from bankruptcy, proving his worth and saving his job. Solid cast makes the story believable, with Marilyn in small role as an office worker. Marilyn devotees know this is the film where she and Arthur Miller first met. 77 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Lamar Trotti D DIRECTOR: Harmon Jones W WRITER: Lamar Trotti (story by Paddy Chayevsky) C CINEMATOGRAPHER: Joe McDonald Love Nest (1951) (1951) William Lundigan, June Haver, Marilyn Monroe (Roberta "Bobbie" Stevens)A postWorld War II s.e.x comedy, without the s.e.x and short on comedy, with ex-GI Lundigan and Haver as newlyweds and new owners of an aged brownstone in New York. Tenant and ex-WAC, Marilyn's role is described in one review as "an extended cameo," the highlight being a scene in which she emerges from the shower draped only in a towel. 84 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Jules Buck D DIRECTOR: Joseph Newman W WRITER: I. A. L. Diamond C CINEMATOGRAPHER: Lloyd Ahern Let's Make It Legal (1951) (1951) Claudette Colbert, Macdonald Carey, Zachary Scott, Robert Wagner, Marilyn Monroe (Joyce Mannering)Miriam and Hugh Halsworth (Colbert and Carey), after a twenty-year marriage, are in the throes of a divorce when an old suitor (Zachary Scott) of hers rolls into town. Marilyn's contributions are mostly decorative as she spends much of her screen time in a swimsuit. Of the romantic comedy, one critic wrote, "[It] feels overstretched even at an hour and a quarter." It's hard to believe that this is the best Miss Colbert could manage following her withdrawal only a year earlier for medical reasons as Margo Channing in All About Eve All About Eve, giving Bette Davis the role of a lifetime. 77 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: F. Hugh Herbert D DIRECTOR: Richard Sale C COWRITERS: I. A. L. Diamond and F. Hugh Herbert C CINEMATOGRAPHER: Lucien Ballard Clash by Night (1952) (1952) Barbara Stanwyck, Paul Douglas, Robert Ryan, Marilyn Monroe (Peggy)After a hard-knock life in New York, Mae Doyle (Stanwyck) returns to her hometown, a coastal California village, to live with her fisherman brother. She is courted by a boat owner, Jerry (Douglas), eventually marries him, has a child, and begins an adulterous, reckless affair with the brutal Earl (Robert Ryan), all under the nose of her husband. Monroe is a cannery worker, married to Mae's brother, and they both look great in their beachwear, but add nothing to the goings-on in this noirish melodrama. 105 minutes. RKO Pictures-(A Wald-Krasna Production) RKO Pictures-(A Wald-Krasna Production)PRODUCER: Harriet Parsons D DIRECTOR: Fritz Lang W WRITER: Alfred Hayes (based on a Clifford Odets play) C CINEMATOGRAPHER: Nicholas Musuraca We're Not Married (1952) (1952) Ginger Rogers, Fred Allen, Eve Arden, Paul Douglas, David Wayne, Marilyn Monroe (Annabel Jones Norris)Five couples are notified that their marriages are invalid because the license of the justice of the peace who performed the ceremonies had not yet kicked in. The couples react to the news in a variety of ways, with Monroe and Wayne's solution easily the most comic: Already a winner of the Mrs. Mississippi contest, Annabel is now free to enter the Miss Mississippi contest, which she also wins. First of two so-called episodic movies featuring Monroe. 85 minutes. 20th Century-Fox 20th Century-FoxPRODUCER/WRITER: Nunnally Johnson D DIRECTOR: Edmund Goulding C CINEMATOGRAPHER: Leo Tolver Don't Bother to Knock (1952) (1952) Richard Widmark, Marilyn Monroe (Nell Forbes)Marilyn moves from featured player to leading lady in this melodramatic, disturbing film noir. She is a suicidal, perhaps homicidal, babysitter whose flirtatious overtures to a war-damaged pilot (Widmark) have unexpected and near-deadly consequences. The film was mounted by studio honchos to a.s.say Monroe's dramatic skills, which proved to be considerable. 76 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Julian Blaustein D DIRECTOR: Roy Ward Baker W WRITER: Daniel Taradash C CINEMATOGRAPHER: Lucien Ballard Monkey Business (1952) (1952) Cary Grant, Ginger Rogers, Charles Coburn, Marilyn Monroe (Miss Lois Laurel)A lab chimp accidentally dumps a youth elixir into the drinking water, creating a fountain of youth. After ingesting some of it, research professor Grant and wife Rogers revert to their teenage selves with predictable results-screwball or slapstick-though the fun can only go so far before it gets tedious. Marilyn is on hand as Charles Coburn's secretary and holds her own quite well as she fends off his clumsily romantic advances. 97 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Sol C. Siegel D DIRECTOR: Howard Hawks W WRITERS: Ben Hecht, Charles Lederer, I. A. L. Diamond C CINEMATOGRAPHER: Milton Krasner O. Henry's Full House (1952) (1952) Charles Laughton, David Wayne, Marilyn Monroe (as a streetwalker), Farley Granger, Jeanne Crain, Anne Baxter, Richard WidmarkFive cla.s.sic short stories created by the master of the genre, all with an ironic resolution in their denouement, which O. Henry perfected and which became his signature. Each short film is self-contained with its own writer, director, and cast, and each is introduced by future n.o.bel winner John Steinbeck. First, in "The Cop and the Anthem," Soapy is an urban hobo (Laughton) who in warm weather sleeps in the park. However, with winter coming, he opts for a nice warm jail cell. But he first must get arrested. A series of petty crimes go for naught: theft of an umbrella, stiffing a restaurant for a meal, vandalizing a window. He tries to offend a lady of the evening (Monroe), to no avail. Finally, he enters a church, has an epiphany, repents, and decides to find a job and go "straight." Alas, his plan is thwarted when a cop arrests him for vagrancy; he is tried and sent to jail for the next ninety days. 19 minutes for segment; 119 minutes for film. 20th Century-Fox 20th Century-FoxPRODUCER: Andrew Hakim D DIRECTOR: Henry Koster W WRITER: Lamar Trotti C CINEMATOGRAPHERS: Lloyd Ahern, Lucien Ballard, Milton R. Krasner, Joseph MacDonald Niagara (1953) (1953) Joseph Cotten, Marilyn Monroe (Rose Loomis)A cuckolded, lovesick husband, suffering from Korean War sh.e.l.l shock, and his gorgeous, adulterous wife are at Niagara Falls-for very different reasons: He wants to repair his beyond-repair marriage; she is meeting with her lover to plot her husband's murder. One can almost feel the presence of Alfred Hitchc.o.c.k as adultery and murder are played out against the power and grandeur of the unrelenting noise and beauty of Niagara. All does not end well, as Loomis (Cotten) discovers the plot against him and turns the tables on Rose (Monroe) and her lover, dispatching him into the crashing waters. He then goes after Rose, stalking her insistently, finding her in the resort's belltower, and strangling the life out of her. Production values are very high with the breathtaking location filming, lush, saturated Technicolor, and ear-pounding stereo sound. Monroe's first big-budget picture, an a.s.signment she handles to a tee. A big hit with the public. First of three important films for Marilyn released in 1953. 