MARILYN MONROEANDTHE CAMERA Even before Norma Jeane Baker changed her name to Marilyn Monroe, she began her passionate and enduring love affair with the camera. In the summer of 1945, while employed in an aircraft factory, she was selected to model for photographs to promote the war effort. The rest, as they say, is history. Her unparalleled relationship with the camera was one in which each partner was equally enamored with the other, and it lasted nearly twenty years. The full dimensions of that affair are superbly captured here for the first time.An unsurpassed photographic chronicle, Marilyn Monroe and the Camera brings together the most beautiful and unusual Marilyn Monroe photographs available – the early assignments for advertising and pinups, the film and publicity stills, the classic portraits by such notable photographers as RichardAvedon, Philippe Halsman, Cecil Beaton, and Bert Stern, the paparazzi shots from the hordes of photo- graphers who followed her every move. These entrancing images provide a lavish and extraordinary tribute to the life ofAmerica’s legendary movie star. In addition, an interview with Marilyn, conducted in 1960 by the French writer Georges Belmont and never before published in English, provides a fascinating view of the real woman behind the glamorous facade. She describes her lonely childhood, her climb to the top, and the daily workings of her everyday life in a charming, natural, and unguarded manner. Jane Russell, who costarred with her in Gentlemen Prefer Blondes, enhances the portrait with an affectionate foreword offering a revealing glimpse of what it was like working on a set with Marilyn.Abiography and filmography are included to make this one of the most complete illustrated books available. 48 color,104 duotone illustrations MarilynMonroeatMalibuBeachphotographedbyAndréde Dienes,1945. Marilyn Monroe and the Camera With a Foreword by Jane Russell and an Interview by Georges Belmont Schirmer Art Books SchirmerArt Books is an imprint of Schirmer/Mosel Verlag GmbH, Munich For trade information please contact: SchirmerArt Books, 112 Sydney Road, Muswell Hill, London Nl0 2RN, England or Schirmer/Mosel Verlag, P.O. Box 401723, 80717 Munchen, Germany Fax 089/33 86 95 Copyright 0 1989 by Schirmer/Mosel GmbH Interview copyright 0 1960 by Georges Belmont Foreword copyright 0 1989 by J & J Peoples This work is protected by copyright. All manners of reproduction or of communication of this work or of parts thereof – like in particular reprinting of text or pictures, recitation, performance, and demonstration – are only admissible within the scope of the legal regulations. This applies as well to all other forms of usage, like for example translation, withdrawal of diagrams, cinematographic adaptation or radio or television broadcasting. Contraventions will be prosecuted. ACIPcatalogue record for this book is available from the British Library. The Georges Belmont interview was originally published in French in the magazine Marie Claire, 1960 Conception by Lothar Schirmer Translations by Paul Kremmel ISBN 3-88814-481-7 ASchirmer/Mosel Production Acnowledgments This book is dedicated to the memory of Marilyn Monroe. Many people and friends have contributed to making this project possible. I especially wish to thank Maria Hönigschmied, Carol Judy Leslie, Susanne Porsche, Hanna Schygulla, Cindy Sherman, and Bert Stern, who have all helped in their own ways to bring the idea behind this book to fulfillment. For help in the acquisition of the pictures as well as for contributions, hints and helpful support, I wish to thank Sid Avery, Susann Babst, Katherine Bang, Georges Belmont, Susan Bernard, Christiane Bötzl, Dieter Boldt, Jean-Pierre Boscq, Leo Caloia, Debra Cohen, Simon Crocker, Lydia Cullen, Nancy D’Antonio, Henri Dauman, Nancy M. Davis, Shirley de Dienes, Nora and Alex Ester, Jackie Fixot, John Florea, Alexander Haas, Yvonne Halsman, François Hébel, Elisabeth Heidt, Stevie Holland, Ken Johnston, Tom