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Marilyn Monroe

February 14, 2023

"Norma Jeane" redirects here. For other uses, see Norma Jean (disambiguation) and Marilyn Monroe (disambiguation).

Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Famous for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2021) by the time of her death in 1962.[3] Long after her death, Monroe remains a major icon of pop culture.[4] In 1999, the American Film Institute ranked her sixth on their list of the greatest female screen legends from the Golden Age of Hollywood.

Marilyn Monroe
Monroe in 1953
Born
Norma Jeane Mortenson[a]

(1926-06-01)June 1, 1926
Los Angeles, California, U.S.
DiedAugust 4, 1962(1962-08-04) (aged 36)
Los Angeles, California, U.S.
Cause of deathBarbiturate overdose
Burial placeWestwood Village Memorial Park Cemetery
Other namesNorma Jeane Baker
Occupations
  • Actress
  • model
  • singer
Years active1945–1962
Spouses
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(m. 1942; div. 1946)​
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(m. 1954; div. 1955)​
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(m. 1956; div. 1961)​
Parent
RelativesBerniece Baker Miracle (half-sister)
Websitemarilynmonroe.com
Signature

Born and raised in Los Angeles, Monroe spent most of her childhood in a total of 12 foster homes and an orphanage[5] before marrying James Dougherty at age sixteen. She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career, which led to short-lived film contracts with 20th Century Fox and Columbia Pictures. After a series of minor film roles, she signed a new contract with Fox in late 1950. Over the next two years, she became a popular actress with roles in several comedies, including As Young as You Feel and Monkey Business, and in the dramas Clash by Night and Don't Bother to Knock. Monroe faced a scandal when it was revealed that she had posed for nude photographs prior to becoming a star, but the story did not damage her career and instead resulted in increased interest in her films.

By 1953, Monroe was one of the most marketable Hollywood stars. She had leading roles in the film noir Niagara, which overtly relied on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a "dumb blonde". The same year, her nude images were used as the centerfold and on the cover of the first issue of Playboy. Monroe played a significant role in the creation and management of her public image throughout her career, but felt disappointed when typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch (1955), one of the biggest box office successes of her career.

When the studio was still reluctant to change Monroe's contract, she founded her own film production company in 1954. She dedicated 1955 to building the company and began studying method acting under Lee Strasberg at the Actors Studio. Later that year, Fox awarded her a new contract, which gave her more control and a larger salary. Her subsequent roles included a critically acclaimed performance in Bus Stop (1956) and her first independent production in The Prince and the Showgirl (1957). She won a Golden Globe for Best Actress for her role in Some Like It Hot (1959), a critical and commercial success. Her last completed film was the drama The Misfits (1961).

Monroe's troubled private life received much attention. She struggled with addiction and mood disorders. Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized, but ended in divorce. On August 4, 1962, she died at age 36 from an overdose of barbiturates at her Los Angeles home. Her death was ruled a probable suicide.

Life and career

1926–1943: Childhood and first marriage

 
Monroe as an infant, c. 1927

Marilyn Monroe was born Norma Jeane Mortenson on 1 June 1926 at the Los Angeles General Hospital in Los Angeles, California.[6] Her mother, Gladys Pearl Baker (née Monroe; 1902–1984), was born in Piedras Negras, Coahuila, Mexico[7] to a poor Midwestern family who migrated to California at the turn of the century.[8] At age 15, Gladys married John Newton Baker, an abusive man nine years her senior. They had two children, Robert (1918–1933)[9] and Berniece (1919–2014).[10] She successfully filed for divorce and sole custody in 1923, but Baker kidnapped the children soon after and moved with them to his native Kentucky.[11]

Monroe was not told that she had a sister until she was 12, and they met for the first time in 1944 when Monroe was 17 or 18.[12] Following the divorce, Gladys worked as a film negative cutter at Consolidated Film Industries.[13] In 1924, she married Martin Edward Mortensen, but they separated just months later and divorced in 1928.[13][b] In 2022, DNA testing indicated that Monroe's father was Charles Stanley Gifford (1898–1965),[18][19][20] a co-worker of Gladys, with whom she had an affair in 1925.[17] Monroe also had two other half-siblings from Gifford's marriage with his first wife, a sister, Doris (1920–1933), and a brother, Charles (1922–2015).[21]

Although Gladys was mentally and financially unprepared for a child, Monroe's early childhood was stable and happy.[22] Gladys placed her daughter with evangelical Christian foster parents Albert and Ida Bolender in the rural town of Hawthorne. She also lived there for six months, until she was forced to move back to the city for employment.[23] She then began visiting her daughter on weekends.[22] In the summer of 1933, Gladys bought a small house in Hollywood with a loan from the Home Owners' Loan Corporation and moved seven-year-old Monroe in with her.[24]

They shared the house with lodgers, actors George and Maude Atkinson and their daughter, Nellie.[25] In January 1934, Gladys had a mental breakdown and was diagnosed with paranoid schizophrenia.[26] After several months in a rest home, she was committed to the Metropolitan State Hospital.[27] She spent the rest of her life in and out of hospitals and was rarely in contact with Monroe.[28] Monroe became a ward of the state, and her mother's friend Grace Goddard took responsibility over her and her mother's affairs.[29]

 
Monroe with her first husband, James Dougherty, c. 1943–44. They married when she was 16 years old.

Over the next four years, Monroe's living situation changed often. For the first 16 months, she continued living with the Atkinsons, and may have been sexually abused during this time.[30][c] Always a shy girl, she now also developed a stutter and became withdrawn.[36] In the summer of 1935, she briefly stayed with Grace and her husband Erwin "Doc" Goddard and two other families.[37] In September 1935, Grace placed her in the Los Angeles Orphans Home.[38] The orphanage was "a model institution" and was described in positive terms by her peers, but Monroe felt abandoned.[39]

Encouraged by the orphanage staff, who thought that Monroe would be happier living in a family, Grace became her legal guardian in 1936, but did not take her out of the orphanage until the summer of 1937.[40] Monroe's second stay with the Goddards lasted only a few months because Doc molested her.[41] She then lived for brief periods with her relatives and Grace's friends and relatives in Los Angeles and Compton.[42]

Monroe's childhood experiences first made her want to become an actress: "I didn't like the world around me because it was kind of grim ... When I heard that this was acting, I said that's what I want to be ... Some of my foster families used to send me to the movies to get me out of the house and there I'd sit all day and way into the night. Up in front, there with the screen so big, a little kid all alone, and I loved it."[43]

Monroe found a more permanent home in September 1938, when she began living with Grace's aunt Ana Lower in the west-side district of Sawtelle.[44] She was enrolled at Emerson Junior High School and went to weekly Christian Science services with Lower.[45] She excelled in writing and contributed to the school newspaper, but was otherwise a mediocre student.[46] Owing to the elderly Lower's health problems, Monroe returned to live with the Goddards in Van Nuys in about early 1941.[47]

The same year, she began attending Van Nuys High School.[48] In 1942, the company that employed Doc Goddard relocated him to West Virginia.[49] California child protection laws prevented the Goddards from taking Monroe out of state, and she faced having to return to the orphanage.[50] As a solution, she married their neighbors' 21-year-old son, factory worker James Dougherty, on June 19, 1942, just after her 16th birthday.[51]

Monroe subsequently dropped out of high school and became a housewife. She found herself and Dougherty mismatched, and later said she was "dying of boredom" during the marriage.[52] In 1943, Dougherty enlisted in the Merchant Marine and was stationed on Santa Catalina Island, where Monroe moved with him.[53]

1944–1948: Modeling and first film roles

 
A photo of Monroe taken by David Conover in mid-1944 at the Radioplane Company

In April 1944, Dougherty was shipped out to the Pacific, where he remained for most of the next two years.[53] Monroe moved in with her in-laws and began a job at the Radioplane Company, a munitions factory in Van Nuys.[53] In late 1944, she met photographer David Conover, who had been sent by the U.S. Army Air Forces' First Motion Picture Unit to the factory to shoot morale-boosting pictures of female workers.[54] Although none of her pictures were used, she quit working at the factory in January 1945 and began modeling for Conover and his friends.[55][56] Defying her deployed husband, she moved on her own and signed a contract with the Blue Book Model Agency in August 1945.[57]

The agency deemed Monroe's figure more suitable for pin-up than high fashion modeling, and she was featured mostly in advertisements and men's magazines.[58] To make herself more employable, she straightened her hair and dyed it blonde.[59] According to Emmeline Snively, the agency's owner, Monroe quickly became one of its most ambitious and hard-working models; by early 1946, she had appeared on 33 magazine covers for publications such as Pageant, U.S. Camera, Laff, and Peek.[60] As a model, Monroe occasionally used the pseudonym Jean Norman.[59]

 
Monroe posing as a pin-up model for a postcard photograph c. 1940s

Through Snively, Monroe signed a contract with an acting agency in June 1946.[61] After an unsuccessful interview at Paramount Pictures, she was given a screen-test by Ben Lyon, a 20th Century-Fox executive. Head executive Darryl F. Zanuck was unenthusiastic about it,[62] but he gave her a standard six-month contract to avoid her being signed by rival studio RKO Pictures.[d] Monroe's contract began in August 1946, and she and Lyon selected the stage name "Marilyn Monroe".[64] The first name was picked by Lyon, who was reminded of Broadway star Marilyn Miller; the surname was Monroe's mother's maiden name.[65] In September 1946, she divorced Dougherty, who opposed her career.[66]

Monroe spent her first six months at Fox learning acting, singing, and dancing, and observing the film-making process.[67] Her contract was renewed in February 1947, and she was given her first film roles, bit parts in Dangerous Years (1947) and Scudda Hoo! Scudda Hay! (1948).[68][e] The studio also enrolled her in the Actors' Laboratory Theatre, an acting school teaching the techniques of the Group Theatre; she later stated that it was "my first taste of what real acting in a real drama could be, and I was hooked".[70] Despite her enthusiasm, her teachers thought her too shy and insecure to have a future in acting, and Fox did not renew her contract in August 1947.[71] She returned to modeling while also doing occasional odd jobs at film studios, such as working as a dancing "pacer" behind the scenes to keep the leads on point at musical sets.[71]

 
Monroe in a 1948 publicity photo

Monroe was determined to make it as an actress, and continued studying at the Actors' Lab. She had a small role in the play Glamour Preferred at the Bliss-Hayden Theater, but it ended after a couple of performances.[72] To network, she frequented producers' offices, befriended gossip columnist Sidney Skolsky, and entertained influential male guests at studio functions, a practice she had begun at Fox.[73] She also became a friend and occasional sex partner of Fox executive Joseph M. Schenck, who persuaded his friend Harry Cohn, the head executive of Columbia Pictures, to sign her in March 1948.[74]

At Columbia, Monroe's look was modeled after Rita Hayworth and her hair was bleached platinum blonde.[75] She began working with the studio's head drama coach, Natasha Lytess, who would remain her mentor until 1955.[76] Her only film at the studio was the low-budget musical Ladies of the Chorus (1948), in which she had her first starring role as a chorus girl courted by a wealthy man.[69] She also screen-tested for the lead role in Born Yesterday (1950), but her contract was not renewed in September 1948.[77] Ladies of the Chorus was released the following month and was not a success.[78]

1949–1952: Breakthrough years

 
Monroe in The Asphalt Jungle (1950), one of her earliest performances to gain attention from film critics.

When her contract at Columbia ended, Monroe returned again to modeling. She shot a commercial for Pabst beer and posed for artistic nude photographs by Tom Kelley for John Baumgarth[79] calendars, using the name 'Mona Monroe'.[80] Monroe had previously posed topless or clad in a bikini for other artists including Earl Moran, and felt comfortable with nudity.[81][f] Shortly after leaving Columbia, she also met and became the protégée and mistress of Johnny Hyde, the vice president of the William Morris Agency.[82]

Through Hyde, Monroe landed small roles in several films,[g] including two critically acclaimed works: Joseph Mankiewicz's drama All About Eve (1950) and John Huston's film noir The Asphalt Jungle (1950).[83] Despite her screen time being only a few minutes in the latter, she gained a mention in Photoplay and according to biographer Donald Spoto "moved effectively from movie model to serious actress".[84] In December 1950, Hyde negotiated a seven-year contract for Monroe with 20th Century-Fox.[85] According to its terms, Fox could opt to not renew the contract after each year.[86] Hyde died of a heart attack only days later, which left Monroe devastated.[87] In 1951, Monroe had supporting roles in three moderately successful Fox comedies: As Young as You Feel, Love Nest, and Let's Make It Legal.[88] According to Spoto all three films featured her "essentially [as] a sexy ornament", but she received some praise from critics: Bosley Crowther of The New York Times described her as "superb" in As Young As You Feel and Ezra Goodman of the Los Angeles Daily News called her "one of the brightest up-and-coming [actresses]" for Love Nest.[89]

Her popularity with audiences was also growing: she received several thousand fan letters a week, and was declared "Miss Cheesecake of 1951" by the army newspaper Stars and Stripes, reflecting the preferences of soldiers in the Korean War.[90] In February 1952, the Hollywood Foreign Press Association named Monroe the "best young box office personality".[91] In her private life, Monroe had a short relationship with director Elia Kazan and also briefly dated several other men, including director Nicholas Ray and actors Yul Brynner and Peter Lawford.[92] In early 1952, she began a highly publicized romance with retired New York Yankees baseball star Joe DiMaggio, one of the most famous sports personalities of the era.[93]

 
Monroe with Keith Andes in Clash by Night (1952). The film allowed Monroe to display more of her acting range in a dramatic role.

Monroe found herself at the center of a scandal in March 1952, when she revealed publicly that she had posed for a nude calendar in 1949.[94] The studio had learned about the photos and that she was publicly rumored to be the model some weeks prior, and together with Monroe decided that to prevent damaging her career it was best to admit to them while stressing that she had been broke at the time.[95] The strategy gained her public sympathy and increased interest in her films, for which she was now receiving top billing. In the wake of the scandal, Monroe was featured on the cover of Life magazine as the "Talk of Hollywood", and gossip columnist Hedda Hopper declared her the "cheesecake queen" turned "box office smash".[96] Three of Monroe's films —Clash by Night, Don't Bother to Knock and We're Not Married!— were released soon after to capitalize on the public interest.[97]

Despite her newfound popularity as a sex symbol, Monroe also wished to showcase more of her acting range. She had begun taking acting classes with Michael Chekhov and mime Lotte Goslar soon after beginning the Fox contract,[98] and Clash by Night and Don't Bother to Knock showed her in different roles.[99] In the former, a drama starring Barbara Stanwyck and directed by Fritz Lang, she played a fish cannery worker; to prepare, she spent time in a fish cannery in Monterey.[100] She received positive reviews for her performance: The Hollywood Reporter stated that "she deserves starring status with her excellent interpretation", and Variety wrote that she "has an ease of delivery which makes her a cinch for popularity".[101][102] The latter was a thriller in which Monroe starred as a mentally disturbed babysitter and which Zanuck used to test her abilities in a heavier dramatic role.[103] It received mixed reviews from critics, with Crowther deeming her too inexperienced for the difficult role,[104] and Variety blaming the script for the film's problems.[105][106]

 
Monroe in Don't Bother to Knock (1952)

Monroe's three other films in 1952 continued with her typecasting in comedic roles that highlighted her sex appeal. In We're Not Married!, her role as a beauty pageant contestant was created solely to "present Marilyn in two bathing suits", according to its writer Nunnally Johnson.[107] In Howard Hawks's Monkey Business, in which she acted opposite Cary Grant, she played a secretary who is a "dumb, childish blonde, innocently unaware of the havoc her sexiness causes around her".[108]

In O. Henry's Full House, with Charles Laughton she appeared in a passing vignette as a nineteenth-century street walker.[109] Monroe added to her reputation as a new sex symbol with publicity stunts that year: she wore a revealing dress when acting as Grand Marshal at the Miss America Pageant parade, and told gossip columnist Earl Wilson that she usually wore no underwear.[110] By the end of the year, gossip columnist Florabel Muir named Monroe the "it girl" of 1952.[111][112]

During this period, Monroe gained a reputation for being difficult to work with, which would worsen as her career progressed. She was often late or did not show up at all, did not remember her lines, and would demand several re-takes before she was satisfied with her performance.[113] Her dependence on her acting coaches—Natasha Lytess and then Paula Strasberg—also irritated directors.[114] Monroe's problems have been attributed to a combination of perfectionism, low self-esteem, and stage fright.[115] She disliked her lack of control on film sets and never experienced similar problems during photo shoots, in which she had more say over her performance and could be more spontaneous instead of following a script.[115][116] To alleviate her anxiety and chronic insomnia, she began to use barbiturates, amphetamines, and alcohol, which also exacerbated her problems, although she did not become severely addicted until 1956.[117] According to Sarah Churchwell, some of Monroe's behavior, especially later in her career, was also in response to the condescension and sexism of her male co-stars and directors.[118] Biographer Lois Banner said that she was bullied by many of her directors.[119]

1953: Rising star

 
Monroe in Niagara (1953), which dwelt on her sex appeal
 
Monroe performing the song "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (1953)
 
Monroe, Betty Grable, and Lauren Bacall in How to Marry a Millionaire, her biggest box office success of 1953

Monroe starred in three movies that were released in 1953 and emerged as a major sex symbol and one of Hollywood's most bankable performers.[120][121] The first was the Technicolor film noir Niagara, in which she played a femme fatale scheming to murder her husband, played by Joseph Cotten.[122] By then, Monroe and her make-up artist Allan "Whitey" Snyder had developed her "trademark" make-up look: dark arched brows, pale skin, "glistening" red lips and a beauty mark.[123] According to Sarah Churchwell, Niagara was one of the most overtly sexual films of Monroe's career.[108] In some scenes, Monroe's body was covered only by a sheet or a towel, considered shocking by contemporary audiences.[124] Niagara's most famous scene is a 30-second long shot behind Monroe where she is seen walking with her hips swaying, which was used heavily in the film's marketing.[124]

When Niagara was released in January 1953, women's clubs protested it as immoral, but it proved popular with audiences.[125] While Variety deemed it "clichéd" and "morbid", The New York Times commented that "the falls and Miss Monroe are something to see", as although Monroe may not be "the perfect actress at this point ... she can be seductive—even when she walks".[126][127] Monroe continued to attract attention by wearing revealing outfits, most famously at the Photoplay Awards in January 1953, where she won the "Fastest Rising Star" award.[128] A pleated "sunburst" waist-tight, deep decolleté gold lamé dress designed by William Travilla for Gentlemen Prefer Blondes, but barely seen at all in the film, was to become a sensation.[129] Prompted by such imagery, veteran star Joan Crawford publicly called the behavior "unbecoming an actress and a lady".[128]