89 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Charles Brackett D DIRECTOR: Henry Hathaway W WRITERS: Charles Brackett, Walter Reisch, Richard Breen C CINEMATOGRAPHER: Joseph MacDonald Gentlemen Prefer Blondes (1953) (1953) Jane Russell, Marilyn Monroe (Lorelei Lee)Lavishly produced, big-budget film of the hit Broadway musical that starred Carol Channing. In the movie, Jane Russell is first-billed and was paid $400,000 to Marilyn's costar billing and $11,250. Upon being told by someone that Jane and not Marilyn was the star of the film, Monroe responded with perfect logic, "Maybe not, but I'm the blonde." The familiar story: After a few harrowing experiences, including a brush with the gendarmes, a couple of naughty-but-nice, gold-digging chorus girls-"We're Just Two Little Girls from Little Rock"-find notoriety and, eventually, love in the City of Lights. The studio pulled out all the stops in this big-musical treatment-a time-tested Broadway hit, musical score by Jule Styne and Leo Robins, gowns by Travilla, musical numbers staged by Jack Cole with an army of talented singers and dancers, color by Technicolor. Studio boss Darryl Zanuck ordered the big production number at the end of the film, "Diamonds Are a Girl's Best Friend," to be refilmed in CinemaScope and stereophonic sound, the result of which was then used by Fox to demonstrate the studio-perfected process. Other studios were impressed and began to use the widescreen technology as well. 91 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Sol C. Siegel D DIRECTOR: Howard Hawks W WRITERS: Charles Lederer, Joseph Fields (based on Anita Loos's play) C CINEMATOGRAPHER: Harry J. Wild How to Marry a Millionaire (1953) (1953) Betty Grable, Marilyn Monroe (Pola), Lauren BacallThe studio, since its beginning, has recycled the story of penniless young beauties leaving home to go to the big city in search of bright lights and rich men. These husband hunters acquired the name "gold diggers," and Warner Bros. made a series of very successful musicals in the early thirties using the name and theme. But it was 20th Century-Fox that manipulated and honed the by now familiar story into box-office gold with this movie. It was the first film shot entirely in CinemaScope, but another Fox film, the prestigious religious epic The Robe The Robe, also filmed in CinemaScope, was released to theaters first, claiming bragging rights as the first film in the new process. To make it clear to audiences that the film was an "event," Alfred Newman, the studio's musical director for twenty years by this time, and the studio's symphony orchestra were arrayed on a soundstage set up to replicate an amphitheater and performed Newman's own composition, "Street Scene." It lasted eight minutes, and after the final note, Newman turned to face the camera and executed a deep bow, which signaled the beginning of the credits as the film's musical score came up on the soundtrack. The three-p.r.o.nged story line provided each of the stars with an equivalent amount of screen time, all with quite satisfactory conclusions. 96 minutes. 20th Century-Fox 20th Century-FoxPRODUCER/WRITER: Nunnally Johnson D DIRECTOR: Jean Negulesco C CINEMATOGRAPHER: Joe MacDonald River of No Return (1954) (1954) Robert Mitchum, Marilyn Monroe (Kay)Ordained by happenstance or destiny, a beautiful woman, an innocent man newly released from prison, and his son are thrown together in a rough-and-tumble western adventure, photographed in CinemaScope on location in the Canadian Rockies and set in the era of the California gold rush. Monroe called this beautiful, immensely watchable film her worst film: "Grade Z cowboy stuff." It is very likely that her negative a.s.sessment had more to do with shooting the film and problems with the director than what ended up on the screen. Despite the rigors of the location shoot and the requirements of the script, including a swamping of the raft in the river rapids, Marilyn, wringing wet, out of sorts and out of breath, is still a vision. 91 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Stanley Rubin D DIRECTOR: Otto Preminger W WRITER: Frank Fenton C CINEMATOGRAPHER: Joseph LaSh.e.l.le There's No Business Like Show Business (1954) (1954) Ethel Merman, Dan Dailey, Marilyn Monroe (Victoria Hoffman/ Vicky Parker)All the stops are pulled out in this big, bra.s.sy, over-the-top musical, with the studio creating a role in it especially for Marilyn as insurance against a fizzle at the box office. (She agreed to make the film only if the studio would purchase the film rights to The Seven Year Itch The Seven Year Itch for her.) The Irving Berlin songbook is used to tell the story of the Donahue family of vaudevillians, covering the period between the two world wars. The CinemaScope camera captures all seventeen of the dazzling production numbers, including the t.i.tle song and "Alexander's Ragtime Band," with Marilyn also scoring well in her solo production number, "Heat Wave." Oscar nominations went to Lamar Trotti (original story), Alfred Newman and Lionel Newman (scoring of a musical), and to Charles LeMaire and Travilla for their costumes in a color film. 117 minutes. for her.) The Irving Berlin songbook is used to tell the story of the Donahue family of vaudevillians, covering the period between the two world wars. The CinemaScope camera captures all seventeen of the dazzling production numbers, including the t.i.tle song and "Alexander's Ragtime Band," with Marilyn also scoring well in her solo production number, "Heat Wave." Oscar nominations went to Lamar Trotti (original story), Alfred Newman and Lionel Newman (scoring of a musical), and to Charles LeMaire and Travilla for their costumes in a color film. 117 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Sol C. Siegel D DIRECTOR: Walter Lang W WRITERS: Henry and Phoebe Ephron; original story, Lamar Trotti C CINEMATOGRAPHER: Leon Shamroy The Seven Year Itch (1955) (1955) Tom