Kelley, Jr., David Kent, Margot Klingsporn, John Kobal, Hilaneh von Kories, Ned Leavitt, Renate Lust, Anne de Margerie, Michael Ochs, Onur Olgun, Randall Riese, Nicole Rudschinat, Uschi Sandvoss, Peter Schnug, Ina Seibold, David Seidner, Marcia Terrones, Johanna Thorman, Peter Tomlinson, Annemarie Weber, Ray Whelam, Bob Willoughby, Sue Wookey. Finally I should like to warmly thank all the contributing photographers and Miss Jane Russell for generously contributing a lively foreword to the book. Munich, Autumn 1989 LotharSchirmer Contents Foreword by Jane Russell 9 The Photographers 11 Marilyn’s Interview with Georges Belmont 13 Plates 23 Biography 237 Filmography 243 Selected Bibliography 245 Photography Credits 247 Foreword ThefirsttimeImetMarilynshewasdancingwithherfirsthusband,JimDougherty,apastschoolmateof mine.Hewasinuniformandcalledouttome,”Hey,outlaw!Iwantyoutoseemywife,NormaJeane.”I lookedupfromthetableandsawalittlethingwithash-brownhairandaverysweetsmile.Wewavedhi. Shewascurledliterallyoverhisarm.AyearorsolaterIwasridingwiththedirectorNickRayontheRKO lotwhenwepassedagirlwearingvery“stressed”bluejeansandaman’sshirttiedunderherbosomand showingquitealotofmidriff.Nickstoppedthecarandsaid,”I’dlikeyoutomeetthiskid....She’shavinga toughtimeonherpicturewiththeladystar,whoisbeingverysarcastictoher.”Asshewalkedalongside,he called,”Marilyn,Iwantyoutwotomeet.Jane,thisisMarilynMonroe.”Herhairwasblondernow–tousled, butdefinitelyblonder. Nickwasveryconcerned,caring,protective. IbelievethattheoutstandingqualitythatmadeMarilyndifferentfromotherso-calledsexsymbolswasher ...vulnerability.Everyonewantedtotakecareofher,tohelp.Shebroughtoutprotectivenessinallbutthe insensitive,orthosewho,ofcourse,simplywantedamoresophisticatedadultworldwhereeveryonewas responsibletohimself,aworldofcaustichumor,atake-as-much-as-you-giveworld.Iwasaccustomedto thatworld,butMarilyncouldgetterriblyhurt.Shesimplycouldnotunderstandpeoplebeingmean.She wassupersensitive–andwithgoodreason,consideringherrudderlesspastandunsurefuture. Marilynhadanever-endingthirstforknowledgeandself-improvement.Shelovedpoetryandmusicand wasinstinctivelydrawntoculture,toallthearts,butmoneyandpowerwerenottobegainedbycoercion; especiallynotwhenappliedtoMarilyn.Shewouldflitofflikeabutterfly.Irememberhersaying,“Ifthey aren’tgoingtobefairandnice,Icanalwaysleave.Icangetbyonverylittle.Afterall,I’vedoneitbe- fore.”WhenwestartedmakingGentlemenPreferBlondesshewasinherveryfirst“star”dressingroom, eventhoughshehadalreadystarredinapicture.Shewasdeterminedthatherbosses atFoxweregoingto takeherseriously.Sheworkednightanddayrehearsingthedancenumbers,orshe’dshootthefilmallday andthengooverthescriptwithhercoachatnight.I’dgohomeexhaustedandreadytorelax,butMarilyn workedonintothenight.ThenextdayshewouldarriveagoodhourbeforeIdid.Shewasalwaysreadybut couldnotmakeherselfgetoutontheset.Sheputtered,seeminglyfrozenthere.Itgotalittletenseonthe setforacoupleofdays–youjustdidn’tkeepHowardHawkswaitingwithoutgettingthesteelyblueeye! Whitey,hermakeupman,confidedtousinmydressingroomthathefeltthatshewasafraidtogoouton theset–tofacethe“tiger,”asitwere. So,fromthenon,Iwouldstopbyherdressingroomandsay,“Comeon,Blondel,it’sfiveof.Let’sgoget ‘em!”Marilynwouldlookupandinherlittle-girlwhispersay,“Oh...O.K.,”andwe’dtrotouttogether. Weallfoundherverycooperative,sweet,andhumorous,andwhenthecamerarolledsheglowed.Physi- cally,sheseemedtohavenobones...shecurvedeverywhichway...undulatingflesh...andyet,theinno- cenceofachildwaseverpresent.Ifyouraisedyourvoiceatherorweretooharsh,she’dcry– youknew that.Stillphotographersarethegentlestofcreatures.Theycoaxtheverybestoutoftheirsubjects.They haveto,orthey’dloseyou...andourgirlMarilynrespondedtothemlikeafloweropeningtothesun–as youcanseeinthefollowingpages. –Jane Russell The Photographers Eve Arnold Richard Avedon Baron Cecil Beaton Bruno Bernard Leo Caloia Carone William Carroll Henri Cartier-Bresson Ed Clark Henri Dauman André de Dienes Alfred Eisenstaedt John Engstead Elliott Erwitt