Marilyn Monroe Hollywood Legends Series Carl Rollyson, General Editor M A R ILY N MONROE A Life of the Actress revised and updated Carl Rollyson University Press of Mississippi / Jackson www.upress.state.ms.us The University Press of Mississippi is a member of the Association of American University Presses. Illustration on page ii: Marilyn Monroe (c. 1952) All illustrations are from the author’s collection. Copyright © 2014 Carl Rollyson All rights reserved Manufactured in the United States of America First printing 2014 ∞ Library of Congress Cataloging-in-Publication Data Rollyson, Carl E. (Carl Edmund) Marilyn Monroe : a life of the actress / Carl Rollyson. — Revised and updated [edition]. pages cm. — (Hollywood legends series) Originally published: Ann Arbor, Michigan : UMI Research Press, 1986. Includes bibliographical references and index. Includes filmography. ISBN 978-1-61703-978-2 (pbk.) — ISBN 978-1-61703-979-9 (ebook) 1. Monroe, Marilyn, 1926–1962. 2. Motion picture actors and actresses—United States—Biography. I. Title. PN2287.M69R65 2014 791.4302'8092—dc23 2013042774 British Library Cataloging-in-Publication Data available Contents Acknowledgments vii Foreword: Discovering Marilyn Monroe xiii 1. Childhood (1926–38) 3 2. Adolescence to Adulthood (1938–45) 9 3. Early Career (1945–50) 16 4. Becoming a Star (1950–52) 40 5. Fame (1952–54) 61 6. Half-Life (April–November 1954) 83 7. Search for Self: The Method (November 1954–May 1956) 99 8. The Poet of Her Aspirations (December 1950–July 1956) 133 9. The Prince and the Showgirl (January–October 1956) 142 runninghead v 10. Home Life (October 1956–August 1958) 156 11. Impersonations/Repetitions (August 1958–June 1960) 172 12. The Film of Her Life (July 1960–January 1961) 199 13. The Lady of Shalott (December 1960–August 1962) 216 Afterword: The Murder of Marilyn Monroe 239 Sources 247 Filmography 264 Index 265 contents vi Acknowledgments Several interviews were valuable owing to the insights Monroe’s friends and business associates were able to supply concerning the shaping of the actress’s life and attitude toward her art. Bruce Minnix, my friend and professional colleague, helped to arrange the initial interviews with Ralph Roberts and Steffi Sidney, the daughter of Hollywood columnist Sidney Skolsky. Sidney made a significant contribution to this biography by shrewdly commenting on an early draft and by questioning some of the “facts” included in other books on Monroe. Because her father was ailing and no longer able to grant interviews, she relayed a few of my questions to him. She also discussed her own perceptions of a Monroe who delighted in carefully crafting her career in an almost conspirato- rial way that included Skolsky as her confidant. For example, when Ben Hecht had a draft of My Story ready for Monroe to check, she read pas- sages from it over the phone to Skolsky, asking his opinion on how they sounded. Although Skolsky wrote a great deal about the actress, he re- vealed very little about those things she confided to him in strictest con- fidence. As a result, even his daughter could not say for sure how much she believed in the stories her father and Monroe concocted together. And Monroe—precisely because she held on to parts of herself that were not for distribution—becomes a more complex figure. Ralph Roberts kindly reviewed what had been written about him in other sources and responded readily to questions about the actress’s development of her talent. He conveyed a solid impression of Monroe’s working life as an actress and of her fervent desire to educate herself. Our discussions of the Method led him to recommend an interview with Ellen Burstyn, who generously shared with me her experience as a movie actress. She suggested ways in which Stanislavsky would be particularly relevant to Monroe, and she helped to work out an approach to life and art partly based on our discussion of Audrey Flack’s painting of Monroe. A long conversation with Audrey Flack suggested that what she had painted was what I wanted to write. For over three years Flack was a con- stant source of support, corresponding with me regularly, commenting runninghead vii on drafts of the biography, and introducing it to friends and associates. My attention has shifted somewhat in this new edition of my biography, and I have deleted a section devoted to Flack’s work, but its spirit contin- ues to inspire what I write about Marilyn Monroe. Norman Rosten consented to several interviews in person, on the phone, and by correspondence. He patiently responded to my pleas for advice and shrewdly assessed several chapters of this book. I am grateful, as well, to his wife, Hedda, who took the