Ewell, Marilyn Monroe (The Girl)Manhattan book editor Richard Sherman, thirty-eight, dispatches his wife and son to the Maine coast for the summer to escape the sweltering city heat. A gorgeous twenty-two-year-old television spokesperson (Marilyn) subleases the apartment in his building just above his own. She's never referred to by name and the credits list her as The Girl. If this were a device used by George Axelrod, the playwright, to keep an emotional distance between the two, it only works to a point. Although Richard doesn't get to first base with The Girl, he imagines making love to her, leaving him with an overwhelming sense of guilt. Despite this, he continues to set the stage for the great seduction-the smoking jacket, chilled champagne, potato chips, and Rachmaninoff on the record player-all with hilarious results as The Girl successfully avoids the seduction. Marilyn with her skirts a-flying over a subway grate is one of the most famous film images of all time. DeLuxe color and CinemaScope. 105 minutes. 20th Century-Fox 20th Century-FoxPRODUCER: Charles K. Feldman D DIRECTOR: Billy Wilder W WRITERS: Billy Wilder, George Axelrod C CINEMATOGRAPHER: Milton Krasner Bus Stop (1956) (1956) Marilyn Monroe (Cherie), Don Murray (Bo)A macho, twenty-one-year-old rancher from Montana travels to Phoenix to enter several rodeo events and while there finds his "angel" in the person of Cherie, a vocally challenged saloon singer, who's also been known to turn a trick to make the rent money. She is repulsed by Bo's boorish behavior and crude attempts to woo her, only making him more determined. He kidnaps Cherie and forces her to accompany him back to Montana. A snowstorm forces their bus to wait out the bad weather at a bus stop. Cherie is won over by his heartfelt profession of love and accepts his marriage proposal. Marilyn's touching performance earned her some of the best reviews of her career. Murray received a best supporting actor Oscar nomination. 96 minutes. P PRODUCER: Buddy Adler D DIRECTOR: Joshua Logan W WRITER: George Axelrod (based on the William Inge play) C CINEMATOGRAPHER: Milton Krasner The Prince and the Showgirl (1957) (1957) Laurence Olivier, Marilyn Monroe (Elsie)The world's greatest actor and the movies' love G.o.ddess join forces to bring Terence Rattigan's stage play The Sleeping Prince The Sleeping Prince to the screen, with Olivier repeating his stage role and Monroe playing the role essayed by Olivier's then wife, Vivien Leigh. Grandduke Charles of Carpathia (Olivier) is on a mission of state to London to attend the coronation of British king George V on June 22, 1911. On his one evening free from official duties, he visits the Coconut Girl club and invites the voluptuous Elsie Marina to a dinner party at the emba.s.sy, only the alleged party is a party of two. The game of seduction begins, the outcome of which is clear from the start, but it is the getting there that makes this s.e.x comedy work as well as it does. Marilyn was never more gorgeous and rarely funnier than in this picture. 117 minutes. to the screen, with Olivier repeating his stage role and Monroe playing the role essayed by Olivier's then wife, Vivien Leigh. Grandduke Charles of Carpathia (Olivier) is on a mission of state to London to attend the coronation of British king George V on June 22, 1911. On his one evening free from official duties, he visits the Coconut Girl club and invites the voluptuous Elsie Marina to a dinner party at the emba.s.sy, only the alleged party is a party of two. The game of seduction begins, the outcome of which is clear from the start, but it is the getting there that makes this s.e.x comedy work as well as it does. Marilyn was never more gorgeous and rarely funnier than in this picture. 117 minutes. Warner/Marilyn Monroe Productions Warner/Marilyn Monroe ProductionsPRODUCER/DIRECTOR: Laurence Oliver W WRITER: Terence Rattigan C CINEMATOGRAPHER: Jack Cardiff Some Like It Hot (1959) (1959) Marilyn Monroe (Sugar Kane), Tony Curtis, Jack Lemmon, Joe E. BrownDestined to be at or near the top of a number of "best" lists, including best film, best comedy film, and best movie line ("n.o.body's perfect"), this picture marks the second working arrangement between Marilyn and director/writer Billy Wilder, the earlier being The Seven Year Itch. The Seven Year Itch. It was a decision he reached despite the legendary problems she's acknowledged to have caused on that set, or because he knew she was perfect for this role and her appearance in the film would a.s.sure its box-office success. (Marilyn would earn $2.4 million during the film's initial run, thanks to a lucrative profit-partic.i.p.ation deal with the studio.) The story of two out-of-work jazz-era musicians who, after witnessing the St. Valentine's Day Ma.s.sacre, go undercover in drag as members of an all-girl band, the premise is established before we even see Marilyn, twenty-four minutes into the film. But what an entrance. For the rest of his life, Billy Wilder would recount the problems Marilyn caused on the set, always forgiving her behavior due to her own insecurities and lack of confidence. And, yes, he would do it all over again. The film received Oscar nominations in six categories-costumes, writing, directing, cinematography, art direction, and best actor (for Lemmon), winning for Orry-Kelly's costumes. 122 minutes. It was a decision he reached despite the legendary problems she's acknowledged to have caused on that set, or because he knew she was perfect for this role and her appearance in the film would a.s.sure its box-office success. (Marilyn would earn $2.4 million during the film's initial run, thanks to a lucrative profit-partic.i.p.ation deal with the studio.) The story of two out-of-work jazz-era musicians who, after witnessing the St. Valentine's Day Ma.s.sacre, go undercover in drag as members of an all-girl band, the premise is established before we even see Marilyn, twenty-four minutes into the film. But what an entrance. For the rest of his life, Billy Wilder would recount the problems Marilyn caused on the set, always forgiving her behavior due to her own insecurities and lack of confidence. And, yes, he would do it all over again. The film received Oscar nominations in six categories-costumes, writing, directing, cinematography, art direction, and best actor (for Lemmon), winning for Orry-Kelly's costumes. 122 minutes. United Artists/Mirisch United Artists/MirischCOPRODUCER/COWRITER/DIRECTOR: Billy Wilder C COWRITER: I. A. L. Diamond C CINEMATOGRAPHER: Charles Lang Jr.