jack Esten J. R. Eyerman Ed Feingersh John Florey Milton H. Greene Ernst Haas Philippe Halsman Bob Henriques Tom Kelley Gene Kornman Madison Lacy Frank Maestro Leonard McCombe Richard C. Miller Earl Moran Frank Powolny Bert Reisfeld Willy Rizzo Slade Steinberg Bert Stern Weegee Bob Willoughby Marilyn‘s Interview withGeorgesBelmont RupertAllan,whotookcareofMarilynMonroe‘s insisted. So I briefly explained the situation: “I publicity,arrangedthefamous1960interviewMarilyn never lived with them.” That was the truth, and gaveGeorgesBelmont,whowasthentheeditorofthe I still don’t see what was so unusual about it. FrenchmagazineMarie Claire. Theinterviewtook But then he called Louella Parsons and told her placewhileLet’s Make Love wasbeingshot,afilm whichofcoursereceivedeverybody’sattentioninFrance the whole story, and it all appeared in Louella’s becauseofcostarYvesMontand.GeorgesBelmontsoon column. That’s the way it all began. Since then managedtogainMarilyn’sconfidencebypromisingto so many lies have been spread around.... My giveheratranscriptoftheinterviewandtokeepstrictly goodness, why shouldn’t I simply tell the truth toheractualwordswhenusingthetext.Allthosewho now? heardtheinterviewlaterrealizedtotheirsurprisethat theyhadneverheardMarilyntalkaboutherselfso naturally.GeorgesBelmontdescribestheatmosphere:“I GB:Whatareyourearliestchildhoodmemories? justlethergoaheadandspeak.TheonlypressureI exertedwassilence.Whenshewassilent,Ididn’tsay MM: [long silence] My earliest memories? ... It’s anythingeither,andwhenshecouldn’tstanditanylonger the memory of a struggle for survival. I was still andthencontinuedtalkingsheusuallysaidsomething very small – a baby in a little bed, yes, and I veryimportant,somethingverymoving.”Inviewofthe photographsinthisbook,whichrecordMarilyn’scareer was struggling for life. But I’d rather not talk inallitsglamourandgloryvirtuallyfromtheveryfirstto about it, if it’s all the same to you. It’s a cruel theverylastphoto,wethinkitnecessaryandrightthat story, and it’s no one’s business but my own, Marilynherselfhasachancetospeakinthisbook. as I said. Anyway,asfarbackasIcanremember,Ican see myself in a baby carriage, in a long white MM: I’d much rather answer questions. I dress, on the sidewalk of a house where I lived simply can’t tell the whole story, that’s with a family that wasn’t my own. terrible.... Where to begin? How? There are so It’s true that I was illegitimate. But many twists and turns. everything that’s been said about my father – or my fathers – is wrong. My mother’s first GB:Still,itbegansomewhere.Yourchildhood? husband was named Baker. Her second was Mortensen. But she’d been divorced from both MM: Well, that ... no one knew anything about of them by the time I was born. Some people it, except through pure coincidence. For a long say my father was Norwegian, probably time my past, my life, remained completely because of the name Mortensen, and that he unknown. I never spoke about it. No particular was killed in a motorcycle accident right after reason, but simply because I felt it was my my birth. I don’t know if that’s true, because affair and not something for other people. Then he wasn’t related to me. As far as my real one day a Mr. Lester Cowan wanted to put me father is concerned, I wish you wouldn’t ask ... but there are a couple of things that could in a film with Groucho Marx, called LoveHappy. clear up some of the confusion. When I was At that time I was under contract to Fox and very young, I was always told that my father Columbia, although they wanted to drop me.... was killed in a car crash in New York before I He offered me a small part, this Mr. Cowan; was born. Strangely enough, on my birth but he was interested in putting me under certificate under father’s profession there’s the contract. So he called. I was still very young, word “baker,” which was the name of my and he said he wanted to speak to my father mother’s first husband. When I and mother. I told him, “Impossible.”“Why?” he