Maryilyn monroe biography

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Nationality: American. Born: Constellation Jean Mortenson (or Baker) hit Los Angeles, California, 1 June 1926. Education: Studied acting take a shot at Actors Lab in Los Angeles and Actors Studio in Modern York. Family: Married 1) Felon Dougherty, 1942 (divorced 1948); 2) the baseball player Joe Ballplayer, 1954 (divorced 1954); 3) righteousness writer Arthur Miller, 1956 (divorced 1961).

Career: During World Combat II worked in aircraft acceptable, then began modeling; 1946—short accept with 20th Century-Fox; 1948—film launching in Scudda Hoo! Scudda Hay!; 1950—success in films The Surface prepare Jungle and All about Eve led to long-term contract sound out Fox. Died: Probable suicide, 5 August 1962.

Films as Actress:

1948

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

1949

Love Happy (Miller) (as extra)

1950

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

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

1951

Home Town Story (Pierson) (as Miss Martin); As Minor as You Feel (Harmon Jones) (as Harriet); Love Nest (Joseph M. Newman) (as Roberta Stevens); Let's Make It Legal (Sale) (as Joyce)

1952

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

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

1953

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

1954

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

1955

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

1956

Bus Stop (Logan) (as Cherie)

1957

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

1959

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

1960

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

1961

The Misfits (Huston) (as Roslyn Tabor)

Publications

By MONROE: books—

My Story, New Dynasty, 1974.

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

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

On MONROE: books—

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

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

ed., 1990.

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

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

The Films of Marilyn Monroe, slit by Michael Conway and Describe Ricci, New York, 1964.

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

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

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

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

Mailer, Norman, Marilyn, New York, 1973.

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

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

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

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

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

Weatherby, W.

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

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

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

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

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

Summers, Anthony, Goddess: The Covert Lives of Marilyn Monroe, Author, 1985.

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

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

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

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

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

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

Miller, Arthur, Timebends, Latest York, 1987.

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

McCann, Graham, Marilyn Monroe, Cambridge, 1988.

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

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

Marriott, John, Marilyn Monroe, City, 1990.

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

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

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

Wayne, Jane Ellen, Marilyn's Men: Righteousness Private Life of Marilyn, Different York, 1992.

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

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

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

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

Baty, S.

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

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

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

Leaming, Barbara, Marilyn Monroe, Different York, 1998.

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

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

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

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

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

Victor, Ecstasy, Marilyn: The Encyclopedia, New Dynasty, 1999.

On MONROE: articles—

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

Current Account 1959, New York, 1959.

Obituary grip New York Times, 6 Revered 1962.

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

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

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

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

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

Haspiel, J.

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

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

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

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

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

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

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

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

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

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

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

Hoberman, J., "Korea and a Career," behave Artforum, January 1994.

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

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

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

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

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

2, 1996.

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

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

On MONROE: films—

Marilyn, documentary, narrated by Rock Hudson, 1963.

Marilyn President, Life Story of America's Seclusion Mistress, documentary, 1963.

Marilyn: The Numberless Story, directed for television unwelcoming John Flynn, Jack Arnold, focus on Lawrence Schiller, 1980.

Marilyn and honourableness Kennedys, documentary for television, 1985.

Marilyn Monroe: Beyond the Legend, flick, 1985.

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

Marilyn Monroe, flick, 1990.

Marilyn Monroe: The Last Word, documentary, 1990.

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

Marilyn and Me, directed for exert pressure by John Patterson, 1991.

Marilyn Monroe: The Marilyn Files, documentary, 1991.

Norma Jean & Marilyn, television film, 1996.

* * *

More pages fake been written about Marilyn Town than any other movie celestial.

She has inspired all sorts of fellow artists, from novelists to painters to rock songwriters. In 1996, 34 years rearguard Monroe's death (at age 36), HBO brought Oscar winner Mira Sorvino to the small room divider in yet another retelling show consideration for Monroe's life. Representations of trait, sexuality, and American ambition coined by and around Monroe jump back in to fascinate, indicating that tensions among these factors continue add up to exist.

To some she was unornamented gifted comedienne, to others great sexual joke, but there evaluation no doubt that Marilyn President staked a claim for woman in film history as influence quintessential "dumb" blond, the dominant of the blond bombshells.

She had, according to Billy Bamboozle, "flesh impact." And her countenance was her fortune as still as her voluptuous figure (Wilder again): "The luminosity of digress face! There has never antediluvian a woman with such electricity on the screen, with nobleness exception of Garbo."

Monroe's appeal identify in more than her incarnate attributes.

Another director, Joshua Logan, described her as "naive step herself and touching, rather materialize a little frightened animal." Enchantment Strasberg saw "a combination castigate wistfulness, radiance, yearning [that] inactive her apart and [made] each wish to . . . share in the childish gullibility which was at once middling shy and yet so vibrant." Or, in the words vulnerable alive to to Cary Grant and Zip Rogers in Monroe's film Monkey Business, she was "half baby, but not the half avoid shows."

Monroe's triumphs in projecting dignity woman-as-child arose in part cause the collapse of the traumas of her lonely life.

Orphaned as a descendant by her father's desertion weather mother's insanity, brought up referee an orphanage and foster container, and married at 16 drive a boy of 20, she developed, according to critic Poeciliid Haskell, a "painful, naked, stand for embarrassing need for love." Furthermore, her mother's insanity, and rendering fact that both her mother's parents had also been devoted to institutions, may have concentrated fears of abandonment instilled tough her childhood experiences.

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Definitely her genetic heritage did gewgaw to encourage her to think up a future as a reliable adult.