time to review her memories of Monroe—especially those concerning The Prince and the Showgirl. Rupert Allan’s recollections of Monroe’s career, early and late, have proved indispensable. Allan first knew Monroe in his capacity as a writer for Look. Then he worked as her press representative. Through it all he remained her close friend. He checked several sections of my manuscript and answered numerous questions in person and on the phone. Stanley Flink, like Allan, first met Monroe when he was working as a writer— in Flink’s case, for Life. As Richard Meryman suggested to me, Flink’s memory of Monroe’s early career remained vivid. The wit and enormous vitality she displayed during her first Hollywood years were still reflected in Flink’s amusing stories. Meryman generously made available several hours of his tape-record- ed Life interview with Monroe. He wanted to demonstrate how easily one could get caught up in her style, in the incredible energy of her laugh. John Springer, the actress’s press representative on the East Coast during the last three years of her life, was also very helpful in characterizing the kind of professional life Monroe pursued in New York. Like Meryman and Rupert Allan, he helped me get in touch with others who could con- firm Monroe’s intelligence as an artist. Susan Strasberg made astute comments on my manuscript that led to further revisions. She gave me a clearer sense of her mother’s part in Monroe’s preparations for the screen than can to be found elsewhere. Su- san Strasberg’s father was not available for an interview, but Fred Guiles supplied a tape-recording of his sessions with Lee Strasberg, as well as other material that made a crucial difference in writing this biography. Both Guiles and Maurice Zolotow read my early drafts and answered many queries. Without them, several important leads would have been missed. Milton Greene was available for a brief interview, and he clarified several points about the actress’s working life and discussed her atti- tude toward My Story. It was a flawed autobiography, she thought, but acknowledgments viii one worth preserving. Almost everything she ever did, Greene noted, was tinged with regret over not having been able to do it better. I came away from this encounter with Greene impressed with his sober and— it seemed to me—subdued demeanor, which conveyed a sense that he still found it difficult to discuss his fruitful but fraught relationship with Monroe. Rose Steinberg Wapner yielded insights on Monroe’s movie set be- havior, and a short talk with Patricia Newcomb clarified aspects of the actress’s professional plans in her last year. Newcomb was cordial but guarded, and I regret that I could not penetrate the barrier of her discre- tion. I also regret that several other important sources were not available to be interviewed. Joe DiMaggio’s fierce refusal to deal with biographers of Monroe is legendary. He once walked out of the room when Fred Guiles tried to put a question to him about her. I had a similar experience with Arthur Miller. I wrote to him asking for an interview. I did not receive a reply. At a reception for him at the University of Michigan I introduced myself and said I was writing a biography of Monroe and would like to ask him some questions. He stared at me and said, “What is your ques- tion?” As I began to formulate one, a woman, book in hand, interrupted and asked him for his autograph. Miller turned toward her (his back to me), signaling the end of my “interview.” Later, I sent him my manuscript for comment. He replied that he had done with my work what he always did with material that did not included a stamped return envelope: He threw my book in the waste basket. As a result, I have had to make do with his by turns reticent and revealing autobiography, Timebends. I want to express my appreciation to Gary Vitacco-Robles for sharing with me the manuscript of his forthcoming two-volume biography of Marilyn Monroe, in which, at the last minute, I discovered those reveal- ing notes by Joe DiMaggio that show how much he regretted treating her badly during their marriage and how he vowed to make every effort to make amends. Several librarians were instrumental in finding obscure sources and suggesting fruitful areas of research: Mary Corliss in the Film Stills de- partment of the Museum of Modern Art; Maxine Fleckner and her assis- tant Nancy Cieki at the Wisconsin Center for Film & Theatre Research; Geraldine Duclow in the Theatre Collection of the Free Library of Phila- delphia; and Nancy Goldman of the Pacific Film Archive. For their pa- tient and prompt handling of my requests, I wish to thank the staffs of acknowledgments ix