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In White New York, 1954 Sept. 14, 1954. A very humid day in New York. What kind of life is it that starts with getting up at six o’ clock in the morning in this asphalt jungle? Had I not accepted the Redbook assignment, and it wasn’t with Marilyn, not ten horses could have drawn me from my Hollywood oasis to photograph The Seven Year Itch on its original location. B RUN O BERN A RD

In New York, Marilyn walks out of the Trans-Lux Theatre onto the movie set like a shaven lamb. She is peroxided, irritated, and raw; she is oblivious to the crowds multiplying on Lexington Avenue. She steps directly over the subway grate, moving four steps to the left, and comes down hard on heels, with the stance of a lion. She is in her white sundress, with a halter-top gathered in folds accentuating real breasts. Legs are spread apart, feet in high-heeled white sandals. Her skirt is in the air, a billowing soft sheet, revealing fleshy thighs and transparent white cotton panties. An exasperated director, Billy Wilder, holds up his megaphone, shouts, “Roll it!” for the sixteenth time. She throws her blonde head back, closing eyes in exhilaration, enjoying the warm breeze. She whispers, “Ahhh, what a relief?! Isn’t it delicious?” Marilyn Monroe on the New York set of The Seven Year Itch, 1954.

“This is a little kid who wants to be with the other little kids sucking lollipops and watching the roller coaster, but can’t because they won’t let her. She’s frightened to death of that public, which thinks she is so sexy. My God, if they only knew.” Al l en “ Wh itey” Snyder , M akeU p A rt i s t

Marilyn with friend and makeup artist Allen “Whitey” Snyder, 1954. Whitey was Marilyn’s close friend throughout her career. He was thrilled when I gave him this 11 x 14-inch color print in 1993. He had never possessed a color photograph of her with him.

Before I finished putting my unwieldy 5-x-7 Eastman camera on its tripod, Norma Jean emerged from her large beach towel, ready for action. I started giving her directions: “Would you please climb up on the front girder so I can get a better angle on your legs?” “Oh, you want to make a Vargas girl out of me,” Norma Jean commented knowingly. “All legs and a shrunken head. I know what you’re up, to Mr. Bernard!” “What’s wrong with the Vargas girls?” I wanted to know. “Not a thing. I wish I could look like his Ziegfeld beauties in Esquire—they’re divine—but no real girl could ever look like those drawings, could she?” “Not quite, but photographers can create a similar illusion by elongating the legs from a low perspective, but not so low as to distort the proportions of the head too much.” Her enthusiasm and tenacity are infectious. After hours of continuous shooting, she was still fresh. B RUNO BERN A RD

Above: Norma Jean, Griffith Park, Hollywood, California, 1946. Opposite: Reverse side of photo with Bruno Bernard’s notes and photo agency stamps; Norma Jean, Griffith Park, Hollywood, California, 1946. 56


Opposite: Marilyn at St. Jude Children’s Hospital charity event, Hollywood Bowl, 1953. Above: Original contact sheet, 1953.


LEGACY By the early 60s, Dad had sold his three landmark studios to

her image and his famous Bernard of Hollywood signature on

return to his homeland, Berlin, and become a foreign photojour-

a crystal iPhone cover; on satin intimate wear with pretty bows;

nalist, covering the Eichmann trial for Der Spiegel. He was so

high-tech wall graphics that stick to glass; high-end cushy leather

moved by the proceedings that he compiled the bestseller Israel

wallets, keychains, evening bags and cowboy boots; Italian

Impressions. In ’69, he began building a Mediterranean three-story

schoolgirl notepads, satchels and binders; T-shirts beautifully

villa on the pristine beaches of Palma de Mallorca, Spain, and

glittered; T-shirts altering her with edgy tattoos; bomber jackets,

plunged into his own artistic evolution and intellectual discovery.

Marilyn swinging inside sea blue, rose and silver Christmas

At the entrance was the sign “Casa Bernard,” and at the bottom

ornaments; her face on collectible coins secured in vaults, salt and

of a long, pebbled stairway, he paid homage to Marilyn, building

pepper shakers and sleep masks; her flying skirt scene recreated

an enchanted rock garden and—christening it “Norma Jean.“

in a glass snow globe. The good sport Marilyn on martini and shot

I am certain that when, in 1946, the teenage Norma Jean Dougherty wiggled aimlessly past my father on Sunset Boulevard and he gave her his card, he could not have imagined that over a half-century later I would be carrying on his legacy, preserving, exhibiting, and publishing his legendary photographs of Norma Jean and winning legal battles to protect both his and her

glasses, exquisite Italian china tea and espresso sets; life-size stand-ups that greet me at airports; motorcycle decals and biker bandanas. Her body in pieces waiting to be put together in a glossy jigsaw puzzle; teenagers, mature women and drag queens bang on my door begging for candy in Bernard of Hollywoodinspired Marilyn white dresses and platinum wigs on Halloween.

photographic rights. He would have been amazed at the unheard-

My dad undoubtedly would have been proud that his grandson,

of sums that vintage prints of her with his signature on the reverse

my son Joshua Miller, would at only 23 write a critically acclaimed

sell for, at the rush of new books, calendars, and apparel that his

novel, The Mao Game, whose central character, a famous

fame would give rise to. He would be awed by the appearance of

Hollywood glamour photographer, would be inspired by him.

Above: Bruno Bernard’s foreign press credentials, 1966. Opposite: Bruno and Marilyn, 1953.



REQUIEM 1962–2012


ON SALE October 2011



marks the 50th anniversary of Marilyn Monroe’s death, and this lavishly illustrated volume celebrates her enduring beauty through photographs—many never before published—by legendary Hollywood photographer Bruno Bernard, known for his iconic photograph of Marilyn standing over the subway grate in a billowing white dress. The book includes forewords by Lindsay Lohan and Jane Russell, and the stunning images—including Marilyn’s first professional sitting in 1946—are enlivened by fascinating excerpts from Bruno’s journal and studio notes, as well as reproductions of original negatives. In addition, the book includes a gorgeous 9 x 11-inch estate-stamped, fine-art, ready-to-frame photographic print that’s sure to be cherished by any Marilyn admirer.

Susan Bernard, daughter of

Bruno Bernard, is an author, producer, and president of Bernard of Hollywood Publishing/Renaissance Road, Inc. She preserves and internationally exhibits, publishes, and licenses her late father’s work, generating feature articles in The New York Times, Time, Newsweek, Vanity Fair, American Photo, Entertainment Weekly, and other journals. Bernard of Hollywood’s famous “Marilyn in White” photograph was chosen as the photographic Symbol of the Century in 1999 by the Museum of Modern Art, New York, in its Fame After Photography exhibition.

• National publicity • 20-city morning drive radio tour • Features and reviews in entertainment, women’s, and general interest magazines • Newspaper coverage in feature and book review sections • Online coverage targeting entertainment blogs and fan websites • Author events in New York and Los Angeles

For more information, contact Megan Perritt at (646) 688-2526 or

Reviewers are reminded that changes may be made in this uncorrected proof before books are printed. If any material from the book is to be quoted in a review, the quotation should be checked against the final bound book. Dates, prices, and manufacturing details are subject to change or cancellation without notice.

Biography/Entertainment & Performing Arts October 2011 $35.00 (Can $42.00) Hardcover | 10 x 12 208 pages, all in color Sterling Signature ISBN 978-1-4027-8001-1


2012 marks the 50th anniversary of Marilyn Monroe's death, and this lavishly illustrated volume celebrates her enduring beauty through photo...

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