While Niagara made Monroe a sex symbol and established her "look", her second film of 1953, the satirical musical comedy Gentlemen Prefer Blondes, cemented her screen persona as a "dumb blonde".[130] Based on Anita Loos' novel and its Broadway version, the film focuses on two "gold-digging" showgirls played by Monroe and Jane Russell. Monroe's role was originally intended for Betty Grable, who had been 20th Century-Fox's most popular "blonde bombshell" in the 1940s; Monroe was fast eclipsing her as a star who could appeal to both male and female audiences.[131] As part of the film's publicity campaign, she and Russell pressed their hand and footprints in wet concrete outside Grauman's Chinese Theatre in June.[132] Gentlemen Prefer Blondes was released shortly after and became one of the biggest box office successes of the year.[133] Crowther of The New York Times and William Brogdon of Variety both commented favorably on Monroe, especially noting her performance of "Diamonds Are a Girl's Best Friend"; according to the latter, she demonstrated the "ability to sex a song as well as point up the eye values of a scene by her presence".[134][135]

In September, Monroe made her television debut in the Jack Benny Show, playing Jack's fantasy woman in the episode "Honolulu Trip".[136] She co-starred with Betty Grable and Lauren Bacall in her third movie of the year, How to Marry a Millionaire, released in November. It featured Monroe as a naïve model who teams up with her friends to find rich husbands, repeating the successful formula of Gentlemen Prefer Blondes. It was the second film ever released in CinemaScope, a widescreen format that Fox hoped would draw audiences back to theaters as television was beginning to cause losses to film studios.[137] Despite mixed reviews, the film was Monroe's biggest box office success at that point in her career.[138]

Monroe was listed in the annual Top Ten Money Making Stars Poll in both 1953 and 1954,[121] and according to Fox historian Aubrey Solomon became the studio's "greatest asset" alongside CinemaScope.[139] Monroe's position as a leading sex symbol was confirmed in December 1953, when Hugh Hefner featured her on the cover and as centerfold in the first issue of Playboy; Monroe did not consent to the publication.[140] The cover image was a photograph taken of her at the Miss America Pageant parade in 1952, and the centerfold featured one of her 1949 nude photographs.[140]

1954–1955: Conflicts with 20th Century-Fox and marriage to Joe DiMaggio

Monroe had become one of 20th Century-Fox's biggest stars, but her contract had not changed since 1950, so that she was paid far less than other stars of her stature and could not choose her projects.[141] Her attempts to appear in films that would not focus on her as a pin-up had been thwarted by the studio head executive, Darryll F. Zanuck, who had a strong personal dislike of her and did not think she would earn the studio as much revenue in other types of roles.[142] Under pressure from the studio's owner, Spyros Skouras, Zanuck had also decided that Fox should focus exclusively on entertainment to maximize profits and canceled the production of any "serious films".[143] In January 1954, he suspended Monroe when she refused to begin shooting yet another musical comedy, The Girl in Pink Tights.[144]

 
Monroe and Joe DiMaggio after getting married at San Francisco City Hall in January 1954

This was front-page news, and Monroe immediately took action to counter negative publicity. On January 14, she and Joe DiMaggio were married at the San Francisco City Hall.[145] They then traveled by car[146] to San Luis Obispo,[147] then honeymooned[148] outside Idyllwild, California,[149][150][151] in the mountain lodge of Monroe's lawyer Lloyd Wright.[152][153] On January 29, 1954, fifteen days later,[154] they flew to Japan,[155] combining a "honeymoon" with his commitment to his former San Francisco Seals coach Lefty O'Doul,[156] to help train[157] Japanese baseball teams.[158][159] From Tokyo, she traveled with Jean O'Doul,[158] Lefty's wife, to Korea,[160][161] where she participated in a USO show,[162] singing songs from her films for over 60,000 U.S. Marines over a four-day period.[163][164][165] After returning to the U.S., she was awarded Photoplay's "Most Popular Female Star" prize.[166] Monroe settled with Fox in March, with the promise of a new contract, a bonus of $100,000, and a starring role in the film adaptation of the Broadway success The Seven Year Itch.[167]

In April 1954, Otto Preminger's western River of No Return, the last film that Monroe had filmed prior to the suspension, was released. She called it a "Z-grade cowboy movie in which the acting finished second to the scenery and the CinemaScope process", but it was popular with audiences.[168] The first film she made after the suspension was the musical There's No Business Like Show Business, which she strongly disliked but the studio required her to do for dropping The Girl in Pink Tights.[167] It was unsuccessful upon its release in late 1954, with Monroe's performance considered vulgar by many critics.[169]

 
Monroe posing for photographers in The Seven Year Itch (1955)

In September 1954, Monroe began filming Billy Wilder's comedy The Seven Year Itch, starring opposite Tom Ewell as a woman who becomes the object of her married neighbor's sexual fantasies. Although the film was shot in Hollywood, the studio decided to generate advance publicity by staging the filming of a scene in which Monroe is standing on a subway grate with the air blowing up the skirt of her white dress on Lexington Avenue in Manhattan.[170] The shoot lasted for several hours and attracted nearly 2,000 spectators.[170] The "subway grate scene" became one of Monroe's most famous, and The Seven Year Itch became one of the biggest commercial successes of the year after its release in June 1955.[171]

The publicity stunt placed Monroe on international front pages, and it also marked the end of her marriage to DiMaggio, who was infuriated by it.[172] The union had been troubled from the start by his jealousy and controlling attitude; he was also physically abusive.[173] After returning from NYC to Hollywood in October 1954, Monroe filed for divorce, after only nine months of marriage.[174]

After filming for The Seven Year Itch wrapped up in November 1954, Monroe left Hollywood for the East Coast, where she and photographer Milton Greene founded their own production company, Marilyn Monroe Productions (MMP)—an action that has later been called "instrumental" in the collapse of the studio system.[175][h] Monroe stated that she was "tired of the same old sex roles" and asserted that she was no longer under contract to Fox, as it had not fulfilled its duties, such as paying her the promised bonus.[177] This began a year-long legal battle between her and Fox in January 1955.[178] The press largely ridiculed Monroe, and she was parodied in the Broadway play Will Success Spoil Rock Hunter? (1955), in which her lookalike Jayne Mansfield played a dumb actress who starts her own production company.[179]

 
Monroe at the Actors Studio in 1961

After founding MMP, Monroe moved to Manhattan and spent 1955 studying acting. She took classes with Constance Collier and attended workshops on method acting at the Actors Studio, run by Lee Strasberg.[180] She grew close to Strasberg and his wife Paula, receiving private lessons at their home due to her shyness, and soon became a family member.[181] She replaced her old acting coach, Natasha Lytess, with Paula; the Strasbergs remained an important influence for the rest of her career.[182] Monroe also started undergoing psychoanalysis, as Strasberg believed that an actor must confront their emotional traumas and use them in their performances.[183][i]

Monroe continued her relationship with DiMaggio despite the ongoing divorce process; she also dated actor Marlon Brando and playwright Arthur Miller.[185] She had first been introduced to Miller by Elia Kazan in the early 1950s.[185] The affair between Monroe and Miller became increasingly serious after October 1955, when her divorce was finalized and he separated from his wife.[186] The studio urged her to end it, as Miller was being investigated by the FBI for allegations of communism and had been subpoenaed by the House Un-American Activities Committee, but Monroe refused.[187] The relationship led to the FBI opening a file on her.[186]

By the end of the year, Monroe and Fox signed a new seven-year contract, as MMP would not be able to finance films alone, and the studio was eager to have Monroe working for them again.[178] Fox would pay her $400,000 to make four films, and granted her the right to choose her own projects, directors and cinematographers.[188] She would also be free to make one film with MMP per each completed film for Fox.[188]

1956–1959: Critical acclaim and marriage to Arthur Miller

 
Monroe and Arthur Miller at their wedding in June 1956

Monroe began 1956 by announcing her win over 20th Century-Fox.[189] She legally changed her name to Marilyn Monroe.[190] The press wrote favorably about her decision to fight the studio; Time called her a "shrewd businesswoman"[191] and Look predicted that the win would be "an example of the individual against the herd for years to come".[189] In contrast, Monroe's relationship with Miller prompted some negative comments, such as Walter Winchell's statement that "America's best-known blonde moving picture star is now the darling of the left-wing intelligentsia."[192]

In March, Monroe began filming the drama Bus Stop, her first film under the new contract.[193] She played Chérie, a saloon singer whose dreams of stardom are complicated by a naïve cowboy who falls in love with her. For the role, she learned an Ozark accent, chose costumes and makeup that lacked the glamor of her earlier films, and provided deliberately mediocre singing and dancing.[194] Broadway director Joshua Logan agreed to direct, despite initially doubting Monroe's acting abilities and knowing of her difficult reputation.[195]

The filming took place in Idaho and Arizona, with Monroe "technically in charge" as the head of MMP, occasionally making decisions on cinematography and with Logan adapting to her chronic lateness and perfectionism.[196] The experience changed Logan's opinion of Monroe, and he later compared her to Charlie Chaplin in her ability to blend comedy and tragedy.[197]

 
Monroe's dramatic performance in Bus Stop (1956) marked a departure from her earlier comedies.

On 29 June 1956, Monroe and Miller were married at the Westchester County Court in White Plains, New York; two days later they had a Jewish ceremony at the home of Kay Brown, Miller's literary agent, in Waccabuc, New York.[198][199] With the marriage, Monroe converted to Judaism, which led Egypt to ban all of her films.[200][j] Due to Monroe's status as a sex symbol and Miller's image as an intellectual, the media saw the union as a mismatch, as evidenced by Variety's headline, "Egghead Weds Hourglass".[202]

Bus Stop was released in August 1956 and became a critical and commercial success.[203] The Saturday Review of Literature wrote that Monroe's performance "effectively dispels once and for all the notion that she is merely a glamour personality" and Crowther proclaimed: "Hold on to your chairs, everybody, and get set for a rattling surprise. Marilyn Monroe has finally proved herself an actress."[204] She also received a Golden Globe nomination for Best Actress for her performance.[91]

In August, Monroe also began filming MMP's first independent production, The Prince and the Showgirl, at Pinewood Studios in England.[205] Based on a 1953 stage play by Terence Rattigan, it was to be directed and co-produced by, and to co-star, Laurence Olivier.[191] The production was complicated by conflicts between him and Monroe.[206] Olivier, who had also directed and starred in the stage play, angered her with the patronizing statement "All you have to do is be sexy", and with his demand she replicate Vivien Leigh's stage interpretation of the character.[207] He also disliked the constant presence of Paula Strasberg, Monroe's acting coach, on set.[208] In retaliation, Monroe became uncooperative and began to deliberately arrive late, later saying, "if you don't respect your artists, they can't work well."[206]

 
Monroe with Laurence Olivier in a publicity photo for The Prince and the Showgirl (1957)

Monroe also experienced other problems during the production. Her dependence on pharmaceuticals escalated and, according to Spoto, she had a miscarriage.[209] She and Greene also argued over how MMP should be run.[209] Despite the difficulties, filming was completed on schedule by the end of 1956.[210] The Prince and the Showgirl was released to mixed reviews in June 1957 and proved unpopular with American audiences.[211] It was better received in Europe, where she was awarded the Italian David di Donatello and the French Crystal Star awards and nominated for a BAFTA.[212]

After returning from England, Monroe took an 18-month hiatus to concentrate on family life. She and Miller split their time between NYC, Connecticut and Long Island.[213] She had an ectopic pregnancy in mid-1957, and a miscarriage a year later;[214] these problems were most likely linked to her endometriosis.[215][k] Monroe was also briefly hospitalized due to a barbiturate overdose.[218] As she and Greene could not settle their disagreements over MMP, Monroe bought his share of the company.[219]

 
Monroe with Jack Lemmon and Tony Curtis in Some Like It Hot (1959), for which she won a Golden Globe

Monroe returned to Hollywood in July 1958 to act opposite Jack Lemmon and Tony Curtis in Billy Wilder's comedy on gender roles, Some Like It Hot.[220] She considered the role of Sugar Kane another "dumb blonde", but accepted it due to Miller's encouragement and the offer of 10% of the film's profits on top of her standard pay.[221] The film's difficult production has since become "legendary".[222] Monroe demanded dozens of retakes, and did not remember her lines or act as directed—Curtis famously said that kissing her was "like kissing Hitler" due to the number of retakes.[223]

Monroe privately likened the production to a sinking ship and commented on her co-stars and director saying "[but] why should I worry, I have no phallic symbol to lose."[224] Many of the problems stemmed from her and Wilder—who also had a reputation for being difficult—disagreeing on how she should play the role.[225] She angered him by asking to alter many of her scenes, which in turn made her stage fright worse, and it is suggested that she deliberately ruined several scenes to act them her way.[225]

In the end, Wilder was happy with Monroe's performance, saying: "Anyone can remember lines, but it takes a real artist to come on the set and not know her lines and yet give the performance she did!"[226] Some Like It Hot was a critical and commercial success when it was released in March 1959.[227] Monroe's performance earned her a Golden Globe for Best Actress, and prompted Variety to call her "a comedienne with that combination of sex appeal and timing that just can't be beat".[212][228] It has been voted one of the best films ever made in polls by the BBC,[229] the American Film Institute,[230] and Sight & Sound.[231]

1960–1962: Career decline and personal difficulties

 
Monroe with Yves Montand in Let's Make Love (1960), which she agreed to make only to fulfill her contract with Fox

After Some Like It Hot, Monroe took another hiatus until late 1959, when she starred in the musical comedy Let's Make Love.[232] She chose George Cukor to direct and Miller rewrote some of the script, which she considered weak. She accepted the part solely because she was behind on her contract with Fox.[233] The film's production was delayed by her frequent absences from the set.[232] During the shoot, Monroe had an extramarital affair with her co-star Yves Montand, which was widely reported by the press and used in the film's publicity campaign.[234]

Let's Make Love was unsuccessful upon its release in September 1960.[235] Crowther described Monroe as appearing "rather untidy" and "lacking ... the old Monroe dynamism",[236] and Hedda Hopper called the film "the most vulgar picture she's ever done".[237] Truman Capote lobbied for Monroe to play Holly Golightly in a film adaptation of Breakfast at Tiffany's, but the role went to Audrey Hepburn as its producers feared that Monroe would complicate the production.[238]

The last film Monroe completed was John Huston's The Misfits, which Miller had written to provide her with a dramatic role.[239] She played a recently divorced woman who becomes friends with three aging cowboys, played by Clark Gable, Eli Wallach and Montgomery Clift. The filming in the Nevada desert between July and November 1960 was again difficult.[240] Monroe's and Miller's marriage was effectively over, and he began a new relationship with set photographer Inge Morath.[239]

 
Monroe, Estelle Winwood, Eli Wallach, Montgomery Clift, and Clark Gable in The Misfits (1961). It was the last completed film for Monroe and Gable, who both died within two years.

Monroe disliked that he had based her role partly on her life, and thought it inferior to the male roles. She also struggled with Miller's habit of rewriting scenes the night before filming.[241] Her health was also failing: she was in pain from gallstones, and her drug addiction was so severe that her makeup usually had to be applied while she was still asleep under the influence of barbiturates.[242] In August, filming was halted for her to spend a week in a hospital detox.[242] Despite her problems, Huston said that when Monroe was acting, she "was not pretending to an emotion. It was the real thing. She would go deep down within herself and find it and bring it up into consciousness."[243]

Monroe and Miller separated after filming wrapped, and she obtained a Mexican divorce in January 1961.[244] The Misfits was released the following month, failing at the box office.[245] Its reviews were mixed,[245] with Variety complaining of frequently "choppy" character development,[246] and Bosley Crowther calling Monroe "completely blank and unfathomable" and writing that "unfortunately for the film's structure, everything turns upon her".[247] It has received more favorable reviews in the 21st century. Geoff Andrew of the British Film Institute has called it a classic,[248] Huston scholar Tony Tracy called Monroe's performance the "most mature interpretation of her career",[249] and Geoffrey McNab of The Independent praised her "extraordinary" portrayal of the character's "power of empathy".[250]

Monroe was next to star in a television adaptation of W. Somerset Maugham's Rain for NBC, but the project fell through as the network did not want to hire her choice of director, Lee Strasberg.[251] Instead of working, she spent the first six months of 1961 preoccupied by health problems. She underwent a cholecystectomy and surgery for her endometriosis, and spent four weeks hospitalized for depression.[252][l] She was helped by DiMaggio, with whom she rekindled a friendship, and dated his friend Frank Sinatra for several months.[254] Monroe also moved permanently back to California in 1961, purchasing a house at 12305 Fifth Helena Drive in Brentwood, Los Angeles, in early 1962.[255]

 
Monroe on the set of Something's Got to Give. She was absent for most of the production due to illness and was fired by Fox in June 1962, two months before her death.