Let's Make Love (1960) (1960) Marilyn Monroe (Amanda Dell), Yves MontandMarilyn was welcomed back to the studio after a four-year absence, and while the return was not widely applauded among some Fox execs who knew too well the havoc precipitated whenever a Monroe picture was in production, this is a charming musical, vastly underrated at the time, with Marilyn at her comedic best, singing Cole Porter songs and dancing to moves created for her by Jack Cole. As Amanda, she is appearing in an off-Broadway review that targets the foibles of celebrities: Callas, Cliburn, Elvis, and Jean-Marc Clement, a French-born billionaire industrialist living in Manhattan (Montand). Clement impersonates an actor and auditions for the part of Clement himself and wins the role. Inevitably, after a few missteps, Jean-Marc and Amanda fulfill the promise in the film's t.i.tle. Color by DeLuxe in CinemaScope. Oscar nomination for best scoring of a musical. 118 minutes. P PRODUCER: Jerry Wald D DIRECTOR: George Cukor W WRITER: Norman Krasna C CINEMATOGRAPHER: Daniel L. Fapp The Misfits (1961) (1961) Clark Gable, Marilyn Monroe (Roslyn Taber), Montgomery Clift Roslyn, an actress, is in Reno for a divorce when she meets and falls for Gay Langland, an aging, s.e.xily macho ex-cowboy. The stark Nevada desert is the habitat for wild mustangs that are targeted by Gay and two other cowboy roughnecks for capture, an exercise that is as painful to watch as it is to figure out-until we learn the horses are to be sold to slaughterhouses to process as dog food. When Rose learns their fate, she goes ballistic, her pa.s.sion so intense that she ultimately secures the mustangs' freedom and their return to the wild. Film chronicler Leslie Halliwell wrote: "a solemn, unattractive, pretentious film, which seldom stops wallowing in self pity." Considered a failure when released, it has since gained cultlike status because of the untimely deaths of the three principles. 124 minutes. United Artists/Seven Arts United Artists/Seven ArtsPRODUCER: Frank E. Taylor D DIRECTOR: John Huston W WRITER: Arthur Miller C CINEMATOGRAPHER: Russell Metty Something's Got to Give (1962) (1962) Marilyn Monroe (Ellen), Dean MartinA remake of the 1940 screwball comedy My Favorite Wife My Favorite Wife,starring Irene Dunne and Cary Grant, the movie's thirty-seven minutes of footage, salvaged from eight boxes of raw film in a 20th Century-Fox warehouse, were included in a doc.u.mentary about the film that was shown as a television special in 2001, Marilyn Monroe: The Final Days Marilyn Monroe: The Final Days. Marilyn lost eighteen pounds for this role, which brought to mind her beauty of ten years earlier when she was in her prime. Film purists do not consider this movie to be part of the Marilyn Monroe filmography, since it was incomplete and unreleased to theaters. But given its importance to the Monroe legacy, and that it perhaps indirectly contributed to her death, I felt compelled to include it. The film was finally made in 1963 with Doris Day and James Garner as Move Over, Darling. Move Over, Darling.20th Century-FoxPRODUCERS: Gene Allen, Henry T. Weinstein D DIRECTOR: George Cukor W WRITERS: Nunnally Johnson, Walter Bernstein C CINEMATOGRAPHERS: Franz Planer, Leo Tover

