Marilyn Monroe: Her Films, Her Life
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This book is essentially a filmography interlaced with a complex biographical account of Marilyn Monroe's life and loves throughout her career. A lengthy introduction explains her traumatic early life and mysterious, unexpected, much talked about death. Behind the scenes information, cast and crew lists, box office grosses and photographs are given for each film. There is a Foreword by Academy Award-winning actor (West Side Story) George Chakiris, who worked as a chorus dancer in two of Monroe's biggest productions, Gentlemen Prefer Blondes (1953) and There's No Business Like Show Business (1954). This is a definitive summation of the Hollywood icon's career.
in Celebration (Banner, MM; Personal, p. 155). The Naked Truth was a film project that Monroe discussed with producer Harold Mirisch in 1961, but it never eventuated due to her death. August, 1962 Just days before her death, Monroe was in talks with songwriter Jule Styne about a possible musical remake of A Tree Grows in Brooklyn with Frank Sinatra. She agreed to fly to New York and had set up an August 9 meeting with Styne. She was also in talks to star in the comedy I Love Louisa with Dean
in a stage play in front of a paying audience. Opening at the Bliss-Hayden Miniature Theatre in Beverly Hills on October 12, 1947, Glamour Preferred closed on November 2. In the late summer of 1948, Monroe graced the small stage of the Bliss-Hayden Miniature Theatre again, this time co-starring in a production of Stage Door. Though she dabbled in the theater early on, it was a medium that required faultless execution when it came to lines and timing. It wasn’t for her. Scudda Hoo! Scudda Hay!
got the part, she shared feature billing with the Marx Brothers. Love Happy is the last Marx Brothers feature film, and it’s far from their best. Groucho Marx plays Sam Grunion, a private eye in search of the missing Royal Romanoff diamonds. As he narrates the story, he tells the audience about the case that baffled him for over a decade. Madame Egilichi (Ilona Massey) is the thief, but when Harpo intercepts the diamonds, which are hidden in a sardine can, it’s the perfect set-up for the usual
thanked Mr. Alton and Joan and left as quietly as when she came in. Jack Cole did the number that we see in the film. She loved Jack’s work, and with all due respect to Mr. Alton, who was wonderful, his and Jack Cole’s choreographic styles were really very different. Marilyn was right to want Jack to do the number. Her instincts were kind of perfect. Another time, at the end of a rehearsal, a sort of cocktail party was held on the sound stage for a number of people, and the dancers were also
Schaefer and Cole were all working exclusively for her. (Miles White designed the other costumes, while Robert Alton choreographed the other production numbers.) During “Heat Wave,” watch for the moment where Monroe clings to a tree for some more hip-swinging, pelvic thrusts to the sounds of the bongo drums. As she grips the flame-red tree branch, her left hand comes around and pokes one of the male dancers in the eye. He flinches but continues with his part. Though Monroe stayed focused on her