Monroe returned to the public eye in the spring of 1962. She received a "World Film Favorite" Golden Globe Award and began to shoot a film for Fox, Something's Got to Give, a remake of My Favorite Wife (1940).[256] It was to be co-produced by MMP, directed by George Cukor and to co-star Dean Martin and Cyd Charisse.[257] Days before filming began, Monroe caught sinusitis. Despite medical advice to postpone the production, Fox began it as planned in late April.[258]

Monroe was too sick to work for most of the next six weeks, but despite confirmations by multiple doctors, the studio pressured her by alleging publicly that she was faking it.[258] On May 19, she took a break to sing "Happy Birthday, Mr. President" on stage at President John F. Kennedy's early birthday celebration at Madison Square Garden in New York.[259] She drew attention with her costume: a beige, skintight dress covered in rhinestones, which made her appear nude.[259][m] Monroe's trip to New York caused even more irritation for Fox executives, who had wanted her to cancel it.[261]

Monroe next filmed a scene for Something's Got to Give in which she swam naked in a swimming pool.[262] To generate advance publicity, the press was invited to take photographs; these were later published in Life. This was the first time that a major star had posed nude at the height of their career.[263] When she was again on sick leave for several days, Fox decided that it could not afford to have another film running behind schedule when it was already struggling with the rising costs of Cleopatra (1963).[264] On June 7, Fox fired Monroe and sued her for $750,000 in damages.[265] She was replaced by Lee Remick, but after Martin refused to make the film with anyone other than Monroe, Fox sued him as well and shut down the production.[266] The studio blamed Monroe for the film's demise and began spreading negative publicity about her, even alleging that she was mentally disturbed.[265]

Fox soon regretted its decision and reopened negotiations with Monroe later in June; a settlement about a new contract, including recommencing Something's Got to Give and a starring role in the black comedy What a Way to Go! (1964), was reached later that summer.[267] She was also planning on starring in a biopic of Jean Harlow.[268] To repair her public image, Monroe engaged in several publicity ventures, including interviews for Life and Cosmopolitan and her first photo shoot for Vogue.[269] For Vogue, she and photographer Bert Stern collaborated for two series of photographs, one a standard fashion editorial and another of her posing nude, which were published posthumously with the title The Last Sitting.[270]

Death and funeral

Main article: Death of Marilyn Monroe
 
Monroe (third from left) with actors on the filming set of The Exterminating Angel during her visit to Mexico in 1962, one of her last media appearances[271][n]

During her final months, Monroe lived at 12305 Fifth Helena Drive in the Brentwood neighborhood of Los Angeles. Her housekeeper Eunice Murray was staying overnight at the home on the evening of August 4, 1962.[272] Murray woke at 3:00 a.m. on August 5 and sensed that something was wrong. She saw light from under Monroe's bedroom door but was unable to get a response and found the door locked. Murray then called Monroe's psychiatrist, Ralph Greenson, who arrived at the house shortly after and broke into the bedroom through a window to find Monroe dead in her bed.[272] Monroe's physician, Hyman Engelberg, arrived at around 3:50 a.m.[272] and pronounced her dead. At 4:25 a.m., the Los Angeles Police Department was notified.[272]

Monroe died between 8:30 p.m. and 10:30 p.m. on August 4,[273]; the toxicology report showed that the cause of death was acute barbiturate poisoning. She had 8 mg% (milligrams per 100 milliliters of solution) chloral hydrate and 4.5 mg% of pentobarbital (Nembutal) in her blood, and 13 mg% of pentobarbital in her liver.[274] Empty medicine bottles were found next to her bed.[275] The possibility that Monroe had accidentally overdosed was ruled out because the dosages found in her body were several times the lethal limit.[276]

 
Front page of the New York Mirror on August 6, 1962

The Los Angeles County Coroners Office was assisted in their investigation by the Los Angeles Suicide Prevention Team, who had expert knowledge on suicide.[275] Monroe's doctors stated that she had been "prone to severe fears and frequent depressions" with "abrupt and unpredictable mood changes", and had overdosed several times in the past, possibly intentionally.[276][277] Due to these facts and the lack of any indication of foul play, deputy coroner Thomas Noguchi classified her death as a probable suicide.[278]

Monroe's sudden death was front-page news in the United States and Europe.[279] According to Lois Banner, "it's said that the suicide rate in Los Angeles doubled the month after she died; the circulation rate of most newspapers expanded that month",[279] and the Chicago Tribune reported that they had received hundreds of phone calls from members of the public requesting information about her death.[280] French artist Jean Cocteau commented that her death "should serve as a terrible lesson to all those whose chief occupation consists of spying on and tormenting film stars", her former co-star Laurence Olivier deemed her "the complete victim of ballyhoo and sensation", and Bus Stop director Joshua Logan said that she was "one of the most unappreciated people in the world".[281]

 
Monroe's crypt at Westwood Village Memorial Park Cemetery in Westwood Village

Her funeral, held at the Westwood Village Memorial Park Cemetery on August 8, was private and attended by only her closest associates.[282] The service was arranged by Joe DiMaggio, Monroe's half-sister Berniece Baker Miracle, and Monroe's business manager Inez Melson.[282] Hundreds of spectators crowded the streets around the cemetery.[282] Monroe was later entombed at Crypt No. 24 at the Corridor of Memories.[283]

In the following decades, several conspiracy theories, including murder and accidental overdose, have been introduced to contradict suicide as the cause of Monroe's death.[284] The speculation that Monroe had been murdered first gained mainstream attention with the publication of Norman Mailer's Marilyn: A Biography in 1973, and in the following years became widespread enough for the Los Angeles County District Attorney John Van de Kamp to conduct a "threshold investigation" in 1982 to see whether a criminal investigation should be opened.[285] No evidence of foul play was found.[286]

Screen persona and reception

The 1940s had been the heyday for actresses who were perceived as tough and smart—such as Katharine Hepburn and Barbara Stanwyck—who had appealed to women-dominated audiences during the war years. 20th Century-Fox wanted Monroe to be a star of the new decade who would draw men to movie theaters, and saw her as a replacement for the aging Betty Grable, their most popular "blonde bombshell" of the 1940s.[287] According to film scholar Richard Dyer, Monroe's star image was crafted mostly for the male gaze.[288]

 
Actress Jean Harlow in 1934; Monroe took inspiration from her to develop her star image.

From the beginning, Monroe played a significant part in the creation of her public image, and towards the end of her career exerted almost full control over it.[289][290] She devised many of her publicity strategies, cultivated friendships with gossip columnists such as Sidney Skolsky and Louella Parsons, and controlled the use of her images.[291] In addition to Grable, she was often compared to another iconic blonde, 1930s film star Jean Harlow.[292] The comparison was prompted partly by Monroe, who named Harlow as her childhood idol, wanted to play her in a biopic, and even employed Harlow's hair stylist to color her hair.[293]

Monroe's screen persona focused on her blonde hair and the stereotypes that were associated with it, especially dumbness, naïveté, sexual availability and artificiality.[294] She often used a breathy, childish voice in her films, and in interviews gave the impression that everything she said was "utterly innocent and uncalculated", parodying herself with double entendres that came to be known as "Monroeisms".[295] For example, when she was asked what she had on in the 1949 nude photo shoot, she replied, "I had the radio on".[296]

 
As seen in this publicity photo for The Seven Year Itch (1955), Monroe wore figure-hugging outfits that enhanced her sexual attractiveness

In her films, Monroe usually played "the girl", who is defined solely by her gender.[288] Her roles were almost always chorus girls, secretaries, or models: occupations where "the woman is on show, there for the pleasure of men."[288] Monroe began her career as a pin-up model, and was noted for her hourglass figure.[297] She was often positioned in film scenes so that her curvy silhouette was on display, and frequently posed like a pin-up in publicity photos.[297] Her distinctive, hip-swinging walk also drew attention to her body and earned her the nickname "the girl with the horizontal walk".[108]

Monroe often wore white to emphasize her blondness and drew attention by wearing revealing outfits that showed off her figure.[298] Her publicity stunts often revolved around her clothing either being shockingly revealing or even malfunctioning,[299] such as when a shoulder strap of her dress snapped during a press conference.[299] In press stories, Monroe was portrayed as the embodiment of the American Dream, a girl who had risen from a miserable childhood to Hollywood stardom.[300] Stories of her time spent in foster families and an orphanage were exaggerated and even partly fabricated.[301] Film scholar Thomas Harris wrote that her working-class roots and lack of family made her appear more sexually available, "the ideal playmate", in contrast to her contemporary, Grace Kelly, who was also marketed as an attractive blonde, but due to her upper-class background was seen as a sophisticated actress, unattainable for the majority of male viewers.[302]

Although Monroe's screen persona as a dim-witted but sexually attractive blonde was a carefully crafted act, audiences and film critics believed it to be her real personality. This became a hindrance when she wanted to pursue other kinds of roles, or to be respected as a businesswoman.[303] The academic Sarah Churchwell studied narratives about Monroe and wrote:

The biggest myth is that she was dumb. The second is that she was fragile. The third is that she couldn't act. She was far from dumb, although she was not formally educated, and she was very sensitive about that. But she was very smart indeed—and very tough. She had to be both to beat the Hollywood studio system in the 1950s. [...] The dumb blonde was a role—she was an actress, for heaven's sake! Such a good actress that no one now believes she was anything but what she portrayed on screen.[304]

Biographer Lois Banner writes that Monroe often subtly parodied her sex symbol status in her films and public appearances,[305] and that "the 'Marilyn Monroe' character she created was a brilliant archetype, who stands between Mae West and Madonna in the tradition of twentieth-century gender tricksters."[306] Monroe herself stated that she was influenced by West, learning "a few tricks from her—that impression of laughing at, or mocking, her own sexuality".[307] She studied comedy in classes by mime and dancer Lotte Goslar, famous for her comic stage performances, and Goslar also instructed her on film sets.[308] In Gentlemen Prefer Blondes, one of the films in which she played an archetypal dumb blonde, Monroe had the sentence "I can be smart when it's important, but most men don't like it" added to her character's lines.[309]

 
Monroe arriving at a party celebrating Louella Parsons at Ciro's nightclub in 1953

According to Dyer, Monroe became "virtually a household name for sex" in the 1950s and "her image has to be situated in the flux of ideas about morality and sexuality that characterised the Fifties in America", such as Freudian ideas about sex, the Kinsey report (1953), and Betty Friedan's The Feminine Mystique (1963).[310] By appearing vulnerable and unaware of her sex appeal, Monroe was the first sex symbol to present sex as natural and without danger, in contrast to the 1940s femme fatales.[311] Spoto likewise describes her as the embodiment of "the postwar ideal of the American girl, soft, transparently needy, worshipful of men, naïve, offering sex without demands", which is echoed in Molly Haskell's statement that "she was the Fifties fiction, the lie that a woman had no sexual needs, that she is there to cater to, or enhance, a man's needs."[312] Monroe's contemporary Norman Mailer wrote that "Marilyn suggested sex might be difficult and dangerous with others, but ice cream with her", while Groucho Marx characterized her as "Mae West, Theda Bara, and Bo Peep all rolled into one".[313] According to Haskell, due to her sex symbol status, Monroe was less popular with women than with men, as they "couldn't identify with her and didn't support her", although this would change after her death.[314]

Dyer has also argued that Monroe's blonde hair became her defining feature because it made her "racially unambiguous" and exclusively white just as the civil rights movement was beginning, and that she should be seen as emblematic of racism in twentieth-century popular culture.[315] Banner agreed that it may not be a coincidence that Monroe launched a trend of platinum blonde actresses during the civil rights movement, but has also criticized Dyer, pointing out that in her highly publicized private life, Monroe associated with people who were seen as "white ethnics", such as Joe DiMaggio (Italian-American) and Arthur Miller (Jewish).[316] According to Banner, she sometimes challenged prevailing racial norms in her publicity photographs; for example, in an image featured in Look in 1951, she was shown in revealing clothes while practicing with African-American singing coach Phil Moore.[317]

 
Monroe in a Lustre-Creme shampoo advertisement of 1953

Monroe was perceived as a specifically American star, "a national institution as well known as hot dogs, apple pie, or baseball" according to Photoplay.[318] Banner calls her the symbol of populuxe, a star whose joyful and glamorous public image "helped the nation cope with its paranoia in the 1950s about the Cold War, the atom bomb, and the totalitarian communist Soviet Union".[319] Historian Fiona Handyside writes that the French female audiences associated whiteness/blondness with American modernity and cleanliness, and so Monroe came to symbolize a modern, "liberated" woman whose life takes place in the public sphere.[320] Film historian Laura Mulvey has written of her as an endorsement for American consumer culture:

If America was to export the democracy of glamour into post-war, impoverished Europe, the movies could be its shop window ... Marilyn Monroe, with her all American attributes and streamlined sexuality, came to epitomise in a single image this complex interface of the economic, the political, and the erotic. By the mid 1950s, she stood for a brand of classless glamour, available to anyone using American cosmetics, nylons and peroxide.[321]

Twentieth Century-Fox further profited from Monroe's popularity by cultivating several lookalike actresses, such as Jayne Mansfield and Sheree North.[322] Other studios also attempted to create their own Monroes: Universal Pictures with Mamie Van Doren,[323] Columbia Pictures with Kim Novak,[324] and The Rank Organisation with Diana Dors.[325]

Filmography

Main article: Marilyn Monroe performances and awards
 
Monroe in Some Like It Hot (1959)

Legacy

Main article: Marilyn Monroe in popular culture
 
Monroe in a publicity photo for Photoplay magazine in 1953

According to The Guide to United States Popular Culture, "as an icon of American popular culture, Monroe's few rivals in popularity include Elvis Presley and Mickey Mouse... no other star has ever inspired such a wide range of emotions—from lust to pity, from envy to remorse."[326] Art historian Gail Levin stated that Monroe may have been "the most photographed person of the 20th century",[116] and The American Film Institute has named her the sixth greatest female screen legend in American film history. The Smithsonian Institution has included her on their list of "100 Most Significant Americans of All Time",[327] and both Variety and VH1 have placed her in the top ten in their rankings of the greatest popular culture icons of the twentieth century.[328][329]

Hundreds of books have been written about Monroe. She has been the subject of numerous films, plays, operas, and songs, and has influenced artists and entertainers such as Andy Warhol and Madonna.[330][331] She also remains a valuable brand:[332] her image and name have been licensed for hundreds of products, and she has been featured in advertising for brands such as Max Factor, Chanel, Mercedes-Benz, and Absolut Vodka.[333][334]

Monroe's enduring popularity is tied to her conflicted public image.[335] On the one hand, she remains a sex symbol, beauty icon and one of the most famous stars of classical Hollywood cinema.[336][337][338] On the other, she is also remembered for her troubled private life, unstable childhood, struggle for professional respect, as well as her death and the conspiracy theories that surrounded it.[339] She has been written about by scholars and journalists who are interested in gender and feminism;[340] these writers include Gloria Steinem, Jacqueline Rose,[341] Molly Haskell,[342] Sarah Churchwell,[334] and Lois Banner.[343] Some, such as Steinem, have viewed her as a victim of the studio system.[340][344] Others, such as Haskell,[345] Rose,[341] and Churchwell,[334] have instead stressed Monroe's proactive role in her career and her participation in the creation of her public persona.

 
Left panel from pop artist James Gill's painting Marilyn Triptych (1962)

Owing to the contrast between her stardom and troubled private life, Monroe is closely linked to broader discussions about modern phenomena such as mass media, fame, and consumer culture.[346] According to academic Susanne Hamscha, Monroe has continued relevance to ongoing discussions about modern society, and she is "never completely situated in one time or place" but has become "a surface on which narratives of American culture can be (re-)constructed", and "functions as a cultural type that can be reproduced, transformed, translated into new contexts, and enacted by other people".[346] Similarly, Banner has called Monroe the "eternal shapeshifter" who is re-created by "each generation, even each individual... to their own specifications".[347]

Monroe remains a cultural icon, but critics are divided on her legacy as an actress. David Thomson called her body of work "insubstantial"[348] and Pauline Kael wrote that she could not act, but rather "used her lack of an actress's skills to amuse the public. She had the wit or crassness or desperation to turn cheesecake into acting—and vice versa; she did what others had the 'good taste' not to do".[349] In contrast, Peter Bradshaw wrote that Monroe was a talented comedian who "understood how comedy achieved its effects",[350] and Roger Ebert wrote that "Monroe's eccentricities and neuroses on sets became notorious, but studios put up with her long after any other actress would have been blackballed because what they got back on the screen was magical".[351] Similarly, Jonathan Rosenbaum stated that "she subtly subverted the sexist content of her material" and that "the difficulty some people have discerning Monroe's intelligence as an actress seems rooted in the ideology of a repressive era, when super feminine women weren't supposed to be smart".[352]

See also

Notes

  1. ^ Monroe had her screen name made into her legal name in early 1956.[1][2]
  2. ^ Gladys named Mortensen as Monroe's father in the birth certificate (although the name was misspelled),[14] but it is unlikely that he was the father as their separation had taken place well before she became pregnant.[15] Biographers Fred Guiles and Lois Banner stated that her father was likely Charles Stanley Gifford, Gladys's superior at RKO Studios, with whom she had an affair in 1925,[16] whereas Donald Spoto thought that another co-worker was probably the father.[17]
  3. ^ Monroe spoke about being sexually abused by a lodger when she was eight years old to her biographers Ben Hecht in 1953–1954 and Maurice Zolotow in 1960, and in interviews for Paris Match and Cosmopolitan.[31] Although she refused to name the abuser, Banner believes he was George Atkinson, as he was a lodger and fostered Monroe when she was eight; Banner also states that Monroe's description of the abuser fits other descriptions of Atkinson.[32] Banner has argued that the abuse may have been a major causative factor in Monroe's mental health problems, and has also written that as the subject was taboo in mid-century United States, Monroe was unusual in daring to speak about it publicly.[33] Spoto does not mention the incident but states that Monroe was sexually abused by Grace's husband in 1937 and by a cousin while living with a relative in 1938.[34] Barbara Leaming repeats Monroe's account of the abuse, but earlier biographers Fred Guiles, Anthony Summers and Carl Rollyson have doubted the incident owing to lack of evidence beyond Monroe's statements.[35]
  4. ^ RKO's owner Howard Hughes had expressed an interest in Monroe after seeing her on a magazine cover.[63]
  5. ^ It has sometimes been claimed that Monroe appeared as an extra in other Fox films during this period, including Green Grass of Wyoming, The Shocking Miss Pilgrim, and You Were Meant For Me, but there is no evidence to support this.[69]
  6. ^ Baumgarth was initially not happy with the photos, but published one of them in 1950; Monroe was not publicly identified as the model until 1952. Although she then contained the resulting scandal by claiming she had reluctantly posed nude due to an urgent need for cash, biographers Spoto and Banner have stated that she was not pressured (although according to Banner, she was initially hesitant due to her aspirations of movie stardom) and regarded the shoot as simply another work assignment.[81]
  7. ^ In addition to All About Eve and The Asphalt Jungle, Monroe's 1950 films were Love Happy, A Ticket to Tomahawk, Right Cross and The Fireball. Monroe also had a role in Home Town Story, released in 1951.
  8. ^ Monroe and Greene had first met and had a brief affair in 1949, and met again in 1953, when he photographed her for Look. She told him about her grievances with the studio, and Greene suggested that they start their own production company.[176]
  9. ^ Monroe underwent psychoanalysis regularly from 1955 until her death. Her analysts were psychiatrists Margaret Hohenberg (1955–57), Anna Freud (1957), Marianne Kris (1957–61), and Ralph Greenson (1960–62).[184]
  10. ^ Monroe identified with the Jewish people as a "dispossessed group" and wanted to convert to make herself part of Miller's family.[201] She was instructed by Rabbi Robert Goldberg and converted on July 1, 1956.[200] Monroe's interest in Judaism as a religion was limited: she called herself a "Jewish atheist" and did not practice the faith after divorcing Miller aside from retaining some religious items.[200] Egypt also lifted her ban after the divorce was finalized in 1961.[200]
  11. ^ Endometriosis also caused her to experience severe menstrual pain throughout her life, necessitating a clause in her contract allowing her to be absent from work during her period; her endometriosis also required several surgeries.[215] It has sometimes been alleged that Monroe underwent several abortions, and that unsafe abortions made by persons without proper medical training would have contributed to her inability to maintain a pregnancy.[216] The abortion rumors began from statements made by Amy Greene, the wife of Milton Greene, but have not been confirmed by any concrete evidence.[217] Furthermore, Monroe's autopsy report did not note any evidence of abortions.[217]
  12. ^ Monroe first admitted herself to the Payne Whitney Psychiatric Clinic in New York, at the suggestion of her psychiatrist Marianne Kris.[253] Kris later stated that her choice of hospital was a mistake: Monroe was placed on a ward meant for severely mentally ill people with psychosis, where she was locked in a padded cell and not allowed to move to a more suitable ward or leave the hospital.[253] Monroe was finally able to leave the hospital after three days with the help of Joe DiMaggio, and moved to the Columbia University Medical Center, spending a further 23 days there.[253]
  13. ^ Monroe and Kennedy had mutual friends and were familiar with each other. Although they sometimes had casual sexual encounters, there is no evidence that their relationship was serious.[260]
  14. ^ The actors and actresses posing with her include the following, from left to right: Ofelia Montesco, Xavier Loyá, Monroe, unknown person in the back, Patricia Morán, Bertha Moss, Nadia Haro Oliva, and José Baviera.