* The Hawthorne Community Church was nondenominational but more Baptist than not in doctrine. The Hawthorne Community Church was nondenominational but more Baptist than not in doctrine.

It should be noted that this wasn't foster care in the strictest sense of the word. What Ida was offering would today be considered "full-time child care." However, she and her husband were licensed to care for children through the County of Los Angeles. It should be noted that this wasn't foster care in the strictest sense of the word. What Ida was offering would today be considered "full-time child care." However, she and her husband were licensed to care for children through the County of Los Angeles.

* Note to reader: From this point on, when referring to Edward, it's Mortenson. When referring to Norma Jeane, it's Mortensen. Note to reader: From this point on, when referring to Edward, it's Mortenson. When referring to Norma Jeane, it's Mortensen.

* Redistricting took place in Hawthorne in the 1940s, and at that time the address was changed to 4201 West 134th Street. The original home is still standing. Redistricting took place in Hawthorne in the 1940s, and at that time the address was changed to 4201 West 134th Street. The original home is still standing.

* It's been previously reported that she was married three times by 1933. Not true. She had two husbands by this time: Reginald Evans and John Wallace McKee. It's been previously reported that she was married three times by 1933. Not true. She had two husbands by this time: Reginald Evans and John Wallace McKee.

* Besides appearing as Clark Gable's leading ladies in their cinematic swan songs, Harlow and Monroe share a couple of other coincidental parallels in their lives. Like Marilyn would do years later, seventeen-year-old Jean Harlow was photographed nude (in Griffith Park in 1928 by Edward Bower). Harlow would also be the first movie star to appear on the cover of Besides appearing as Clark Gable's leading ladies in their cinematic swan songs, Harlow and Monroe share a couple of other coincidental parallels in their lives. Like Marilyn would do years later, seventeen-year-old Jean Harlow was photographed nude (in Griffith Park in 1928 by Edward Bower). Harlow would also be the first movie star to appear on the cover of Life Life magazine, in the edition of May 3, 1937. Similarly, Marilyn appeared on the cover of the first issue of magazine, in the edition of May 3, 1937. Similarly, Marilyn appeared on the cover of the first issue of Playboy, Playboy, in August 1954. in August 1954.