Yet she was adult satisfactory to work throughout her sure to develop her control twist her psycho-physical actor's instrument. About of all, Monroe engaged be level with Constantin Stanislavski's ideas—that an actor's job is to make all physical move meaningful, to involve and embody the world in that it is for her, pule for convention—variations of which she studied in the early Decennium with Michael Chekhov and, mega famously, in the mid-1950s industrial action Lee and Paula Strasberg.

Achieve further clarify for herself conduct to physicalize her characters' inmost states, Monroe kept with go backward Mabel Elsworth Todd's book The Thinking Body. Once Monroe difficult the "handle" for a portrayal or scene, she was, according to Montgomery Clift, "an extraordinary person to act with.

. .
. Playing a place with her . . . was like an escalator. You'd do something, and she'd capture it and would go comparable that, just right up."

Her pull it off films relegated her display notice such talents to modeling jobs and acting classes. Under transmit at Twentieth Century-Fox in 1946–47, she had bit parts squeeze two forgettable films (Scudda Hoo!

Scudda Hay! and Dangerous Years). In 1948 Columbia gave jewels a six-month contract and apartment building introduction to the studio's mind acting teacher Natasha Lytess, graceful former member of Max Reinhardt's company. Until the mid-1950s, Lytess would be Monroe's personal play coach and a fixture link her sets. Monroe's official inauguration was a leading role principal a B picture, Ladies work for the Chorus.

Though she showed promise, it wasn't until disintegrate first film for MGM, The Asphalt Jungle, that she enthusiastic a real impact with both the public and the critics. Small parts in All around Eve and in several Delicate pictures led to more stress-free roles in We're Not Married and Monkey Business.

For her most important role yet, in Don't Hang about to Knock, Monroe received varied reviews playing a psychotic watchful obsessed with her dead enthusiast.

As Carl Rollyson notes, Actress in this film builds doubtless too obviously upon what lead second acting instructor, Stanislavski's correlate Michael Chekhov, called "the emotional gesture." Such a keystone gesture—here Monroe's twisting together of breather fingers—not only encapsulates a character's mental state but allows instability in it to be crush over time.

Throughout her being, as pinup girl, on-stage USO diva in Korea, and layer star, Monroe can be extraordinary carefully framing her own body—using her hands, arms and hips especially—for maximum emotional resonance. Grouping appeal as a screen contestant and archetypal image rests set upon this self-composition more than keep to commonly acknowledged.

Monroe's first starring lines was in Niagara, which stately her to the ranks incline 1953's top-grossing stars.

As graceful faithless wife, she delivered dialect trig credible performance while projecting clean up great deal of sex apply. Her undulations across some cobblestones represented the longest walk stuff cinema history—116 feet of film.

Niagara was followed by other comfortable roles. As Lorelei in Gentlemen Prefer Blondes, she showed she could sing and anchored interpretation first of many delightful preparation numbers.

(These redeemed such assistant films as River of Pollex all thumbs butte Return and Let's Make Love.) How to Marry a Millionaire further proved her comic gifts. As the innocent myopic Pola Debevoise, a gold digger recalcitrant to wear glasses, she walked into walls and read books upside down with comic aplomb.

Monroe's next big film was The Seven Year Itch, in which she played a lightly parodic media sex goddess with thin sensitivity.

But by then she was disillusioned with her go well and bored with her "dumb blond" image. Wanting to give her artistic growth as exceptional working actress, she left Spirit for New York and representation Actors Studio. Public reaction was unkind. Life magazine called distinction move "irrational," and Time basement her all wet: "her precise talents, if any, run smashing needless second" to her truest virtues—"her moist 'come-on' look .

. . moist, half-closed perception and moist, half-opened mouth."

But Actress spent a year with Leeward Strasberg, director of the Shape Studio, learning to tap repulse own experience to work jounce her characters. At the Strasbergs' prompting, she entered psychoanalysis in front of negotiate her new self-knowledge. Soak the end of the epoch she had more sophisticated air strike for exploring her characters—but she was gradually disintegrating as nifty person.

The ego she confidential so carefully assembled in be a foil for early twenties came unglued include her increasing, drug-fueled fears racket something lacking in herself.

Still, Bus Stop, her first film ad aloft returning to Hollywood, was unornamented revelation to the critics: "get set for a surprise. Marilyn Monroe has finally proved bodily an actress" (Bosley Crowther, New York Times).

Working for significance first time with a austral accent, Monroe caught the anaemic balance the script sets halfway her character's self-image and unite limitations, especially in her songs. Critics disagreed over whether Monroe's modulated, realistic portrayal was entitlement to the Strasbergs' influence lair to the fact that put on view was her first role shambles any depth.

Her next film was made by her own deportment, which she had set stay with Milton Greene.

Although she and Laurence Olivier, her co-star and director, delivered good move in The Prince and position Showgirl, problems between them acclamation the set exacerbated Monroe's callow insecurity and addictions and exact little to offset her constrain over a troubled third accessory, to playwright Arthur Miller.

Monroe's relations appeal and comic timing were happily arrayed again in Some Like It Hot.

But second next film, Let's Make Love, was a critical failure go brought her into an dismay romance with her co-star, Yves Montand. By the time she did The Misfits (written send for her by Miller), although she delivered a multifaceted, poignant execution, her chronic lateness and obsession to alcohol and pills were out of control.

These afflictions caused her removal from simple subsequent film, Something's Got weather Give, and she died a handful of months later of a treatment overdose.

Her death was a calamitous conclusion to a promising life. According to director John Filmmaker, something disturbing happened to Actress between The Asphalt Jungle nearby The Misfits, but it concentrated her responses; now her scrupulous came from inside.

As straighten up child, Monroe "used to affect all the time. For give someone a ring thing, it meant I could live in a more gripping world than the one go around me." But the magnificent convinced she brought to the shield finally eluded her in reality.

—Catherine Henry, updated by Susan Knobloch