References

  1. ^ "How Did Marilyn Monroe Get Her Name? This Photo Reveals the Story". Time.
  2. ^ "Monroe divorce papers for auction". April 21, 2005 – via news.bbc.co.uk.
  3. ^ Hertel, Howard; Heff, Don (August 6, 1962). "Marilyn Monroe Dies; Pills Blamed". Los Angeles Times. from the original on September 25, 2015. Retrieved September 23, 2015.
  4. ^ Chapman 2001, pp. 542–543; Hall 2006, p. 468.
  5. ^ "Marilyn Monroe | Biography, Death, Movies, & Facts | Britannica".
  6. ^ Spoto 2001, pp. 3, 13–14; Banner 2012, p. 13.
  7. ^ "Inside Marilyn Monroe's Family Tree". November 17, 2020.
  8. ^ Spoto 2001, pp. 9–10; Rollyson 2014, pp. 26–29.
  9. ^ Miracle & Miracle 1994, p. see family tree; Banner 2012, pp. 19–20; Leaming 1998, pp. 52–53.
  10. ^ Spoto 2001, pp. 7–9; Banner 2012, p. 19.
  11. ^ Spoto 2001, p. 9 for the exact year when divorce was finalized; Banner 2012, p. 20; Leaming 1998, pp. 52–53.
  12. ^ Spoto 2001, p. 88, for first meeting in 1944; Banner 2012, p. 72, for mother telling Monroe of sister in 1938.
  13. ^ a b Churchwell 2004, p. 150, citing Spoto and Summers; Banner 2012, pp. 24–25.
  14. ^ Churchwell 2004, p. 150, citing Spoto, Summers and Guiles.
  15. ^ Churchwell 2004, pp. 149–152; Banner 2012, p. 26; Spoto 2001, p. 13.
  16. ^ Miller, Korin; Spanfeller, Jamie (September 29, 2022). "Did Marilyn Monroe Ever Meet Her Biological Father? All About Charles Stanley Gifford". Women's Health. Retrieved September 30, 2022.
  17. ^ a b Churchwell 2004, p. 152; Banner 2012, p. 26; Spoto 2001, p. 13.
  18. ^ Keslassy, Elsa (April 4, 2022). "Marilyn Monroe's Biological Father Revealed in Documentary 'Marilyn, Her Final Secret'". Variety. Retrieved April 4, 2022.
  19. ^ Article in Daily Mirror by Graeme Culliford 5 Aug 2022
  20. ^ San Jacinto Valley Cemetery records, San Jacinto, California plot R-3-W-H
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Sources

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  •  ———  (1986). Heavenly Bodies: Film Stars and Society. Routledge. ISBN 978-0-415-31026-0.
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  • Handyside, Fiona (August 2010). "Let's Make Love: Whiteness, Cleanliness and Sexuality in the French Reception of Marilyn Monroe" (PDF). European Journal of Cultural Studies. 3 (13): 291–306. doi:10.1177/1367549410363198. hdl:10871/9547. S2CID 146553108.
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External links