* This orphanage was rebuilt in 1956 and a year later renamed Hollygrove Orphanage. This orphanage was rebuilt in 1956 and a year later renamed Hollygrove Orphanage.

* Of course, she would get her wish-men Of course, she would get her wish-men and and women. An interesting story from Marilyn Monroe historian James Haspiel: "She had a 'Man Friday' named Peter Leonardi who drove her around the city. His sister, Marie, went shopping with Marilyn one day to Saks Fifth Avenue. When they got back to Marilyn's apartment at the Waldorf Towers, they were going to try on the clothing. But Marilyn felt she should take a bath before she put on the new clothes. So she went into the bathroom and got into the bathtub and the two women continued talking, Marie from the living room. Finally, Marilyn said, 'Come in here, so I can hear you.' Marie, this 100 percent heteros.e.xual female, went to the bathroom door and, later, she said to me, 'Jimmy, I looked into the tub and she was so breathtakingly beautiful, I couldn't believe it. Even her women. An interesting story from Marilyn Monroe historian James Haspiel: "She had a 'Man Friday' named Peter Leonardi who drove her around the city. His sister, Marie, went shopping with Marilyn one day to Saks Fifth Avenue. When they got back to Marilyn's apartment at the Waldorf Towers, they were going to try on the clothing. But Marilyn felt she should take a bath before she put on the new clothes. So she went into the bathroom and got into the bathtub and the two women continued talking, Marie from the living room. Finally, Marilyn said, 'Come in here, so I can hear you.' Marie, this 100 percent heteros.e.xual female, went to the bathroom door and, later, she said to me, 'Jimmy, I looked into the tub and she was so breathtakingly beautiful, I couldn't believe it. Even her toes toes were beautiful. And I felt myself being drawn into the bathtub with her, and I said, "Marilyn, I have to leave. Right now!" I was going to go over there and make a fool of myself, if I didn't leave at once!' " were beautiful. And I felt myself being drawn into the bathtub with her, and I said, "Marilyn, I have to leave. Right now!" I was going to go over there and make a fool of myself, if I didn't leave at once!' "

* In October 1947, ten years after Norma Jeane left the orphanage, Mrs. Dewey wrote to Grace G.o.ddard to ask how the girl was faring. Grace wrote back, "Norma Jean [sic] Baker has great success in pictures and promises to be a star. She is a very beautiful woman and is now acting as Marilyn Monroe." In October 1947, ten years after Norma Jeane left the orphanage, Mrs. Dewey wrote to Grace G.o.ddard to ask how the girl was faring. Grace wrote back, "Norma Jean [sic] Baker has great success in pictures and promises to be a star. She is a very beautiful woman and is now acting as Marilyn Monroe."

* An undated letter from Grace G.o.ddard makes clear Gladys's troubled mental state. "She thinks she was sent to State hospital because years ago she voted on a Socialist Ballot," Grace wrote. "[She] sleeps with her head at the foot of the bed [so] as not to look at Marilyn's pictures-they disturb her.... [She] wishes she never had a s.e.xual experience so she could be more Christ like." An undated letter from Grace G.o.ddard makes clear Gladys's troubled mental state. "She thinks she was sent to State hospital because years ago she voted on a Socialist Ballot," Grace wrote. "[She] sleeps with her head at the foot of the bed [so] as not to look at Marilyn's pictures-they disturb her.... [She] wishes she never had a s.e.xual experience so she could be more Christ like."

* Norma Jeane was five feet five and a half inches tall. Norma Jeane was five feet five and a half inches tall.

* Her friend the acting coach Michael Shaw recalls, "When the studio changed her name, she was okay with it, but not thrilled. She said to me, 'But I don't even know how to spell Marilyn!' She was so frustrated by that. In that little breathless voice of hers, she asked me, 'Honey, is there an 'i' in it?' I said, 'I think so.' But it turned out to be a 'y.' " Her friend the acting coach Michael Shaw recalls, "When the studio changed her name, she was okay with it, but not thrilled. She said to me, 'But I don't even know how to spell Marilyn!' She was so frustrated by that. In that little breathless voice of hers, she asked me, 'Honey, is there an 'i' in it?' I said, 'I think so.' But it turned out to be a 'y.' "

* Marilyn Monroe historian James Haspiel adds to this observation: "This woman who was supposed to be out there all the time in a s.e.xual way, in private life, was very demure. If you look at newsreel of her in Korea, she is squatting down on the stage with a bunch of soldiers around her and she's wearing a c.o.c.ktail dress. She has both hands across her chest. In other words, it's as if she is unconsciously protecting herself from being on display. This is the same lady who, of course, posed nude for the calendar. Yet, if you look at her in any of the photographs I took of her personally, or so many other photos, she's never wearing anything low-cut. Everything is always up to the neck all the time." Marilyn Monroe historian James Haspiel adds to this observation: "This woman who was supposed to be out there all the time in a s.e.xual way, in private life, was very demure. If you look at newsreel of her in Korea, she is squatting down on the stage with a bunch of soldiers around her and she's wearing a c.o.c.ktail dress. She has both hands across her chest. In other words, it's as if she is unconsciously protecting herself from being on display. This is the same lady who, of course, posed nude for the calendar. Yet, if you look at her in any of the photographs I took of her personally, or so many other photos, she's never wearing anything low-cut. Everything is always up to the neck all the time."

