MARILYN MONROE
BY EVE ARNOLD
FOREWORD
BY
ANJELICA HUSTON
Eve Arnold Biography
Foreword by Anjelica Huston
Prologue
Marilyn: a Brief Résumé
Creating Marilyn
Launching Marilyn
Marilyn and the Still Camera
Stardom
Miller Place, Long Island, 1952
Mount Sinai, Long Island, 1952
Bement, Illinois, 1955
The Prince and the Showgirl, 1956
The Misfits, 1960 – Part One
The Misfits, 1960 – Part Two
Los Angeles, 1960
Editing Session, 1960
Marilyn with Kenneth, 1961
Epilogue
Afterword by Michael Arnold
Full
Norman Mailer never met her, but wrote about her. Elton John sang about her after her death, and Norman Mailer, obsessed with her, wrote two books and a play.
She married two American heroes: one sports—Joe DiMaggio; one literary—Arthur Miller.
She was presented to four heads of state: Elizabeth of Great Britain, to whom she curtsied; Nikita Khrushchev of the USSR, who crushed her hand so hard in greeting that her fingers hurt; Jack Kennedy of the United States, to whom she sang “Happy Birthday”; and Sukarno of Indonesia, who kept his eyes glued to her décolletage.
More ink, paper, film and developer were lavished on her than on anyone else of her generation, and more books have been written about her (there is a man in Florida who claims he owns 604 different ones); there have been stories, television shows, documentaries, an opera, a ballet, unnumbered magazine and newspaper articles, and films about her. Lucille Ball played a Marilyn skit with a blonde wig in an I Love Lucy episode. (Perhaps her only rival in the popularity sweepstakes is Elvis.) Marilyn acted in twenty-eight films.
She has come into the psychoanalytic literature.
Even if we allow for the flacks’ apocrypha, it still is an impressive list of achievements during her lifetime and a measure of her hold upon the public imagination after her death.
Pages 11, 13 and 15: On the set of The Misfits, Nevada, 1960. Written by Arthur
Miller and directed by John Huston, this was the last movie Marilyn completed
I was among the last of the Magnum people to go out. My two weeks were to stretch into two months, until the film was finished. It had been decided that it would be easier on Marilyn to have me, whom she knew and trusted, stay on so she wouldn’t have to adjust to new people every fourteen days. She was in a very fragile state. She had taken an overdose of sleeping pills and been removed to a hospital in Los Angeles, where she had been under treatment for a week
Being a woman helped me understand her moods and responses. Also, my being another woman avoided the male-female byplay that my male colleagues tell me is necessary in their sessions to produce intimate pictures. The myth has always been that it is necessary to go to bed with the subject. I have no way of testing this claim, but, knowing a little about the state of Marilyn’s psyche during the filming of The Misfits, I would guess that such a relationship would only have added to the problems
Marilyn going over lines for a difficult scene she is about to play with Clark Gable in the Nevada desert, 1960
As the film moved to its end, the most difficult scenes were still ahead and the weather, as it progressed toward winter, made the matching of the film increasingly difficult to achieve
DO YOU THINK SOMEDAY YOU COULD DO AN APPRECIATION OF ME?”
YES, MARILYN. HERE IT IS
MARILYN MONROE BY EVE ARNOLD IS THE DEFINITIVE COLLECTION OF EVE ARNOLD’S ARCHIVE, DOCUMENTING HER YEARS WORKING WITH MARILYN MONROE, A WORKING RELATIONSHIP THAT DEVELOPED INTO A FRIENDSHIP UNDERSCORED WITH TRUST.
THIS REVISED AND RESTORED VERSION OF THE CLASSIC 1987 PUBLICATION MARILYN MONROE: AN APPRECIATION, DOCUMENTS THEIR RELATIONSHIP FROM 1951 TO 1962, INCLUDING ON SET OF THE MISFITS AND CANDID BEHINDTHE-SCENES MOMENTS. ARNOLD’S PORTRAITS ARE MAGICAL, MEMORABLE AND ENDURING” TIME MAGAZINE ONE OF THE