February 14, 2023
marilyn, monroe, norma, jeane, redirects, here, other, uses, norma, jean, disambiguation, disambiguation, born, norma, jeane, mortenson, june, 1926, august, 1962, american, actress, model, singer, famous, playing, comic, blonde, bombshell, characters, became, . Norma Jeane redirects here For other uses see Norma Jean disambiguation and Marilyn Monroe disambiguation Marilyn Monroe ˈ m ae r e l ɪ n m e n ˈ r oʊ born Norma Jeane Mortenson June 1 1926 August 4 1962 was an American actress model and singer Famous for playing comic blonde bombshell characters she became one of the most popular sex symbols of the 1950s and early 1960s as well as an emblem of the era s sexual revolution She was a top billed actress for a decade and her films grossed 200 million equivalent to 2 billion in 2021 by the time of her death in 1962 3 Long after her death Monroe remains a major icon of pop culture 4 In 1999 the American Film Institute ranked her sixth on their list of the greatest female screen legends from the Golden Age of Hollywood Marilyn MonroeMonroe in 1953BornNorma Jeane Mortenson a 1926 06 01 June 1 1926Los Angeles California U S DiedAugust 4 1962 1962 08 04 aged 36 Los Angeles California U S Cause of deathBarbiturate overdoseBurial placeWestwood Village Memorial Park CemeteryOther namesNorma Jeane BakerOccupationsActressmodelsingerYears active1945 1962SpousesJames Dougherty m 1942 div 1946 wbr Joe DiMaggio m 1954 div 1955 wbr Arthur Miller m 1956 div 1961 wbr ParentGladys Pearl Baker mother RelativesBerniece Baker Miracle half sister Websitemarilynmonroe wbr comSignatureBorn and raised in Los Angeles Monroe spent most of her childhood in a total of 12 foster homes and an orphanage 5 before marrying James Dougherty at age sixteen She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin up modeling career which led to short lived film contracts with 20th Century Fox and Columbia Pictures After a series of minor film roles she signed a new contract with Fox in late 1950 Over the next two years she became a popular actress with roles in several comedies including As Young as You Feel and Monkey Business and in the dramas Clash by Night and Don t Bother to Knock Monroe faced a scandal when it was revealed that she had posed for nude photographs prior to becoming a star but the story did not damage her career and instead resulted in increased interest in her films By 1953 Monroe was one of the most marketable Hollywood stars She had leading roles in the film noir Niagara which overtly relied on her sex appeal and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire which established her star image as a dumb blonde The same year her nude images were used as the centerfold and on the cover of the first issue of Playboy Monroe played a significant role in the creation and management of her public image throughout her career but felt disappointed when typecast and underpaid by the studio She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch 1955 one of the biggest box office successes of her career When the studio was still reluctant to change Monroe s contract she founded her own film production company in 1954 She dedicated 1955 to building the company and began studying method acting under Lee Strasberg at the Actors Studio Later that year Fox awarded her a new contract which gave her more control and a larger salary Her subsequent roles included a critically acclaimed performance in Bus Stop 1956 and her first independent production in The Prince and the Showgirl 1957 She won a Golden Globe for Best Actress for her role in Some Like It Hot 1959 a critical and commercial success Her last completed film was the drama The Misfits 1961 Monroe s troubled private life received much attention She struggled with addiction and mood disorders Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized but ended in divorce On August 4 1962 she died at age 36 from an overdose of barbiturates at her Los Angeles home Her death was ruled a probable suicide Contents 1 Life and career 1 1 1926 1943 Childhood and first marriage 1 2 1944 1948 Modeling and first film roles 1 3 1949 1952 Breakthrough years 1 4 1953 Rising star 1 5 1954 1955 Conflicts with 20th Century Fox and marriage to Joe DiMaggio 1 6 1956 1959 Critical acclaim and marriage to Arthur Miller 1 7 1960 1962 Career decline and personal difficulties 2 Death and funeral 3 Screen persona and reception 4 Filmography 5 Legacy 6 See also 7 Notes 8 References 9 Sources 10 External linksLife and career1926 1943 Childhood and first marriage Monroe as an infant c 1927 Marilyn Monroe was born Norma Jeane Mortenson on 1 June 1926 at the Los Angeles General Hospital in Los Angeles California 6 Her mother Gladys Pearl Baker nee Monroe 1902 1984 was born in Piedras Negras Coahuila Mexico 7 to a poor Midwestern family who migrated to California at the turn of the century 8 At age 15 Gladys married John Newton Baker an abusive man nine years her senior They had two children Robert 1918 1933 9 and Berniece 1919 2014 10 She successfully filed for divorce and sole custody in 1923 but Baker kidnapped the children soon after and moved with them to his native Kentucky 11 Monroe was not told that she had a sister until she was 12 and they met for the first time in 1944 when Monroe was 17 or 18 12 Following the divorce Gladys worked as a film negative cutter at Consolidated Film Industries 13 In 1924 she married Martin Edward Mortensen but they separated just months later and divorced in 1928 13 b In 2022 DNA testing indicated that Monroe s father was Charles Stanley Gifford 1898 1965 18 19 20 a co worker of Gladys with whom she had an affair in 1925 17 Monroe also had two other half siblings from Gifford s marriage with his first wife a sister Doris 1920 1933 and a brother Charles 1922 2015 21 Although Gladys was mentally and financially unprepared for a child Monroe s early childhood was stable and happy 22 Gladys placed her daughter with evangelical Christian foster parents Albert and Ida Bolender in the rural town of Hawthorne She also lived there for six months until she was forced to move back to the city for employment 23 She then began visiting her daughter on weekends 22 In the summer of 1933 Gladys bought a small house in Hollywood with a loan from the Home Owners Loan Corporation and moved seven year old Monroe in with her 24 They shared the house with lodgers actors George and Maude Atkinson and their daughter Nellie 25 In January 1934 Gladys had a mental breakdown and was diagnosed with paranoid schizophrenia 26 After several months in a rest home she was committed to the Metropolitan State Hospital 27 She spent the rest of her life in and out of hospitals and was rarely in contact with Monroe 28 Monroe became a ward of the state and her mother s friend Grace Goddard took responsibility over her and her mother s affairs 29 Monroe with her first husband James Dougherty c 1943 44 They married when she was 16 years old Over the next four years Monroe s living situation changed often For the first 16 months she continued living with the Atkinsons and may have been sexually abused during this time 30 c Always a shy girl she now also developed a stutter and became withdrawn 36 In the summer of 1935 she briefly stayed with Grace and her husband Erwin Doc Goddard and two other families 37 In September 1935 Grace placed her in the Los Angeles Orphans Home 38 The orphanage was a model institution and was described in positive terms by her peers but Monroe felt abandoned 39 Encouraged by the orphanage staff who thought that Monroe would be happier living in a family Grace became her legal guardian in 1936 but did not take her out of the orphanage until the summer of 1937 40 Monroe s second stay with the Goddards lasted only a few months because Doc molested her 41 She then lived for brief periods with her relatives and Grace s friends and relatives in Los Angeles and Compton 42 Monroe s childhood experiences first made her want to become an actress I didn t like the world around me because it was kind of grim When I heard that this was acting I said that s what I want to be Some of my foster families used to send me to the movies to get me out of the house and there I d sit all day and way into the night Up in front there with the screen so big a little kid all alone and I loved it 43 Monroe found a more permanent home in September 1938 when she began living with Grace s aunt Ana Lower in the west side district of Sawtelle 44 She was enrolled at Emerson Junior High School and went to weekly Christian Science services with Lower 45 She excelled in writing and contributed to the school newspaper but was otherwise a mediocre student 46 Owing to the elderly Lower s health problems Monroe returned to live with the Goddards in Van Nuys in about early 1941 47 The same year she began attending Van Nuys High School 48 In 1942 the company that employed Doc Goddard relocated him to West Virginia 49 California child protection laws prevented the Goddards from taking Monroe out of state and she faced having to return to the orphanage 50 As a solution she married their neighbors 21 year old son factory worker James Dougherty on June 19 1942 just after her 16th birthday 51 Monroe subsequently dropped out of high school and became a housewife She found herself and Dougherty mismatched and later said she was dying of boredom during the marriage 52 In 1943 Dougherty enlisted in the Merchant Marine and was stationed on Santa Catalina Island where Monroe moved with him 53 1944 1948 Modeling and first film roles A photo of Monroe taken by David Conover in mid 1944 at the Radioplane Company In April 1944 Dougherty was shipped out to the Pacific where he remained for most of the next two years 53 Monroe moved in with her in laws and began a job at the Radioplane Company a munitions factory in Van Nuys 53 In late 1944 she met photographer David Conover who had been sent by the U S Army Air Forces First Motion Picture Unit to the factory to shoot morale boosting pictures of female workers 54 Although none of her pictures were used she quit working at the factory in January 1945 and began modeling for Conover and his friends 55 56 Defying her deployed husband she moved on her own and signed a contract with the Blue Book Model Agency in August 1945 57 The agency deemed Monroe s figure more suitable for pin up than high fashion modeling and she was featured mostly in advertisements and men s magazines 58 To make herself more employable she straightened her hair and dyed it blonde 59 According to Emmeline Snively the agency s owner Monroe quickly became one of its most ambitious and hard working models by early 1946 she had appeared on 33 magazine covers for publications such as Pageant U S Camera Laff and Peek 60 As a model Monroe occasionally used the pseudonym Jean Norman 59 Monroe posing as a pin up model for a postcard photograph c 1940s Through Snively Monroe signed a contract with an acting agency in June 1946 61 After an unsuccessful interview at Paramount Pictures she was given a screen test by Ben Lyon a 20th Century Fox executive Head executive Darryl F Zanuck was unenthusiastic about it 62 but he gave her a standard six month contract to avoid her being signed by rival studio RKO Pictures d Monroe s contract began in August 1946 and she and Lyon selected the stage name Marilyn Monroe 64 The first name was picked by Lyon who was reminded of Broadway star Marilyn Miller the surname was Monroe s mother s maiden name 65 In September 1946 she divorced Dougherty who opposed her career 66 Monroe spent her first six months at Fox learning acting singing and dancing and observing the film making process 67 Her contract was renewed in February 1947 and she was given her first film roles bit parts in Dangerous Years 1947 and Scudda Hoo Scudda Hay 1948 68 e The studio also enrolled her in the Actors Laboratory Theatre an acting school teaching the techniques of the Group Theatre she later stated that it was my first taste of what real acting in a real drama could be and I was hooked 70 Despite her enthusiasm her teachers thought her too shy and insecure to have a future in acting and Fox did not renew her contract in August 1947 71 She returned to modeling while also doing occasional odd jobs at film studios such as working as a dancing pacer behind the scenes to keep the leads on point at musical sets 71 Monroe in a 1948 publicity photo Monroe was determined to make it as an actress and continued studying at the Actors Lab She had a small role in the play Glamour Preferred at the Bliss Hayden Theater but it ended after a couple of performances 72 To network she frequented producers offices befriended gossip columnist Sidney Skolsky and entertained influential male guests at studio functions a practice she had begun at Fox 73 She also became a friend and occasional sex partner of Fox executive Joseph M Schenck who persuaded his friend Harry Cohn the head executive of Columbia Pictures to sign her in March 1948 74 At Columbia Monroe s look was modeled after Rita Hayworth and her hair was bleached platinum blonde 75 She began working with the studio s head drama coach Natasha Lytess who would remain her mentor until 1955 76 Her only film at the studio was the low budget musical Ladies of the Chorus 1948 in which she had her first starring role as a chorus girl courted by a wealthy man 69 She also screen tested for the lead role in Born Yesterday 1950 but her contract was not renewed in September 1948 77 Ladies of the Chorus was released the following month and was not a success 78 1949 1952 Breakthrough years Monroe in The Asphalt Jungle 1950 one of her earliest performances to gain attention from film critics When her contract at Columbia ended Monroe returned again to modeling She shot a commercial for Pabst beer and posed for artistic nude photographs by Tom Kelley for John Baumgarth 79 calendars using the name Mona Monroe 80 Monroe had previously posed topless or clad in a bikini for other artists including Earl Moran and felt comfortable with nudity 81 f Shortly after leaving Columbia she also met and became the protegee and mistress of Johnny Hyde the vice president of the William Morris Agency 82 Through Hyde Monroe landed small roles in several films g including two critically acclaimed works Joseph Mankiewicz s drama All About Eve 1950 and John Huston s film noir The Asphalt Jungle 1950 83 Despite her screen time being only a few minutes in the latter she gained a mention in Photoplay and according to biographer Donald Spoto moved effectively from movie model to serious actress 84 In December 1950 Hyde negotiated a seven year contract for Monroe with 20th Century Fox 85 According to its terms Fox could opt to not renew the contract after each year 86 Hyde died of a heart attack only days later which left Monroe devastated 87 In 1951 Monroe had supporting roles in three moderately successful Fox comedies As Young as You Feel Love Nest and Let s Make It Legal 88 According to Spoto all three films featured her essentially as a sexy ornament but she received some praise from critics Bosley Crowther of The New York Times described her as superb in As Young As You Feel and Ezra Goodman of the Los Angeles Daily News called her one of the brightest up and coming actresses for Love Nest 89 Her popularity with audiences was also growing she received several thousand fan letters a week and was declared Miss Cheesecake of 1951 by the army newspaper Stars and Stripes reflecting the preferences of soldiers in the Korean War 90 In February 1952 the Hollywood Foreign Press Association named Monroe the best young box office personality 91 In her private life Monroe had a short relationship with director Elia Kazan and also briefly dated several other men including director Nicholas Ray and actors Yul Brynner and Peter Lawford 92 In early 1952 she began a highly publicized romance with retired New York Yankees baseball star Joe DiMaggio one of the most famous sports personalities of the era 93 Monroe with Keith Andes in Clash by Night 1952 The film allowed Monroe to display more of her acting range in a dramatic role Monroe found herself at the center of a scandal in March 1952 when she revealed publicly that she had posed for a nude calendar in 1949 94 The studio had learned about the photos and that she was publicly rumored to be the model some weeks prior and together with Monroe decided that to prevent damaging her career it was best to admit to them while stressing that she had been broke at the time 95 The strategy gained her public sympathy and increased interest in her films for which she was now receiving top billing In the wake of the scandal Monroe was featured on the cover of Life magazine as the Talk of Hollywood and gossip columnist Hedda Hopper declared her the cheesecake queen turned box office smash 96 Three of Monroe s films Clash by Night Don t Bother to Knock and We re Not Married were released soon after to capitalize on the public interest 97 Despite her newfound popularity as a sex symbol Monroe also wished to showcase more of her acting range She had begun taking acting classes with Michael Chekhov and mime Lotte Goslar soon after beginning the Fox contract 98 and Clash by Night and Don t Bother to Knock showed her in different roles 99 In the former a drama starring Barbara Stanwyck and directed by Fritz Lang she played a fish cannery worker to prepare she spent time in a fish cannery in Monterey 100 She received positive reviews for her performance The Hollywood Reporter stated that she deserves starring status with her excellent interpretation and Variety wrote that she has an ease of delivery which makes her a cinch for popularity 101 102 The latter was a thriller in which Monroe starred as a mentally disturbed babysitter and which Zanuck used to test her abilities in a heavier dramatic role 103 It received mixed reviews from critics with Crowther deeming her too inexperienced for the difficult role 104 and Variety blaming the script for the film s problems 105 106 Monroe in Don t Bother to Knock 1952 Monroe s three other films in 1952 continued with her typecasting in comedic roles that highlighted her sex appeal In We re Not Married her role as a beauty pageant contestant was created solely to present Marilyn in two bathing suits according to its writer Nunnally Johnson 107 In Howard Hawks s Monkey Business in which she acted opposite Cary Grant she played a secretary who is a dumb childish blonde innocently unaware of the havoc her sexiness causes around her 108 In O Henry s Full House with Charles Laughton she appeared in a passing vignette as a nineteenth century street walker 109 Monroe added to her reputation as a new sex symbol with publicity stunts that year she wore a revealing dress when acting as Grand Marshal at the Miss America Pageant parade and told gossip columnist Earl Wilson that she usually wore no underwear 110 By the end of the year gossip columnist Florabel Muir named Monroe the it girl of 1952 111 112 During this period Monroe gained a reputation for being difficult to work with which would worsen as her career progressed She was often late or did not show up at all did not remember her lines and would demand several re takes before she was satisfied with her performance 113 Her dependence on her acting coaches Natasha Lytess and then Paula Strasberg also irritated directors 114 Monroe s problems have been attributed to a combination of perfectionism low self esteem and stage fright 115 She disliked her lack of control on film sets and never experienced similar problems during photo shoots in which she had more say over her performance and could be more spontaneous instead of following a script 115 116 To alleviate her anxiety and chronic insomnia she began to use barbiturates amphetamines and alcohol which also exacerbated her problems although she did not become severely addicted until 1956 117 According to Sarah Churchwell some of Monroe s behavior especially later in her career was also in response to the condescension and sexism of her male co stars and directors 118 Biographer Lois Banner said that she was bullied by many of her directors 119 1953 Rising star Monroe in Niagara 1953 which dwelt on her sex appeal Monroe performing the song Diamonds Are a Girl s Best Friend in Gentlemen Prefer Blondes 1953 Monroe Betty Grable and Lauren Bacall in How to Marry a Millionaire her biggest box office success of 1953 Monroe starred in three movies that were released in 1953 and emerged as a major sex symbol and one of Hollywood s most bankable performers 120 121 The first was the Technicolor film noir Niagara in which she played a femme fatale scheming to murder her husband played by Joseph Cotten 122 By then Monroe and her make up artist Allan Whitey Snyder had developed her trademark make up look dark arched brows pale skin glistening red lips and a beauty mark 123 According to Sarah Churchwell Niagara was one of the most overtly sexual films of Monroe s career 108 In some scenes Monroe s body was covered only by a sheet or a towel considered shocking by contemporary audiences 124 Niagara s most famous scene is a 30 second long shot behind Monroe where she is seen walking with her hips swaying which was used heavily in the film s marketing 124 When Niagara was released in January 1953 women s clubs protested it as immoral but it proved popular with audiences 125 While Variety deemed it cliched and morbid The New York Times commented that the falls and Miss Monroe are something to see as although Monroe may not be the perfect actress at this point she can be seductive even when she walks 126 127 Monroe continued to attract attention by wearing revealing outfits most famously at the Photoplay Awards in January 1953 where she won the Fastest Rising Star award 128 A pleated sunburst waist tight deep decollete gold lame dress designed by William Travilla for Gentlemen Prefer Blondes but barely seen at all in the film was to become a sensation 129 Prompted by such imagery veteran star Joan Crawford publicly called the behavior unbecoming an actress and a lady 128 While Niagara made Monroe a sex symbol and established her look her second film of 1953 the satirical musical comedy Gentlemen Prefer Blondes cemented her screen persona as a dumb blonde 130 Based on Anita Loos novel and its Broadway version the film focuses on two gold digging showgirls played by Monroe and Jane Russell Monroe s role was originally intended for Betty Grable who had been 20th Century Fox s most popular blonde bombshell in the 1940s Monroe was fast eclipsing her as a star who could appeal to both male and female audiences 131 As part of the film s publicity campaign she and Russell pressed their hand and footprints in wet concrete outside Grauman s Chinese Theatre in June 132 Gentlemen Prefer Blondes was released shortly after and became one of the biggest box office successes of the year 133 Crowther of The New York Times and William Brogdon of Variety both commented favorably on Monroe especially noting her performance of Diamonds Are a Girl s Best Friend according to the latter she demonstrated the ability to sex a song as well as point up the eye values