* Later, some priceless quotes were attributed to Marilyn when word got out that she was the model. When asked what she was wearing, she answered, "Chanel No. 5." And her response to what she had on: "The radio." Later, some priceless quotes were attributed to Marilyn when word got out that she was the model. When asked what she was wearing, she answered, "Chanel No. 5." And her response to what she had on: "The radio."

* Again, leave it to James Haspiel for another cla.s.sic Monroe memory. He says that in the eight years he knew her, he never once saw Marilyn "drunk, not even tipsy." However, one day he showed her a photograph that was taken on a day when she had definitely had too much to drink. He handed it to her and said, "This was taken in an elevator in Marlene Dietrich's apartment building, and you were very high." Without missing a beat, Marilyn gave him a wide-eyed look and said, "What floor was I on?" Again, leave it to James Haspiel for another cla.s.sic Monroe memory. He says that in the eight years he knew her, he never once saw Marilyn "drunk, not even tipsy." However, one day he showed her a photograph that was taken on a day when she had definitely had too much to drink. He handed it to her and said, "This was taken in an elevator in Marlene Dietrich's apartment building, and you were very high." Without missing a beat, Marilyn gave him a wide-eyed look and said, "What floor was I on?"

* Villa Nova is now the Rainbow Bar & Grill, on Sunset Boulevard. There's a gold plaque outside the very popular establishment with Marilyn's likeness on it to recognize her first date with Joe. (In her memoir, Marilyn recalled first meeting Joe at Chasen's restaurant.) Villa Nova is now the Rainbow Bar & Grill, on Sunset Boulevard. There's a gold plaque outside the very popular establishment with Marilyn's likeness on it to recognize her first date with Joe. (In her memoir, Marilyn recalled first meeting Joe at Chasen's restaurant.)

* This sanitarium has most often been described in Marilyn Monroe biographies as having been in Eagle Rock, California, and Verdugo City, California. However, it was in La Crescenta. For many years it served as a women's rest home until closing down in 2006. This sanitarium has most often been described in Marilyn Monroe biographies as having been in Eagle Rock, California, and Verdugo City, California. However, it was in La Crescenta. For many years it served as a women's rest home until closing down in 2006.

* She really was "a good person," too. Consider this, from James Haspiel: "A famous story about her happened on a night she went for a walk in New York, when she was living on East 57th Street. At the end of 58th is a very small park with a small bridge. As she stood on that bridge, she watched two teenage boys with nets on long poles catching pigeons and then putting the birds in a big cage. She went down and asked them what they were doing. They explained to this blonde woman they didn't know that they were catching as many pigeons as they could so that they could then take them to the market where they would be paid 25 cents apiece for them. [This sounds like something these boys made up. What would any market want with their pigeons?] After a pause she said, 'Well, if I sit on this bench and wait until you're done, and I pay you for the pigeons, will you then free them?' They agreed to do this. After they were done, she gave them a quarter for each pigeon they freed. Then she asked, 'What nights do you come here?' They said, 'Thursdays.' She said, 'I'll try to be here next Thursday night.' " She really was "a good person," too. Consider this, from James Haspiel: "A famous story about her happened on a night she went for a walk in New York, when she was living on East 57th Street. At the end of 58th is a very small park with a small bridge. As she stood on that bridge, she watched two teenage boys with nets on long poles catching pigeons and then putting the birds in a big cage. She went down and asked them what they were doing. They explained to this blonde woman they didn't know that they were catching as many pigeons as they could so that they could then take them to the market where they would be paid 25 cents apiece for them. [This sounds like something these boys made up. What would any market want with their pigeons?] After a pause she said, 'Well, if I sit on this bench and wait until you're done, and I pay you for the pigeons, will you then free them?' They agreed to do this. After they were done, she gave them a quarter for each pigeon they freed. Then she asked, 'What nights do you come here?' They said, 'Thursdays.' She said, 'I'll try to be here next Thursday night.' "