of a scene by her presence 134 135 In September Monroe made her television debut in the Jack Benny Show playing Jack s fantasy woman in the episode Honolulu Trip 136 She co starred with Betty Grable and Lauren Bacall in her third movie of the year How to Marry a Millionaire released in November It featured Monroe as a naive model who teams up with her friends to find rich husbands repeating the successful formula of Gentlemen Prefer Blondes It was the second film ever released in CinemaScope a widescreen format that Fox hoped would draw audiences back to theaters as television was beginning to cause losses to film studios 137 Despite mixed reviews the film was Monroe s biggest box office success at that point in her career 138 Monroe was listed in the annual Top Ten Money Making Stars Poll in both 1953 and 1954 121 and according to Fox historian Aubrey Solomon became the studio s greatest asset alongside CinemaScope 139 Monroe s position as a leading sex symbol was confirmed in December 1953 when Hugh Hefner featured her on the cover and as centerfold in the first issue of Playboy Monroe did not consent to the publication 140 The cover image was a photograph taken of her at the Miss America Pageant parade in 1952 and the centerfold featured one of her 1949 nude photographs 140 1954 1955 Conflicts with 20th Century Fox and marriage to Joe DiMaggio Monroe had become one of 20th Century Fox s biggest stars but her contract had not changed since 1950 so that she was paid far less than other stars of her stature and could not choose her projects 141 Her attempts to appear in films that would not focus on her as a pin up had been thwarted by the studio head executive Darryll F Zanuck who had a strong personal dislike of her and did not think she would earn the studio as much revenue in other types of roles 142 Under pressure from the studio s owner Spyros Skouras Zanuck had also decided that Fox should focus exclusively on entertainment to maximize profits and canceled the production of any serious films 143 In January 1954 he suspended Monroe when she refused to begin shooting yet another musical comedy The Girl in Pink Tights 144 Monroe and Joe DiMaggio after getting married at San Francisco City Hall in January 1954 This was front page news and Monroe immediately took action to counter negative publicity On January 14 she and Joe DiMaggio were married at the San Francisco City Hall 145 They then traveled by car 146 to San Luis Obispo 147 then honeymooned 148 outside Idyllwild California 149 150 151 in the mountain lodge of Monroe s lawyer Lloyd Wright 152 153 On January 29 1954 fifteen days later 154 they flew to Japan 155 combining a honeymoon with his commitment to his former San Francisco Seals coach Lefty O Doul 156 to help train 157 Japanese baseball teams 158 159 From Tokyo she traveled with Jean O Doul 158 Lefty s wife to Korea 160 161 where she participated in a USO show 162 singing songs from her films for over 60 000 U S Marines over a four day period 163 164 165 After returning to the U S she was awarded Photoplay s Most Popular Female Star prize 166 Monroe settled with Fox in March with the promise of a new contract a bonus of 100 000 and a starring role in the film adaptation of the Broadway success The Seven Year Itch 167 In April 1954 Otto Preminger s western River of No Return the last film that Monroe had filmed prior to the suspension was released She called it a Z grade cowboy movie in which the acting finished second to the scenery and the CinemaScope process but it was popular with audiences 168 The first film she made after the suspension was the musical There s No Business Like Show Business which she strongly disliked but the studio required her to do for dropping The Girl in Pink Tights 167 It was unsuccessful upon its release in late 1954 with Monroe s performance considered vulgar by many critics 169 Monroe posing for photographers in The Seven Year Itch 1955 In September 1954 Monroe began filming Billy Wilder s comedy The Seven Year Itch starring opposite Tom Ewell as a woman who becomes the object of her married neighbor s sexual fantasies Although the film was shot in Hollywood the studio decided to generate advance publicity by staging the filming of a scene in which Monroe is standing on a subway grate with the air blowing up the skirt of her white dress on Lexington Avenue in Manhattan 170 The shoot lasted for several hours and attracted nearly 2 000 spectators 170 The subway grate scene became one of Monroe s most famous and The Seven Year Itch became one of the biggest commercial successes of the year after its release in June 1955 171 The publicity stunt placed Monroe on international front pages and it also marked the end of her marriage to DiMaggio who was infuriated by it 172 The union had been troubled from the start by his jealousy and controlling attitude he was also physically abusive 173 After returning from NYC to Hollywood in October 1954 Monroe filed for divorce after only nine months of marriage 174 After filming for The Seven Year Itch wrapped up in November 1954 Monroe left Hollywood for the East Coast where she and photographer Milton Greene founded their own production company Marilyn Monroe Productions MMP an action that has later been called instrumental in the collapse of the studio system 175 h Monroe stated that she was tired of the same old sex roles and asserted that she was no longer under contract to Fox as it had not fulfilled its duties such as paying her the promised bonus 177 This began a year long legal battle between her and Fox in January 1955 178 The press largely ridiculed Monroe and she was parodied in the Broadway play Will Success Spoil Rock Hunter 1955 in which her lookalike Jayne Mansfield played a dumb actress who starts her own production company 179 Monroe at the Actors Studio in 1961 After founding MMP Monroe moved to Manhattan and spent 1955 studying acting She took classes with Constance Collier and attended workshops on method acting at the Actors Studio run by Lee Strasberg 180 She grew close to Strasberg and his wife Paula receiving private lessons at their home due to her shyness and soon became a family member 181 She replaced her old acting coach Natasha Lytess with Paula the Strasbergs remained an important influence for the rest of her career 182 Monroe also started undergoing psychoanalysis as Strasberg believed that an actor must confront their emotional traumas and use them in their performances 183 i Monroe continued her relationship with DiMaggio despite the ongoing divorce process she also dated actor Marlon Brando and playwright Arthur Miller 185 She had first been introduced to Miller by Elia Kazan in the early 1950s 185 The affair between Monroe and Miller became increasingly serious after October 1955 when her divorce was finalized and he separated from his wife 186 The studio urged her to end it as Miller was being investigated by the FBI for allegations of communism and had been subpoenaed by the House Un American Activities Committee but Monroe refused 187 The relationship led to the FBI opening a file on her 186 By the end of the year Monroe and Fox signed a new seven year contract as MMP would not be able to finance films alone and the studio was eager to have Monroe working for them again 178 Fox would pay her 400 000 to make four films and granted her the right to choose her own projects directors and cinematographers 188 She would also be free to make one film with MMP per each completed film for Fox 188 1956 1959 Critical acclaim and marriage to Arthur Miller Monroe and Arthur Miller at their wedding in June 1956Monroe began 1956 by announcing her win over 20th Century Fox 189 She legally changed her name to Marilyn Monroe 190 The press wrote favorably about her decision to fight the studio Time called her a shrewd businesswoman 191 and Look predicted that the win would be an example of the individual against the herd for years to come 189 In contrast Monroe s relationship with Miller prompted some negative comments such as Walter Winchell s statement that America s best known blonde moving picture star is now the darling of the left wing intelligentsia 192 In March Monroe began filming the drama Bus Stop her first film under the new contract 193 She played Cherie a saloon singer whose dreams of stardom are complicated by a naive cowboy who falls in love with her For the role she learned an Ozark accent chose costumes and makeup that lacked the glamor of her earlier films and provided deliberately mediocre singing and dancing 194 Broadway director Joshua Logan agreed to direct despite initially doubting Monroe s acting abilities and knowing of her difficult reputation 195 The filming took place in Idaho and Arizona with Monroe technically in charge as the head of MMP occasionally making decisions on cinematography and with Logan adapting to her chronic lateness and perfectionism 196 The experience changed Logan s opinion of Monroe and he later compared her to Charlie Chaplin in her ability to blend comedy and tragedy 197 Monroe s dramatic performance in Bus Stop 1956 marked a departure from her earlier comedies On 29 June 1956 Monroe and Miller were married at the Westchester County Court in White Plains New York two days later they had a Jewish ceremony at the home of Kay Brown Miller s literary agent in Waccabuc New York 198 199 With the marriage Monroe converted to Judaism which led Egypt to ban all of her films 200 j Due to Monroe s status as a sex symbol and Miller s image as an intellectual the media saw the union as a mismatch as evidenced by Variety s headline Egghead Weds Hourglass 202 Bus Stop was released in August 1956 and became a critical and commercial success 203 The Saturday Review of Literature wrote that Monroe s performance effectively dispels once and for all the notion that she is merely a glamour personality and Crowther proclaimed Hold on to your chairs everybody and get set for a rattling surprise Marilyn Monroe has finally proved herself an actress 204 She also received a Golden Globe nomination for Best Actress for her performance 91 In August Monroe also began filming MMP s first independent production The Prince and the Showgirl at Pinewood Studios in England 205 Based on a 1953 stage play by Terence Rattigan it was to be directed and co produced by and to co star Laurence Olivier 191 The production was complicated by conflicts between him and Monroe 206 Olivier who had also directed and starred in the stage play angered her with the patronizing statement All you have to do is be sexy and with his demand she replicate Vivien Leigh s stage interpretation of the character 207 He also disliked the constant presence of Paula Strasberg Monroe s acting coach on set 208 In retaliation Monroe became uncooperative and began to deliberately arrive late later saying if you don t respect your artists they can t work well 206 Monroe with Laurence Olivier in a publicity photo for The Prince and the Showgirl 1957 Monroe also experienced other problems during the production Her dependence on pharmaceuticals escalated and according to Spoto she had a miscarriage 209 She and Greene also argued over how MMP should be run 209 Despite the difficulties filming was completed on schedule by the end of 1956 210 The Prince and the Showgirl was released to mixed reviews in June 1957 and proved unpopular with American audiences 211 It was better received in Europe where she was awarded the Italian David di Donatello and the French Crystal Star awards and nominated for a BAFTA 212 After returning from England Monroe took an 18 month hiatus to concentrate on family life She and Miller split their time between NYC Connecticut and Long Island 213 She had an ectopic pregnancy in mid 1957 and a miscarriage a year later 214 these problems were most likely linked to her endometriosis 215 k Monroe was also briefly hospitalized due to a barbiturate overdose 218 As she and Greene could not settle their disagreements over MMP Monroe bought his share of the company 219 Monroe with Jack Lemmon and Tony Curtis in Some Like It Hot 1959 for which she won a Golden Globe Monroe returned to Hollywood in July 1958 to act opposite Jack Lemmon and Tony Curtis in Billy Wilder s comedy on gender roles Some Like It Hot 220 She considered the role of Sugar Kane another dumb blonde but accepted it due to Miller s encouragement and the offer of 10 of the film s profits on top of her standard pay 221 The film s difficult production has since become legendary 222 Monroe demanded dozens of retakes and did not remember her lines or act as directed Curtis famously said that kissing her was like kissing Hitler due to the number of retakes 223 Monroe privately likened the production to a sinking ship and commented on her co stars and director saying but why should I worry I have no phallic symbol to lose 224 Many of the problems stemmed from her and Wilder who also had a reputation for being difficult disagreeing on how she should play the role 225 She angered him by asking to alter many of her scenes which in turn made her stage fright worse and it is suggested that she deliberately ruined several scenes to act them her way 225 In the end Wilder was happy with Monroe s performance saying Anyone can remember lines but it takes a real artist to come on the set and not know her lines and yet give the performance she did 226 Some Like It Hot was a critical and commercial success when it was released in March 1959 227 Monroe s performance earned her a Golden Globe for Best Actress and prompted Variety to call her a comedienne with that combination of sex appeal and timing that just can t be beat 212 228 It has been voted one of the best films ever made in polls by the BBC 229 the American Film Institute 230 and Sight amp Sound 231 1960 1962 Career decline and personal difficulties Monroe with Yves Montand in Let s Make Love 1960 which she agreed to make only to fulfill her contract with Fox After Some Like It Hot Monroe took another hiatus until late 1959 when she starred in the musical comedy Let s Make Love 232 She chose George Cukor to direct and Miller rewrote some of the script which she considered weak She accepted the part solely because she was behind on her contract with Fox 233 The film s production was delayed by her frequent absences from the set 232 During the shoot Monroe had an extramarital affair with her co star Yves Montand which was widely reported by the press and used in the film s publicity campaign 234 Let s Make Love was unsuccessful upon its release in September 1960 235 Crowther described Monroe as appearing rather untidy and lacking the old Monroe dynamism 236 and Hedda Hopper called the film the most vulgar picture she s ever done 237 Truman Capote lobbied for Monroe to play Holly Golightly in a film adaptation of Breakfast at Tiffany s but the role went to Audrey Hepburn as its producers feared that Monroe would complicate the production 238 The last film Monroe completed was John Huston s The Misfits which Miller had written to provide her with a dramatic role 239 She played a recently divorced woman who becomes friends with three aging cowboys played by Clark Gable Eli Wallach and Montgomery Clift The filming in the Nevada desert between July and November 1960 was again difficult 240 Monroe s and Miller s marriage was effectively over and he began a new relationship with set photographer Inge Morath 239 Monroe Estelle Winwood Eli Wallach Montgomery Clift and Clark Gable in The Misfits 1961 It was the last completed film for Monroe and Gable who both died within two years Monroe disliked that he had based her role partly on her life and thought it inferior to the male roles She also struggled with Miller s habit of rewriting scenes the night before filming 241 Her health was also failing she was in pain from gallstones and her drug addiction was so severe that her makeup usually had to be applied while she was still asleep under the influence of barbiturates 242 In August filming was halted for her to spend a week in a hospital detox 242 Despite her problems Huston said that when Monroe was acting she was not pretending to an emotion It was the real thing She would go deep down within herself and find it and bring it up into consciousness 243 Monroe and Miller separated after filming wrapped and she obtained a Mexican divorce in January 1961 244 The Misfits was released the following month failing at the box office 245 Its reviews were mixed 245 with Variety complaining of frequently choppy character development 246 and Bosley Crowther calling Monroe completely blank and unfathomable and writing that unfortunately for the film s structure everything turns upon her 247 It has received more favorable reviews in the 21st century Geoff Andrew of the British Film Institute has called it a classic 248 Huston scholar Tony Tracy called Monroe s performance the most mature interpretation of her career 249 and Geoffrey McNab of The Independent praised her extraordinary portrayal of the character s power of empathy 250 Monroe was next to star in a television adaptation of W Somerset Maugham s Rain for NBC but the project fell through as the network did not want to hire her choice of director Lee Strasberg 251 Instead of working she spent the first six months of 1961 preoccupied by health problems She underwent a cholecystectomy and surgery for her endometriosis and spent four weeks hospitalized for depression 252 l She was helped by DiMaggio with whom she rekindled a friendship and dated his friend Frank Sinatra for several months 254 Monroe also moved permanently back to California in 1961 purchasing a house at 12305 Fifth Helena Drive in Brentwood Los Angeles in early 1962 255 Monroe on the set of Something s Got to Give She was absent for most of the production due to illness and was fired by Fox in June 1962 two months before her death Monroe returned to the public eye in the spring of 1962 She received a World Film Favorite Golden Globe Award and began to shoot a film for Fox Something s Got to Give a remake of My Favorite Wife 1940 256 It was to be co produced by MMP directed by George Cukor and to co star Dean Martin and Cyd Charisse 257 Days before filming began Monroe caught sinusitis Despite medical advice to postpone the production Fox began it as planned in late April 258 Monroe was too sick to work for most of the next six weeks but despite confirmations by multiple doctors the studio pressured her by alleging publicly that she was faking it 258 On May 19 she took a break to sing Happy Birthday Mr President on stage at President John F Kennedy s early birthday celebration at Madison Square Garden in New York 259 She drew attention with her costume a beige skintight dress covered in rhinestones which made her appear nude 259 m Monroe s trip to New York caused even more irritation for Fox executives who had wanted her to cancel it 261 Monroe next filmed a scene for Something s Got to Give in which she swam naked in a swimming pool 262 To generate advance publicity the press was invited to take photographs these were later published in Life This was the first time that a major star had posed nude at the height of their career 263 When she was again on sick leave for several days Fox decided that it could not afford to have another film running behind schedule when it was already struggling with the rising costs of Cleopatra 1963 264 On June 7 Fox fired Monroe and sued her for 750 000 in damages 265 She was replaced by Lee Remick but after Martin refused to make the film with anyone other than Monroe Fox sued him as well and shut down the production 266 The studio blamed Monroe for the film s demise and began spreading negative publicity about her even alleging that she was mentally disturbed 265 Fox soon regretted its decision and reopened negotiations with Monroe later in June a settlement about a new contract including recommencing Something s Got to Give and a starring role in the black comedy What a Way to Go 1964 was reached later that summer 267 She was also planning on starring in a biopic of Jean Harlow 268 To repair her public image Monroe engaged in several publicity ventures including interviews for Life and Cosmopolitan and her first photo shoot for Vogue 269 For Vogue she and photographer Bert Stern collaborated for two series of photographs one a standard fashion editorial and another of her posing nude which were published posthumously with the title The Last Sitting 270 Death and funeralMain article Death of Marilyn Monroe Monroe third from left with actors on the filming set of The Exterminating Angel during her visit to Mexico in 1962 one of her last media appearances 271 n During her final months Monroe lived at 12305 Fifth Helena Drive in the Brentwood neighborhood of Los Angeles Her housekeeper Eunice Murray was staying overnight at the home on the evening of August 4 1962 272 Murray woke at 3 00 a m on August 5 and sensed that something was wrong She saw light from under Monroe s bedroom door but was unable to get a response and found the door locked Murray then called Monroe s psychiatrist Ralph Greenson who arrived at the house shortly after and broke into the bedroom through a window to find Monroe dead in her bed 272 Monroe s physician Hyman Engelberg arrived at around 3 50 a m 272 and pronounced her dead At 4 25 a m the Los Angeles Police Department was notified 272 Monroe died between 8 30 p m and 10 30 p m on August 4 273 the toxicology report showed that the cause of death was acute barbiturate poisoning She had 8 mg milligrams per 100 milliliters of solution chloral hydrate and 4 5 mg of pentobarbital Nembutal in her blood and 13 mg of pentobarbital in her liver 274 Empty medicine bottles were found next to her bed 275 The possibility that Monroe had accidentally overdosed was ruled out because the dosages found in her body were several times the lethal limit 276 Front page of the New York Mirror on August 6 1962 The Los Angeles County Coroners Office was assisted in their investigation by the Los Angeles Suicide Prevention Team who had expert knowledge on suicide 275 Monroe s doctors stated that she had been prone to severe fears and frequent depressions with abrupt and unpredictable mood changes and had overdosed several times in the past possibly intentionally 276 277 Due to these facts and the lack of any indication of foul play deputy coroner Thomas Noguchi classified her death as a probable suicide 278 Monroe s sudden death was front page news in the United States and Europe 279 According to Lois Banner it s said that the suicide rate in Los Angeles doubled the month after she died the circulation rate of most newspapers expanded that month 279 and the Chicago Tribune reported that they had received hundreds of phone calls from members of the public requesting information about her death 280 French artist Jean Cocteau commented that her death should serve as a terrible lesson to all those whose chief occupation consists of spying on and tormenting film stars her former co star Laurence Olivier deemed her the complete victim of ballyhoo and sensation and Bus Stop director Joshua Logan said that she was one of the most unappreciated people in the world 281 Monroe s crypt at Westwood Village Memorial Park Cemetery in Westwood Village Her funeral held at the Westwood Village Memorial Park Cemetery on August 8 was private and attended by only her closest associates 282 The service was arranged by Joe DiMaggio Monroe s half sister Berniece Baker Miracle and Monroe s business manager Inez Melson 282 Hundreds of spectators crowded the streets around the cemetery 282 Monroe was later entombed at Crypt No 24 at the Corridor of Memories 283 In the following decades several conspiracy theories including murder and accidental overdose have been introduced to contradict suicide as the cause of Monroe s death 284 The speculation that Monroe had been murdered first gained mainstream attention with the publication of Norman Mailer s Marilyn A Biography in 1973 and in the following years became widespread enough for the Los Angeles County District Attorney John Van de Kamp to conduct a threshold investigation in 1982 to see whether a criminal investigation should be opened 285 No evidence of foul play was found 286 Screen persona and receptionThe 1940s had been the heyday for actresses who were perceived as tough and smart such as Katharine Hepburn and Barbara Stanwyck who had appealed to women dominated audiences during the war years 20th Century Fox wanted Monroe to be a star of the new decade who would draw men to movie theaters and saw her as a replacement for the aging Betty Grable their most popular blonde bombshell of the 1940s 287 According to film scholar Richard Dyer Monroe s star image was crafted mostly for the male gaze 288 Actress Jean Harlow in 1934 Monroe took inspiration from her to develop her star image From the beginning Monroe played a significant part in the creation of her public image and towards the end of her career exerted almost full control over it 289 290 She devised many of her publicity strategies cultivated friendships with gossip columnists such as Sidney Skolsky and Louella Parsons and controlled the use of her images 291 In addition to Grable she was often compared to another iconic blonde 1930s film star Jean Harlow 292 The comparison was prompted partly by Monroe who named Harlow as her childhood idol wanted to play her in a biopic and even employed Harlow s hair stylist to color her hair 293 Monroe s screen persona focused on her blonde hair and the stereotypes that were associated with it especially dumbness naivete sexual availability and artificiality 294 She often used a breathy childish voice in her films and in interviews gave the impression that everything she said was utterly innocent and uncalculated parodying herself with double entendres that came to be known as Monroeisms 295 For example when she was asked what she had on in the 1949 nude photo shoot she replied I had the radio on 296 As seen in this publicity photo for The Seven Year Itch 1955 Monroe wore figure hugging outfits that enhanced her sexual attractiveness In her films Monroe usually played the girl who is defined solely by her gender 288 Her roles were almost always chorus girls secretaries or models occupations where the woman is on show there for the pleasure of men 288 Monroe began her career as a pin up model and was noted for her hourglass figure 297 She was often positioned in film scenes so that her curvy silhouette was on display and frequently posed like a pin up in publicity photos 297 Her distinctive hip swinging walk also drew attention to her body and earned her the nickname the girl with the horizontal walk 108 Monroe often wore white to emphasize her blondness and drew attention by wearing revealing outfits that showed off her figure 298 Her publicity stunts often revolved around her clothing either being shockingly revealing or even malfunctioning 299 such as when a shoulder strap of her dress snapped during a press conference 299 In press stories Monroe was portrayed as the embodiment of the American Dream a girl who had risen from a miserable childhood to Hollywood stardom 300 Stories of her time spent in foster families and an orphanage were exaggerated and even partly fabricated 301 Film scholar Thomas Harris wrote that her working class roots and lack of family made her appear more sexually available the ideal playmate in contrast to her contemporary Grace Kelly who was also marketed as an attractive blonde but due to her upper class background was seen as a sophisticated actress unattainable for the majority of male viewers 302 Although Monroe s screen persona as a dim witted but sexually attractive blonde was a carefully crafted act audiences and film critics believed it to be her real personality This became a hindrance when she wanted to pursue other kinds of roles or to be respected as a businesswoman 303 The academic Sarah Churchwell studied narratives about Monroe and wrote The biggest myth is that she was dumb The second is that she was fragile The third is that she couldn t act She was far from dumb although she was not formally educated and she was very sensitive about that But she was very smart indeed and very tough She had to be both to beat the Hollywood studio system in the 1950s The dumb blonde was a role she was an actress for heaven s sake Such a good actress that no one now believes she was anything but what she portrayed on screen 304 Biographer Lois Banner writes that Monroe often subtly parodied her sex symbol status in her films and public appearances 305 and that the Marilyn Monroe character she created was a brilliant archetype who stands between Mae West and Madonna in the tradition of twentieth century gender tricksters 306 Monroe herself stated that she was influenced by West learning a few tricks from her that impression of laughing at or mocking her own sexuality 307 She studied comedy in classes by mime and dancer Lotte Goslar famous for her comic stage performances and Goslar also instructed her on film sets 308 In Gentlemen Prefer Blondes one of the films in which she played an archetypal dumb blonde Monroe had the sentence I can be smart when it s important but most men don t like it added to her character s lines 309 Monroe arriving at a party celebrating Louella Parsons at Ciro s nightclub in 1953 According to Dyer Monroe became virtually a household name for sex in the 1950s and her image has to be situated in the flux of ideas about morality and sexuality that characterised the Fifties in America such as Freudian ideas about sex the Kinsey report 1953 and Betty Friedan s The Feminine Mystique 1963 310 By appearing vulnerable and unaware of her sex appeal Monroe was the first sex symbol to present sex as natural and without danger in contrast to the 1940s femme fatales 311 Spoto likewise describes her as the embodiment of the postwar ideal of the American girl soft transparently needy worshipful of men naive offering sex without demands which is echoed in Molly Haskell s statement that she was the Fifties fiction the lie that a woman had no sexual needs that she is there to cater to or enhance a man s needs 312 Monroe s contemporary Norman Mailer wrote that Marilyn suggested sex might be difficult and dangerous with others but ice cream with her while Groucho Marx characterized her as Mae West Theda Bara and Bo Peep all rolled into one 313 According to Haskell due to her sex symbol status Monroe was less popular with women than with men as they couldn t identify with her and didn t support her although this would change after her death 314 Dyer has also argued that Monroe s blonde hair became her defining feature because it made her racially unambiguous and exclusively white just as the civil rights movement was beginning and that she should be seen as emblematic of racism in twentieth century popular culture 315 Banner agreed that it may not be a coincidence that Monroe launched a trend of platinum blonde actresses during the civil rights movement but has also criticized Dyer pointing out that in her highly publicized private life Monroe associated with people who were seen as white ethnics such as Joe DiMaggio Italian American and Arthur Miller Jewish 316 According to Banner she sometimes challenged prevailing racial norms in her publicity photographs for example in an image featured in Look in 1951 she was shown in revealing clothes while practicing with African American singing coach Phil Moore 317 Monroe in a Lustre Creme shampoo advertisement of 1953Monroe was perceived as a specifically American star a national institution as well known as hot dogs apple pie or baseball according to Photoplay 318 Banner calls her the symbol of populuxe a star whose joyful and glamorous public image helped the nation cope with its paranoia in the 1950s about the Cold War the atom bomb and the totalitarian communist Soviet Union 319 Historian Fiona Handyside writes that the French female audiences associated whiteness blondness with American modernity and cleanliness and so Monroe came to symbolize a modern liberated woman whose life takes place in the public sphere 320 Film historian Laura Mulvey has written of her as an endorsement for American consumer culture If America was to export the democracy of glamour into post war impoverished Europe the movies could be its shop window Marilyn Monroe with her all American attributes and streamlined sexuality came to epitomise in a single image this complex interface of the economic the political and the erotic By the mid 1950s she stood for a brand of classless glamour available to anyone using American cosmetics nylons and peroxide 321 Twentieth Century Fox further profited from Monroe s popularity by cultivating several lookalike actresses such as Jayne Mansfield and Sheree North 322 Other studios also attempted to create their own Monroes Universal Pictures with Mamie Van Doren 323 Columbia Pictures with Kim Novak 324 and The Rank Organisation with Diana Dors 325 FilmographyMain article Marilyn Monroe performances and awards Monroe in Some Like It Hot 1959 Seven Sirens 1946 Dangerous Years 1947 Scudda Hoo Scudda Hay 1948 Ladies of the Chorus 1948 Love Happy 1949 A Ticket to Tomahawk 1950 The Asphalt Jungle 1950 All About Eve 1950 The Fireball 1950 Right Cross 1951 Home Town Story 1951 As Young as You Feel 1951 Love Nest 1951 Let s Make It Legal 1951 Clash by Night 1952 We re Not Married 1952 Don t Bother to Knock 1952 Monkey Business 1952 O Henry s Full House 1952 Niagara 1953 Gentlemen Prefer Blondes 1953 How to Marry a Millionaire 1953 River of No Return 1954 There s No Business Like Show Business 1954 The Seven Year Itch 1955 Bus Stop 1956 The Prince and the Showgirl 1957 Some Like It Hot 1959 Let s Make Love 1960 The Misfits 1961 Something s Got to Give 1962 unfinished LegacyMain article Marilyn Monroe in popular culture Monroe in a publicity photo for Photoplay magazine in 1953 According to The Guide to United States Popular Culture as an icon of American popular culture Monroe s few rivals in popularity include Elvis Presley and Mickey Mouse no other star has ever inspired such a wide range of emotions from lust to pity from envy to remorse 326 Art historian Gail Levin stated that Monroe may have been the most photographed person of the 20th century 116 and The American Film Institute has named her the sixth greatest female screen legend in American film history The Smithsonian Institution has included her on their list of 100 Most Significant Americans of All Time 327 and both Variety and VH1 have placed her in the top ten in their rankings of the greatest popular culture icons of the twentieth century 328 329 Hundreds of books have been written about Monroe She has been the subject of numerous films plays operas and songs and has influenced artists and entertainers such as Andy Warhol and Madonna 330 331 She also remains a valuable brand 332 her image and name have been licensed for hundreds of products and she has been featured in advertising for brands such as Max Factor Chanel Mercedes Benz and Absolut Vodka 333 334 Monroe s enduring popularity is tied to her conflicted public image 335 On the one hand she remains a sex symbol beauty icon and one of the most famous stars of classical Hollywood cinema 336 337 338 On the other she is also remembered for her troubled private life unstable childhood struggle for professional respect as well as her death and the conspiracy theories that surrounded it 339 She has been written about by scholars and journalists who are interested in gender and feminism 340 these writers include Gloria Steinem Jacqueline Rose 341 Molly Haskell 342 Sarah Churchwell 334 and Lois Banner 343 Some such as Steinem have viewed her as a victim of the studio system 340 344 Others such as Haskell 345 Rose 341 and Churchwell 334 have instead stressed Monroe s proactive role in her career and her participation in the creation of her public persona Left panel from pop artist James Gill s painting Marilyn Triptych 1962 Owing to the contrast between her stardom and troubled private life Monroe is closely linked to broader discussions about modern phenomena such as mass media fame and consumer culture 346 According to academic Susanne Hamscha Monroe has continued relevance to ongoing discussions about modern society and she is never completely situated in one time or place but has become a surface on which narratives of American culture can be re constructed and functions as a cultural type that can be reproduced transformed translated into new contexts and enacted by other people 346 Similarly Banner has called Monroe the eternal shapeshifter who is re created by each generation even each individual to their own specifications 347 Monroe remains a cultural icon but critics are divided on her legacy as an actress David Thomson called her body of work insubstantial 348 and Pauline Kael wrote that she could not act but rather used her lack of an actress s skills to amuse the public She had the wit or crassness or desperation to turn cheesecake into acting and vice versa she did what others had the good taste not to do 349 In contrast Peter Bradshaw wrote that Monroe was a talented comedian who understood how comedy achieved its effects 350 and Roger Ebert wrote that Monroe s eccentricities and neuroses on sets became notorious but studios put up with her long after any other actress would have been blackballed because what they got back on the screen was magical 351 Similarly Jonathan Rosenbaum stated that she subtly subverted the sexist content of her material and that the difficulty some people have discerning Monroe s intelligence as an actress seems rooted in the ideology of a repressive era when super feminine women weren t supposed to be smart 352 See alsoMarilyn Monroe performances and awards Marilyn Monroe in popular cultureNotes Monroe had her screen name made into her legal name in early 1956 1 2 Gladys named Mortensen as Monroe s father in the birth certificate although the name was misspelled 14 but it is unlikely that he was the father as their separation had taken place well before she became pregnant 15 Biographers Fred Guiles and Lois Banner stated that her father was likely Charles Stanley Gifford Gladys s superior at RKO Studios with whom she had an affair in 1925 16 whereas Donald Spoto thought that another co worker was probably the father 17 Monroe spoke about being sexually abused by a lodger when she was eight years old to her biographers Ben Hecht in 1953 1954 and Maurice Zolotow in 1960 and in interviews for Paris Match and Cosmopolitan 31 Although she refused to name the abuser Banner believes he was George Atkinson as he was a lodger and fostered Monroe when she was eight Banner also states that Monroe s description of the abuser fits other descriptions of Atkinson 32 Banner has argued that the abuse may have been a major causative factor in Monroe s mental health problems and has also written that as the subject was taboo in mid century United States Monroe was unusual in daring to speak about it publicly 33 Spoto does not mention the incident but states that Monroe was sexually abused by Grace s husband in 1937 and by a cousin while living with a relative in 1938 34 Barbara Leaming repeats Monroe s account of the abuse but earlier biographers Fred Guiles Anthony Summers and Carl Rollyson have doubted the incident owing to lack of evidence beyond Monroe s statements 35 RKO s owner Howard Hughes had expressed an interest in Monroe after seeing her on a magazine cover 63 It has sometimes been claimed that Monroe appeared as an extra in other Fox films during this period including Green Grass of Wyoming The Shocking Miss Pilgrim and You Were Meant For Me but there is no evidence to support this 69 Baumgarth was initially not happy with the photos but published one of them in 1950 Monroe was not publicly identified as the model until 1952 Although she then contained the resulting scandal by claiming she had reluctantly posed nude due to an urgent need for cash biographers Spoto and Banner have stated that she was not pressured although according to Banner she was initially hesitant due to her aspirations of movie stardom and regarded the shoot as simply another work assignment 81 In addition to All About Eve and The Asphalt Jungle Monroe s 1950 films were Love Happy A Ticket to Tomahawk Right Cross and The Fireball Monroe also had a role in Home Town Story released in 1951 Monroe and Greene had first met and had a brief affair in 1949 and met again in 1953 when he photographed her for Look She told him about her grievances with the studio and Greene suggested that they start their own production company 176 Monroe underwent psychoanalysis regularly from 1955 until her death Her analysts were psychiatrists Margaret Hohenberg 1955 57 Anna Freud 1957 Marianne Kris 1957 61 and Ralph Greenson 1960 62 184 Monroe identified with the Jewish people as a dispossessed group and wanted to convert to make herself part of Miller s family 201 She was instructed by Rabbi Robert Goldberg and converted on July 1 1956 200 Monroe s interest in Judaism as a religion was limited she called herself a Jewish atheist and did not practice the faith after divorcing Miller aside from retaining some religious items 200 Egypt also lifted her ban after the divorce was finalized in 1961 200 Endometriosis also caused her to experience severe menstrual pain throughout her life necessitating a clause in her contract allowing her to be absent from work during her period her endometriosis also required several surgeries 215 It has sometimes been alleged that Monroe underwent several abortions and that unsafe abortions made by persons without proper medical training would have contributed to her inability to maintain a pregnancy 216 The abortion rumors began from statements made by Amy Greene the wife of Milton Greene but have not been confirmed by any concrete evidence 217 Furthermore Monroe s autopsy report did not note any evidence of abortions 217 Monroe first admitted herself to the Payne Whitney Psychiatric Clinic in New York at the suggestion of her psychiatrist Marianne Kris 253 Kris later stated that her choice of hospital was a mistake Monroe was placed on a ward meant for severely mentally ill people with psychosis where she was locked in a padded cell and not allowed to move to a more suitable ward or leave the hospital 253 Monroe was finally able to leave the hospital after three days with the help of Joe DiMaggio and moved to the Columbia University Medical Center spending a further 23 days there 253 Monroe and Kennedy had mutual friends and were familiar with each other Although they sometimes had casual sexual encounters there is no evidence that their relationship was serious 260 The actors and actresses posing with her include the following from left to right Ofelia Montesco Xavier Loya Monroe unknown person in the back Patricia Moran Bertha Moss Nadia Haro Oliva and Jose Baviera References How Did Marilyn Monroe Get Her Name This Photo Reveals the Story Time Monroe divorce papers for auction April 21 2005 via news bbc co uk Hertel Howard Heff Don August 6 1962 Marilyn Monroe Dies Pills Blamed Los Angeles Times Archived from the original on September 25 2015 Retrieved September 23 2015 Chapman 2001 pp 542 543 Hall 2006 p 468 Marilyn Monroe Biography Death Movies amp Facts Britannica Spoto 2001 pp 3 13 14 Banner 2012 p 13 Inside Marilyn Monroe s Family Tree November 17 2020 Spoto 2001 pp 9 10 Rollyson 2014 pp 26 29 Miracle amp Miracle 1994 p see family tree Banner 2012 pp 19 20 Leaming 1998 pp 52 53 Spoto 2001 pp 7 9 Banner 2012 p 19 Spoto 2001 p 9 for the exact year when divorce was finalized Banner 2012 p 20 Leaming 1998 pp 52 53 Spoto 2001 p 88 for first meeting in 1944 Banner 2012 p 72 for mother telling Monroe of sister in 1938 a b Churchwell 2004 p 150 citing Spoto and Summers Banner 2012 pp 24 25 Churchwell 2004 p 150 citing Spoto Summers and Guiles Churchwell 2004 pp 149 152 Banner 2012 p 26 Spoto 2001 p 13 Miller Korin Spanfeller Jamie September 29 2022 Did Marilyn Monroe Ever Meet Her Biological Father All About Charles Stanley Gifford Women s Health Retrieved September 30 2022 a b Churchwell 2004 p 152 Banner 2012 p 26 Spoto 2001 p 13 Keslassy Elsa April 4 2022 Marilyn Monroe s Biological Father Revealed in Documentary Marilyn Her Final Secret Variety Retrieved April 4 2022 Article in Daily Mirror by Graeme Culliford 5 Aug 2022 San Jacinto Valley Cemetery records San Jacinto California plot R 3 W H Anagnoson Alex October 2 2022 The Truth About Marilyn Monroe s Siblings Nicki Swift Retrieved November 12 2022 a b Spoto 2001 pp 17 26 Banner 2012 pp 32 35 Spoto 2001 pp 16 26 Churchwell 2004 p 164 Banner 2012 pp 22 35 Spoto 2001 pp 26 28 Banner 2012 pp 35 39 Leaming 1998 pp 54 55 Spoto 2001 pp 26 28 Banner 2012 pp 35 39 Churchwell 2004 pp 155 156 Churchwell 2004 pp 155 156 Banner 2012 pp 39 40 Spoto 2001 pp 100 101 106 107 215 216 Banner 2012 pp 39 42 45 47 62 72 91 205 Spoto 2001 pp 40 49 Churchwell 2004 p 165 Banner 2012 pp 40 62 Spoto 2001 pp 33 40 Banner 2012 pp 40 54 Banner 2012 pp 48 49 Banner 2012 pp 40 59 Banner 2012 pp 7 40 59 Spoto 2001 p 55 Churchwell 2004 pp 166 173 Churchwell 2004 pp 166 173 Banner 2012 pp 27 54 73 Banner 2012 pp 47 48 Spoto 2001 pp 44 45 Churchwell 2004 pp 165 166 Banner 2012 pp 62 63 Banner 2012 pp 60 63 Spoto 2001 pp 49 50 Banner 2012 pp 62 63 see also footnotes 455 Banner 2012 pp 62 64 Spoto 2001 pp 49 50 Banner 2012 pp 62 64 455 Meryman Richard September 14 2007 Great interviews of the 20th century When you re famous you run into human nature in a raw kind of way The Guardian Archived from the original on November 4 2015 Retrieved October 21 2015 Spoto 2001 pp 51 67 Banner 2012 pp 62 86 Spoto 2001 pp 68 69 Banner 2012 p 75 77 Banner 2012 pp 73 76 Spoto 2001 pp 67 69 Banner 2012 p 86 Spoto 2001 pp 67 69 Spoto 2001 pp 70 75 Banner 2012 pp 86 90 Banner 2012 pp 86 90 Spoto 2001 pp 70 75 Spoto 2001 p 70 78 a b c Spoto 2001 pp 83 86 Banner 2012 pp 91 98 Spoto 2001 pp 90 91 Churchwell 2004 p 176 Spoto 2001 pp 90 93 Churchwell 2004 pp 176 177 Yank USA 1945 Wartime Press Archived from the original on August 7 2017 Retrieved January 13 2012 Banner 2012 pp 103 104 Spoto 2001 pp 95 107 a b Spoto 2001 pp 93 95 Banner 2012 pp 105 108 Spoto 2001 p 95 for statement amp covers