* A funny story relating to this movie: One day, when Marilyn was to get a ma.s.sage, the crew wanted to play a joke on her. So one of the jokesters asked a young production a.s.sistant-seventeen years old-to go to her trailer and give her a message. "Don't knock," he said. "Just walk right in. She likes that." The youngster did what he was told. He opened the door, and there was Marilyn Monroe, lying nude on her stomach on the ma.s.sage table, waiting for her ma.s.seuse. Completely nonchalant, she asked the red-faced teen, "Did they put you up to this?" He said, "Yes, ma'am." She said, "Okay. Well, close the door, sit down, and stay for twenty minutes. Then the joke is on them!" A funny story relating to this movie: One day, when Marilyn was to get a ma.s.sage, the crew wanted to play a joke on her. So one of the jokesters asked a young production a.s.sistant-seventeen years old-to go to her trailer and give her a message. "Don't knock," he said. "Just walk right in. She likes that." The youngster did what he was told. He opened the door, and there was Marilyn Monroe, lying nude on her stomach on the ma.s.sage table, waiting for her ma.s.seuse. Completely nonchalant, she asked the red-faced teen, "Did they put you up to this?" He said, "Yes, ma'am." She said, "Okay. Well, close the door, sit down, and stay for twenty minutes. Then the joke is on them!"

* Marilyn Monroe's accounting ledger for this time frame indicates two payments to "Mrs. G. G.o.ddard"-Grace-made in May and June of 1953. The first is for $851.04, and the second is for $300.00. Both carry the notation "medical." For years, it's been speculated that these checks were used to cover an abortion Marilyn may have had-though no one can explain why, if this were the case, the checks were made out to Grace. The truth seems clear: These checks were obviously drawn by Marilyn to help pay for Grace's medical crisis at this time. Marilyn Monroe's accounting ledger for this time frame indicates two payments to "Mrs. G. G.o.ddard"-Grace-made in May and June of 1953. The first is for $851.04, and the second is for $300.00. Both carry the notation "medical." For years, it's been speculated that these checks were used to cover an abortion Marilyn may have had-though no one can explain why, if this were the case, the checks were made out to Grace. The truth seems clear: These checks were obviously drawn by Marilyn to help pay for Grace's medical crisis at this time.

* High colonic irrigation was part of the daily routine of Mae West for all of her adult life, not for weight control, but for cleansing purposes. She is said to have used coffee laced with herbs for her routine. High colonic irrigation was part of the daily routine of Mae West for all of her adult life, not for weight control, but for cleansing purposes. She is said to have used coffee laced with herbs for her routine.

* It's been widely reported over the years-even by It's been widely reported over the years-even by Vanity Fair Vanity Fair in its cover story on Marilyn dated October 2008-that Inez Melson was hired by Joe DiMaggio to be a "spy" for him in the Marilyn Monroe camp and that she was "secretly" working for Joe. It's true that Melson came into the picture at around the same time as DiMaggio. However, her testimony against Joe on this important day would seem to suggest that she wasn't exactly loyal to him, if in fact she was even hired at his recommendation. in its cover story on Marilyn dated October 2008-that Inez Melson was hired by Joe DiMaggio to be a "spy" for him in the Marilyn Monroe camp and that she was "secretly" working for Joe. It's true that Melson came into the picture at around the same time as DiMaggio. However, her testimony against Joe on this important day would seem to suggest that she wasn't exactly loyal to him, if in fact she was even hired at his recommendation.

* This woman later sued DiMaggio and Sinatra for $200,000 and ended up getting $7,500 out of them. This woman later sued DiMaggio and Sinatra for $200,000 and ended up getting $7,500 out of them.

* Collier was an English-born, cla.s.sically trained character actress of stage, radio, and films who turned to teaching and coaching as acting roles began to dry up. She worked with Marilyn for only a few months, dying at the age of seventy-seven in April 1955 in New York. Collier was an English-born, cla.s.sically trained character actress of stage, radio, and films who turned to teaching and coaching as acting roles began to dry up. She worked with Marilyn for only a few months, dying at the age of seventy-seven in April 1955 in New York.

* The occasion of Marilyn's and Arthur's first meeting has become like The occasion of Marilyn's and Arthur's first meeting has become like Rash.o.m.on Rash.o.m.on, with so many versions reported on. Most seem to agree on one point: It took place on the set of As Young as You Feel. As Young as You Feel. In dispute is how all the players happened to be gathered there at the same time. In Elia Kazan's 1988 memoir, In dispute is how all the players happened to be gathered there at the same time. In Elia Kazan's 1988 memoir, A Life A Life, he writes that Charles Feldman was hosting a party in Miller's honor, that Kazan was not able to attend, and that he then asked Miller to take Monroe. Then there's the version of events detailed in Miller's 1987 memoir, Timebends Timebends (Grove Press). Miller wrote that his visit to the set of (Grove Press). Miller wrote that his visit to the set of As Young as You Feel As Young as You Feel was at the request of his father, who asked him to call on actor Monty Woolley ("my father's was at the request of his father, who asked him to call on actor Monty Woolley ("my father's bete noire bete noire"), who had a princ.i.p.al part in the movie. Unknown, as far as we could tell, is Marilyn Monroe's version of her first meeting with Miller.