Banner 2012 p 109 for Snively s statement Spoto 2001 pp 110 111 Spoto 2001 pp 110 112 Banner 2012 pp 117 119 Banner 2012 p 119 Spoto 2001 pp 112 114 Spoto 2001 p 114 Spoto 2001 p 109 Spoto 2001 pp 118 120 Banner 2012 pp 130 131 Spoto 2001 pp 120 121 a b Churchwell 2004 p 59 Spoto 2001 pp 122 126 a b Spoto 2001 pp 120 121 126 Banner 2012 p 133 Spoto 2001 pp 122 129 Banner 2012 p 133 Spoto 2001 pp 130 133 Banner 2012 pp 133 144 Churchwell 2004 pp 204 216 citing Summers Spoto and Guiles for Schenck Banner 2012 pp 141 144 Spoto 2001 pp 133 134 Banner 2012 p 139 Spoto 2001 pp 133 134 Spoto 2001 pp 133 134 Banner 2012 p 148 Summers 1985 p 43 Ortner Jon Sex Goddesses amp Pin Up Queens issue magazine Archived from the original on January 21 2022 Retrieved July 19 2022 a href Template Cite news html title Template Cite news cite news a CS1 maint bot original URL status unknown link Spoto 2001 pp 151 153 a b Spoto 2001 pp 151 153 Banner 2012 pp 140 149 Spoto 2001 pp 145 146 Banner 2012 pp 149 157 Churchwell 2004 pp 59 60 Spoto 2001 pp 159 162 Riese amp Hitchens 1988 p 228 Spoto 2001 p 182 Spoto 2001 p 182 Spoto 2001 pp 175 177 Banner 2012 p 157 Churchwell 2004 p 60 Spoto 2001 pp 179 187 Churchwell 2004 p 60 Spoto 2001 p 192 a b Kahana Yoram January 30 2014 Marilyn The Globes Golden Girl Hollywood Foreign Press Association HFPA Retrieved September 11 2015 Spoto 2001 pp 180 181 Banner 2012 pp 163 167 181 182 for Kazan and others Spoto 2001 p 201 Banner 2012 p 192 Summers 1985 p 58 Spoto 2001 pp 210 213 Spoto 2001 pp 210 213 Churchwell 2004 pp 224 226 Banner 2012 pp 194 195 Hopper Hedda May 4 1952 They Call Her The Blowtorch Blonde Chicago Tribune Archived from the original on November 21 2015 Retrieved October 18 2015 Spoto 2001 pp 210 213 Churchwell 2004 pp 61 62 224 226 Banner 2012 pp 194 195 Spoto 2001 pp 188 189 Banner 2012 pp 170 171 178 for not wanting to be solely a sex symbol Churchwell 2004 p 61 for being commercially successful Banner 2012 p 178 for wishes to not be solely a sex symbol Spoto 2001 pp 194 195 Churchwell 2004 pp 60 61 Spoto 2001 pp 194 195 Clash By Night American Film Institute Retrieved August 8 2015 Spoto 2001 pp 196 197 Crowther Bosley July 19 1952 Don t Bother to Knock The New York Times Retrieved August 8 2015 Churchwell 2004 p 61 Banner 2012 p 180 Review Don t Bother to Knock Variety December 31 1951 Retrieved August 8 2015 Spoto 2001 p 200 a b c Churchwell 2004 p 62 Churchwell 2004 p 61 Spoto 2001 pp 224 225 Muir Florabel October 19 1952 Marilyn Monroe Tells How to Deal With Wolves Chicago Tribune Archived from the original on November 21 2015 Retrieved October 18 2015 Marilyn Monroe as told to Florabel Muir January 1953 Wolves I Have Known Motion Picture p 41 Archived from the original on March 10 2021 Retrieved January 31 2022 Churchwell 2004 p 238 Spoto 2001 pp 139 195 233 234 241 244 372 a b Spoto 2001 pp 328 329 Churchwell 2004 pp 51 56 238 Banner 2012 pp 188 189 211 214 a b Filmmaker interview Gail Levin Public Broadcasting Service July 19 2006 Archived from the original on August 10 2016 Retrieved July 11 2016 Spoto 2001 pp 328 329 Churchwell 2004 p 238 Banner 2012 pp 211 214 311 Churchwell 2004 pp 257 264 Banner 2012 pp 189 190 210 211 Spoto 2001 p 221 Churchwell 2004 pp 61 65 Lev 2013 p 168 a b The 2006 Motion Picture Almanac Top Ten Money Making Stars Quigley Publishing Company Archived from the original on December 21 2014 Retrieved August 25 2008 Churchwell 2004 p 233 Churchwell 2004 pp 25 62 a b Churchwell 2004 p 62 Banner 2012 pp 195 196 Spoto 2001 p 221 Banner 2012 p 205 Leaming 1998 p 75 on box office figure Niagara Falls Vies With Marilyn Monroe The New York Times January 22 1953 Archived from the original on November 5 2015 Retrieved October 18 2015 Review Niagara Variety December 31 1952 Archived from the original on November 21 2015 Retrieved October 18 2015 a b Spoto 2001 pp 236 238 Churchwell 2004 p 234 Banner 2012 pp 205 206 GlamAmor History of Fashion in Film May 24 2014 Spoto 2001 p 231 Churchwell 2004 p 64 Banner 2012 p 200 Leaming 1998 pp 75 76 Spoto 2001 pp 219 220 Banner 2012 p 177 Spoto 2001 p 242 Banner 2012 pp 208 209 Solomon 1988 p 89 Churchwell 2004 p 63 Brogdon William July 1 1953 Gentlemen Prefer Blondes Variety Archived from the original on November 21 2015 Retrieved October 18 2015 Crowther Bosley July 16 1953 Gentlemen Prefer Blondes The New York Times Archived from the original on September 26 2015 Retrieved October 18 2015 Spoto 2001 p 250 Spoto 2001 p 238 Churchwell 2004 pp 64 65 Solomon 1988 p 89 Churchwell 2004 p 65 Lev 2013 p 209 Solomon 1988 p 89 a b Churchwell 2004 p 217 Churchwell 2004 p 68 Churchwell 2004 pp 68 208 209 Banner 2012 p 217 Summers 1985 p 92 Spoto 2001 p 254 259 Spoto 2001 p 260 Hoppe Art January 15 1954 Joe Di Maggio Marries Marilyn Monroe at San Francisco City Hall San Francisco Chronicle San Francisco Retrieved June 12 2022 Di Maggio said he didn t know where they would spend their honeymoon but they would probably just get in the car and go tonight Middlecamp David March 25 2016 Joe DiMaggio and Marilyn Monroe s Central Coast honeymoon San Luis Obispo Tribune Retrieved June 12 2022 Mungo Ray January 15 1993 Palm Springs Babylon Sizzling Stories From The Desert Playground Of The Stars Macmillan ISBN 978 0 312 06438 9 In January 1954 Marilyn and Joe DiMaggio spent their honeymoon in the area mostly tucked away playing billiards in a cabin up in the Idyllwild Hills Past Tense January 30 2014 Idyllwild Town Crier January 30 2014 Retrieved September 10 2022 Before Our Time Idyllwild s SMASH Idyllwild Town Crier June 6 2012 Retrieved June 12 2022 ERNIE MAXWELL Idyllwild old timer remembers much of mountain town s history The Desert Sun Palm Springs California September 1 1984 Retrieved June 12 2022 via California Digital Newspaper Collection Marilyn Monroe extensive archive of her agent Charles K Feldman s files of 150 typed and handwritten letters memos clippings and telegrams from the Famous Artists Corporation Heritage Auctions December 11 2018 Retrieved September 10 2022 Marilyn Monroe is giving press statements in New York that she was not returning to 20th Fox where she is under contract and also that she was dismissing her attorney Lloyd Wright and her agency Famous Artists O Hagan Andrew January 22 2013 The Atlantic Ocean Reports from Britain and America HMH p 112 ISBN 978 0 547 72789 9 When Marilyn Monroe Interrupted Her Honeymoon to Go to Korea HistoryNet December 3 2019 Retrieved September 10 2022 Melinda Marilyn Monroe and Joe DiMaggio Honeymoon in Japan MarilynMonroe ca Ontario Canada Retrieved June 12 2022 Marilyn Monroe Left Center and Jean O Doul the wife Lefty O Doul Right Center are shown posing with pretty Japanese Geisha Girls after a Sukiyaki Dinner in Kobe The dinner was given by the Central League one of Japan s professional baseball organizations Husbands DiMaggio and O Doul were among the diners Miss Monroe and DiMaggio are flying home today Getty Images Retrieved September 10 2022 The streak continues for Lefty O Doul Santa Rosa Press Democrat September 4 2017 Retrieved September 10 2022 a b Doyle Jack Marilyn amp Joe et al A 70 Year Saga The Pop History Dig Retrieved September 10 2022 Spoto 2001 pp 262 263 Marilyn Monroe left stands with l to r Marine Col William K Jones and Jean O Doul while visiting American troops in Korea Getty Images Retrieved September 10 2022 Warner Gary A November 12 2012 Lefty O Doul s is the best baseball bar in San Francisco Orlando Sentinel Orange County Register Retrieved September 10 2022 The name on the card is Norma Jean DiMaggio the legal name of DiMaggio s then wife Marilyn Monroe who needed the card to make overseas visits to build the morale of American troops in Korea Parr Patrick August 23 2018 Mrs and Mr Marilyn Monroe honeymoon in Japan Japan Today Retrieved September 10 2022 O Doul Jean December 12 2013 A Marilyn Monroe Group of Never Before Seen Black and White Snapshots from Korea 1954 Heritage Auctions Retrieved September 10 2022 Miller Jennifer Jean February 14 2014 Marilyn Monroe amp Joe DiMaggio Love In Japan Korea amp Beyond J J Avenue Productions p 79 ISBN 978 0 9914291 6 5 Churchwell 2004 p 241 Spoto 2001 p 267 a b Spoto 2001 p 271 Churchwell 2004 pp 66 67 Riese amp Hitchens 1988 pp 338 440 Spoto 2001 p 277 Churchwell 2004 p 66 Banner 2012 p 227 a b Spoto 2001 pp 283 284 Spoto 2001 p 331 Spoto 2001 pp 284 285 Banner 2012 pp 8 9 Spoto 2001 pp 208 222 223 262 267 292 Churchwell 2004 pp 243 245 Banner 2012 pp 204 219 221 Summers 1985 pp 103 105 Spoto 2001 pp 290 295 Banner 2012 pp 224 225 Spoto 2001 pp 295 298 Churchwell 2004 p 246 Spoto 2001 pp 158 159 252 254 Spoto 2001 pp 302 303 a b Spoto 2001 pp 301 302 Spoto 2001 p 338 Spoto 2001 p 302 Spoto 2001 p 327 Spoto 2001 p 350 Spoto 2001 pp 310 313 Spoto 2001 pp 312 313 375 384 385 421 459 on years and names a b Spoto 2001 Churchwell 2004 p 253 for Miller Banner 2012 p 285 for Brando a b Spoto 2001 p 337 Meyers 2010 p 98 Summers 1985 p 157 Spoto 2001 pp 318 320 Churchwell 2004 pp 253 254 a b Spoto 2001 pp 339 340 a b Banner 2012 pp 296 297 Article by Chris Bodenner in The Atlantic 2006 02 24 a b Spoto 2001 p 341 Spoto 2001 pp 343 345 Spoto 2001 p 345 Spoto 2001 pp 352 357 Spoto 2001 pp 352 354 Spoto 2001 pp 354 358 for location and time Banner 2012 p 297 310 Banner 2012 p 254 Spoto 2001 pp 364 365 Schreck Tom November 2014 Marilyn Monroe s Westchester Wedding Plus More County Questions And Answers Westchester Magazine Archived from the original on May 17 2019 Retrieved May 17 2019 a b c d Meyers 2010 pp 156 157 Banner 2012 p 256 Churchwell 2004 pp 253 257 Meyers 2010 p 155 Spoto 2001 pp 358 359 Churchwell 2004 p 69 Spoto 2001 p 358 Spoto 2001 p 372 a b Churchwell 2004 pp 258 261 Spoto 2001 pp 370 379 Churchwell 2004 pp 258 261 Banner 2012 pp 310 311 Spoto 2001 pp 370 379 a b Spoto 2001 pp 368 376 Banner 2012 pp 310 314 Churchwell 2004 p 69 Banner 2012 p 314 for being on time Churchwell 2004 p 69 a b Banner 2012 p 346 Spoto 2001 pp 381 382 Spoto 2001 pp 392 393 406 407 a b Churchwell 2004 pp 274 277 Churchwell 2004 pp 271 274 Banner 2012 pp 222 226 329 30 335 362 a b Churchwell 2004 pp 271 274 Banner 2012 p 321 Spoto 2001 pp 389 391 Banner 2012 p 325 on it being a comedy on gender Banner 2012 p 325 Churchwell 2004 p 626 Spoto 2001 pp 399 407 Churchwell 2004 p 262 Banner 2012 p 327 on sinking ship and phallic symbol Rose 2014 p 100 for full quote a b Churchwell 2004 pp 262 266 Banner 2012 pp 325 327 Spoto 2001 p 406 Spoto 2001 p 406 Banner 2012 p 346 Review Some Like It Hot Variety February 24 1959 Archived from the original on October 31 2015 Retrieved October 21 2015 The 100 greatest comedies of all time BBC August 22 2017 Archived from the original on January 11 2018 Retrieved January 21 2018 Some Like It Hot American Film Institute Archived from the original on May 17 2019 Retrieved September 5 2015 Christie Ian September 2012 The top 50 Greatest Films of All Time British Film Institute Archived from the original on September 5 2015 Retrieved September 5 2015 a b Churchwell 2004 p 71 Spoto 2001 pp 410 415 Churchwell 2004 p 72 Riese amp Hitchens 1988 p 270 Churchwell 2004 p 266 Solomon 1988 p 139 Crowther Bosley September 9 1960 Movie Review Let s Make Love 1960 The New York Times Archived from the original on October 11 2015 Retrieved October 18 2015 Hopper Hedda August 25 1960 Hedda Finds Marilyn s Film Most Vulgar Chicago Tribune Archived from the original on April 22 2016 Retrieved October 18 2015 Banner 2012 p 335 a b Churchwell 2004 p 266 Spoto 2001 pp 429 430 Spoto 2001 pp 431 435 Churchwell 2004 pp 266 267 Banner 2012 p 352 a b Spoto 2001 pp 435 445 Banner 2012 pp 353 356 Tracy 2010 p 109 Spoto 2001 pp 450 455 a b Spoto 2001 p 456 Banner 2012 p 361 The Misfits Variety December 31 1960 Archived from the original on November 18 2016 Retrieved November 16 2016 Crowther Bosley February 2 1961 Movie Review The Misfits 1961 The New York Times Archived from the original on November 1 2015 Retrieved October 18 2015 Andrew Geoff June 17 2015 A Film That Fate Helped Make a Classic The Misfits British Film Institute Archived from the original on September 10 2015 Retrieved September 10 2015 Tracy 2010 p 96 McNab Geoffrey June 12 2015 The Misfits film review Marilyn Monroe gives an extraordinary performance The Independent Archived from the original on November 17 2016 Retrieved November 16 2016 Spoto 2001 pp 453 454 Spoto 2001 pp 453 for a new role 466 467 for operations 456 464 for psychiatric hospital stays a b c Spoto 2001 pp 456 459 Spoto 2001 pp 464 470 483 485 594 596 Churchwell 2004 p 291 Spoto 2001 pp 465 470 484 485 Spoto 2001 pp 495 496 Churchwell 2004 pp 74 75 Churchwell 2004 p 258 for the involvement of MMP a b Spoto 2001 pp 524 525 Banner 2012 pp 391 392 Rollyson 2014 pp 264 272 a b Spoto 2001 pp 520 521 Churchwell 2004 pp 284 285 Churchwell 2004 pp 291 294 Rollyson 2014 p 17 Spoto 2001 pp 488 493 Banner 2012 p 398 Spoto 2001 p 523 Churchwell 2004 p 74 Spoto 2001 p 535 a b Churchwell 2004 p 75 Spoto 2001 pp 535 536 Rollyson 2014 p 273 274 279 Spoto 2001 pp 537 545 549 Banner 2012 p 402 Summers 1985 p 301 Spoto 2001 pp 537 545 549 Banner 2012 pp 401 402 Spoto 2001 pp 538 543 Churchwell 2004 p 285 Banner 2012 p 401 Marilyn Monroe en Mexico Marilyn Monroe in Mexico Online video platform in Spanish Canal22 June 5 2016 t6Oq8Y0Hv9o Retrieved July 27 2022 a b c d Spoto 2001 pp 574 577 Banner 2012 pp 410 411 Banner 2012 p 411 Spoto 2001 pp 580 583 Churchwell 2004 p 302 Banner 2012 pp 411 412 a b Spoto 2001 pp 580 583 Banner 2012 pp 411 412 a b Kormam Seymour August 18 1962 Marilyn Monroe Ruled Probable Suicide Victim Chicago Tribune Archived from the original on March 10 2016 Retrieved October 21 2015 Banner 2012 pp 411 413 Spoto 2001 pp 580 583 Banner 2012 pp 411 413 a b Banner 2012 p 427 Hopper Hedda August 6 1962 Pill Death Secret Goes With Marilyn Chicago Tribune Archived from the original on March 7 2016 Retrieved September 23 2015 Brilliant Stardom and Personal Tragedy Punctuated the Life of Marilyn Monroe The New York Times August 6 1962 Archived from the original on March 10 2016 Retrieved September 23 2015 a b c Spoto 2001 pp 594 597 Banner 2012 pp 427 428 Top 10 Celebrity Grave Sites Marilyn Monroe Time September 3 2009 Archived from the original on November 19 2015 Retrieved October 15 2015 Churchwell 2004 pp 297 318 for different theories proposed by Spoto Summers Brown amp Barham and Donald Wolfe Spoto 2001 pp 605 606 Churchwell 2004 pp 88 300 Spoto 2001 p 606 Banner 2012 pp 124 177 a b c Dyer 1986 pp 19 20 Banner 2012 pp 172 174 Hall 2006 p 489 Stacey Michelle May 2008 Model Arrangement Smithsonian Institution Archived from the original on September 25 2015 Retrieved September 11 2015 Spoto 2001 pp 172 174 210 215 566 Churchwell 2004 p 9 Banner 2012 pp 172 174 Banner 2012 p 238 Banner 2012 pp 38 175 343 Churchwell 2004 pp 21 26 181 185 Dyer 1986 pp 33 34 Churchwell 2004 pp 25 57 58 Banner 2012 p 185 Hall 2006 p 489 Banner 2012 p 194 a b Dyer 1986 pp 19 20 Churchwell 2004 p 25 Banner 2012 pp 246 250 a b Spoto 2001 pp 224 225 342 343 Churchwell 2004 p 234 Dyer 1986 p 45 Harris 1991 pp 40 44 Banner 2012 pp 44 45 184 185 Banner 2012 pp 44 45 Harris 1991 pp 40 44 Banner 2012 pp 273 276 Dotinga Randy August 3 2012 Marilyn Monroe Anything but a dumb blonde The Christian Science Monitor Archived from the original on June 30 2016 Retrieved June 16 2016 Banner 2012 p 244 Banner Lois The Meaning of Marilyn Women s Review of Books Archived from the original on May 1 2018 Retrieved April 30 2018 Churchwell 2004 p 63 for West Banner 2012 p 325 Banner 2012 pp 170 171 Banner 2012 p 201 Dyer 1986 p 21 Dyer 1991 p 58 Dyer 1986 pp 29 39 Haskell 1991 p 256 Spoto 2001 p 249 Dyer 1986 p 39 Churchwell 2004 p 82 Dyer 1986 p 57 quoting Haskell Dyer 1986 p 40 Banner 2012 pp 254 256 Banner 2012 p 184 Banner 2012 p 8 Banner 2012 pp 239 240 Handyside 2010 pp 1 16 Handyside 2010 p 2 quoting Mulvey Spoto 2001 p 396 Belton 2005 p 103 Spoto 2001 p 396 Solomon 2010 p 110 From the archives Sex Symbol Diana Dors Dies at 52 The Guardian May 5 1964 Archived from the original on September 25 2015 Retrieved September 11 2015 Chapman 2001 pp 542 543 Frail T A November 17 2014 Meet the 100 Most Significant Americans of All Time Smithsonian Institution Archived from the original on March 21 2019 Retrieved September 10 2015 Beatles Named Icons of Century BBC October 16 2005 Archived from the original on March 6 2016 Retrieved September 10 2015 The 200 Greatest Pop Culture Icons Complete Ranked List Press release VH1 Archived from the original on May 11 2016 Retrieved September 10 2015 via PR Newswire Churchwell 2004 pp 12 15 Hamscha 2013 pp 119 129 Schneider Michel November 16 2011 Michel Schneider s Top 10 Books About Marilyn Monroe The Guardian Archived from the original on September 28 2015 Retrieved August 30 2015 Rudnick Paul June 14 1999 The Blond Marilyn Monroe Time Archived from the original on January 6 2016 Retrieved August 30 2015 Churchwell 2004 pp 33 40 a b c Churchwell Sarah January 9 2015 Max Factor Can t Claim Credit for Marilyn Monroe The Guardian Archived from the original on August 25 2015 Retrieved August 30 2015 Fuller amp Lloyd 1983 p 309 Marcus 2004 pp 17 19 309 Churchwell 2004 pp 21 42 Churchwell 2004 p 8 Stromberg Joseph August 5 2011 Remembering Marilyn Monroe Smithsonian Institution Archived from the original on September 28 2015 Retrieved September 10 2015 Wild Mary May 29 2015 Marilyn The Icon British Film Institute Archived from the original on September 6 2015 Retrieved September 10 2015 Fuller amp Lloyd 1983 p 309 Steinem amp Barris 1987 pp 13 15 Churchwell 2004 p 8 a b Happy Birthday Marilyn The Guardian May 29 2001 Archived from the original on June 11 2015 Retrieved August 30 2015 a b Rose 2014 pp 100 137 Haskell 1991 pp 254 265 Banner Lois July 21 2012 Marilyn Monroe Proto feminist The Guardian Archived from the original on November 21 2015 Retrieved November 7 2015 Steinem amp Barris 1987 pp 15 23 Churchwell 2004 pp 27 28 Haskell Molly November 22 1998 Engineering an Icon The New York Times Archived from the original on March 7 2016 Retrieved August 30 2015 a b Hamscha 2013 pp 119 129 Banner Lois August 5 2012 Marilyn Monroe the Eternal Shape Shifter Los Angeles Times Archived from the original on May 17 2019 Retrieved August 30 2015 Thomson David August 6 2012 The Inscrutable Life and Death of Marilyn Monroe New Republic Archived from the original on December 10 2015 Retrieved August 30 2015 Kael Pauline July 22 1973 Marilyn A Rip Off With Genius The New York Times Archived from the original on March 25 2016 Retrieved August 30 2015 Bradshaw Peter May 9 2012 Cannes and the Magic of Marilyn Monroe The Guardian Archived from the original on September 23 2015 Retrieved August 30 2015 Ebert Roger January 9 2000 Some Like It Hot Roger Ebert com Archived from the original on July 25 2016 Retrieved July 11 2016 Rosenbaum Jonathan December 1 2005 Marilyn Monroe s Brains Chicago Reader Archived from the original on September 5 2015 Retrieved August 30 2015 SourcesBanner Lois 2012 Marilyn The Passion and the Paradox Bloomsbury ISBN 978 1 4088 3133 5 Belton John 2005 American Cinema American Culture McGraw Hill ISBN 978 0 07 288627 6 Chapman Gary 2001 Marilyn Monroe In Browne Ray B Browne Pat eds The Guide to United States Popular Culture University of Wisconsin Press ISBN 978 0 87972 821 2 Churchwell Sarah 2004 The Many Lives of Marilyn Monroe Granta Books ISBN 978 0 312 42565 4 Dyer Richard 1991 1979 Charisma In Gledhill Christine ed Stardom Industry of Desire Routledge ISBN 978 0 415 05217 7 1986 Heavenly Bodies Film Stars and Society Routledge ISBN 978 0 415 31026 0 Fuller Graham Lloyd Ann eds 1983 Illustrated Who s Who of the Cinema Macmillan ISBN 978 0 02 923450 1 Hall Susan G 2006 American Icons An Encyclopedia of the People Places and Things that Have Shaped Our Culture Greenwood Publishing Group ISBN 978 0 275 98429 8 Hamscha Susanne 2013 Thirty Are Better Than One Marilyn Monroe and the Performance of Americanness In Rieser Klaus Fuchs Michael Phillips Michael eds ConFiguring America Iconic Figures Visuality and the American Identity Intellect ISBN 978 1 84150 635 7 Handyside Fiona August 2010 Let s Make Love Whiteness Cleanliness and Sexuality in the French Reception of Marilyn Monroe PDF European Journal of Cultural Studies 3 13 291 306 doi 10 1177 1367549410363198 hdl 10871 9547 S2CID 146553108 Harris Thomas 1991 1957 The Building of Popular Images Grace Kelly and Marilyn Monroe In Gledhill Christine ed Stardom Industry of Desire Routledge ISBN 978 0 415 05217 7 Haskell Molly 1991 From Reverence to Rape The Treatment of Women in the Movies In Butler Jeremy G ed Star Texts Image and Performance in Film and Television Wayne State University Press ISBN 978 0 8143 2312 0 Hecht Ben Monroe Marilyn 1974 My story New York Stein and Day ISBN 9780812817072 OCLC 461777186 Leaming Barbara 1998 Marilyn Monroe Three Rivers Press ISBN 978 0 609 80553 4 Lev Peter 2013 Twentieth Century Fox The Zanuck Skouras Years 1935 1965 University of Texas Press ISBN 978 0 292 74447 9 Marcus Daniel 2004 Happy Days and Wonder Years The Fifties and Sixties in Contemporary Popular Culture Rutgers University Press ISBN 978 0 8135 3391 9 Meyers Jeffrey 2010 The Genius and the Goddess Arthur Miller and Marilyn Monroe University of Illinois Press ISBN 978 0 252 03544 9 Miracle Berniece Baker Miracle Mona Rae 1994 My Sister Marilyn Algonquin Books ISBN 978 0 595 27671 4 Monroe Marilyn 2010 Buchthal Stanley Comment Bernard eds Fragments Poems Intimate Notes Letters Farrar Straus and Giroux ISBN 9780374158354 OCLC 973641163 Riese Randall Hitchens Neal 1988 The Unabridged Marilyn Corgi Books ISBN 978 0 552 99308 1 Rollyson Carl 2014 Marilyn Monroe Day by Day A Timeline of People Places and Events Rowman and Littlefield ISBN 978 1 4422 3079 8 Rose Jacqueline 2014 Women in Dark Times Bloomsbury ISBN 978 1 4088 4540 0 Solomon Aubrey 1988 Twentieth Century Fox A Corporate and Financial History Scarecrow Press ISBN 978 0 8108 4244 1 Solomon Matthew 2010 Reflexivity and Metaperformance Marilyn Monroe Jayne Mansfield and Kim Novak In Palmer R Barton ed Larger Than Life Movie Stars of the 1950s Rutgers University Press ISBN 978 0 8135 4766 4 Spoto Donald 2001 Marilyn Monroe The Biography Cooper Square Press ISBN 978 0 8154 1183 3 Steinem Gloria Barris George 1987 Marilyn Victor Gollancz Ltd ISBN 978 0 575 03945 2 Summers Anthony 1985 Goddess The Secret Lives of Marilyn Monroe Victor Gollancz Ltd ISBN 978 0 575 03641 3 Tracy Tony 2010 John Huston Essays on a Restless Director McFarland ISBN 978 0 7864 5853 0 External linksMarilyn Monroe at Wikipedia s sister projects Media from Commons Quotations from Wikiquote Data from Wikidata Official website Marilyn Monroe at IMDb Marilyn Monroe discography at Discogs Marilyn Monroe at the British Film Institute Monroe s file at the Federal Bureau of Investigation website Marilyn Monroe Still Life A website containing clips and essays related to PBS s American Masters documentary on Monroe Retrieved from https en wikipedia org w index php title Marilyn Monroe amp oldid 1139001604, wikipedia, wiki, book, books, library,

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