Over 55 years ago, In 1960, The American illustrated magazine “INSIDE HOLLYWOOD” has dedicated the FRONT and BACK COVERS and a PHOTOGRAPHED ARTICLE of his FIRST NUMBER (Volume 1 Number 1). To MARILYN MONROE in her legendary role as “SUGAR KANE” in “SOME LIKE IT HOT”. The FRONT and BACK COVER consists of a COLORFUL FULL PAGE impressive COLORFUL ILLUSTRATION, Being a THRILLING ILLUSTRATED SCENE of MARILYN MONROE beach scene from. “SOME LIKE IT HOT”. ” SEX SYMBOLISM AND MARILYN MONROE “. In addition, A few pages. Accompanied by a few photos of NORMA JANE. Additional articles regarding ADULT and HOLLYWOOD issues. (The full list of articles hereunder enclosed). The English written ILLUSTRATED AMERICAN MAGAZINE which was published in USA is fully dated May 1960. Size of magazine is around 10″ x 13.5 “. (Please watch the scan for a reliable AS IS scan) Magazine will be sent in a special protective rigid sealed packaging. The magazine is fully guaranteed ORIGINAL from 1960, It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY. Magazine will be sent inside a protective packaging. Marilyn Monroe (born Norma Jeane Mortenson, June 1, 1926 – August 5, 1962; baptized Norma Jeane Baker) was an American actress, singer, model and film producer. After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946. Her early roles were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950) were well received, and as her career progressed she became known as a sex symbol. She was praised for her comedic ability in such films as Gentlemen Prefer Blondes, How to Marry a Millionaire and The Seven Year Itch, and became one of Hollywood’s most popular performers. The typecasting of Monroe’s “dumb blonde” persona limited her career prospects, and she broadened her range. Her marriage to baseball player Joe DiMaggio failed. While married to playwright Arthur Miller, she studied at the Actors Studio and formed Marilyn Monroe Productions. Her dramatic performance in William Inge’s Bus Stop was hailed by critics, and she won a Golden Globe Award for her performance in Some Like it Hot. The final years of Monroe’s life were marked by illness, personal problems and a reputation for being unreliable and difficult to work with. The circumstances of her death, from an overdose of barbiturates, have been the subject of conjecture. Monroe’s birth certificate names the father as Edward Mortensen, a Norwegian, with his residence stated as “unknown”, Gladys Monroe had married a Martin E. Mortensen in 1924, but they had separated before Gladys’ pregnancy. Several of Monroe’s biographers suggest that Gladys Monroe used his name to avoid the stigma of illegitimacy. Mortenson filed for divorce from Gladys on March 5, 1927, and the case was finalized on October 15, 1928. When Mortensen died, at the age of 85, Monroe’s birth certificate together with her parents’ marriage and divorce documents were discovered that proved that she was born legitimate. Throughout her life, Marilyn Monroe denied that Mortensen was her father. She said that when she was a child, she had been shown a photograph of a man that Gladys Monroe identified as her father. She remembered that he had a thin moustache and somewhat resembled Clark Gable, and that she had amused herself by pretending that Gable was her father, but never determined her father’s true identity. Mentally unstable and financially unable to care for Norma Jeane, Gladys placed her with foster parents Albert and Ida Bolender of Hawthorne, California, where she lived until she was seven. In her autobiography My Story (co-authored with screenwriter and novelist Ben Hecht)Monroe stated she believed that the Bolenders were her parents until Ida corrected her. After that Norma Jeane referred to them as Aunt & Uncle. During one of her weekly visits, Gladys told Norma Jeane that she had bought a house for them, and Norma Jeane was allowed to move in with her mother. A few months after moving in, Gladys suffered a breakdown. In My Story, Monroe recalls her mother “screaming and laughing”, as she was forcibly removed to the State Hospital in Norwalk. Monroe was declared a ward of the state, and Gladys’s best friend, Grace McKee, became her guardian. Grace was captivated by Jean Harlow, and would let Norma Jeane wear makeup and take her out to get her hair curled. They would go to the movies together, forming the basis for Norma Jeane’s fascination with the cinema and the stars on screen. After Grace McKee married Ervin Silliman Goddard in 1935, the 9 year-old Monroe was sent to the Los Angeles Orphans Home, (later renamed Hollygrove), and then to a succession of foster homes. Two years later Grace took Norma Jeane back to live with herself, Goddard and one of Goddard’s daughters from a previous marriage. When Goddard tried to molest Norma Jeane, Grace sent her to live with her great aunt, Olive Brunings. Norma Jeane was assaulted by one of Olive’s sons at the age of 12 and then went on to live with Grace’s aunt, Ana Lower. When Ana developed health problems, Norma Jeane went back to live with Grace & Ervin Goddard, where she met a neighbor’s son, Jim Dougherty, and soon began a relationship with him. Grace and her husband were about to move East and could not take Norma Jeane. Another family wanted to adopt Norma Jeane, but Gladys would not allow it. Grace then approached a neighbor suggesting that her son, James Dougherty, could marry Norma Jeane so that she would not have to return to an orphanage or foster care, and in June 1942, they were married. Monroe would state in her autobiography that she did not feel like a wife; she enjoyed playing with the neighborhood children until her husband would call her home. The marriage lasted until 1946 when Monroe decided to pursue her career. While Dougherty was in the Merchant Marine during World War II, Monroe moved in with her mother-in-law, and found employment in the Radioplane Munitions Factory. She sprayed airplane parts with fire retardant and inspected parachutes. During this time, Army photographer David Conover snapped a photograph of her for a Yank magazine article. He encouraged her to apply to The Blue Book modeling agency. She signed with the agency and began researching the work of Jean Harlow and Lana Turner. She enrolled in drama and singing classes and had her hair cut, straightened and lightened to golden blonde. Norma Jeane Dougherty became one of Blue Book’s most successful models, appearing on dozens of magazine covers. In 1946, she came to the attention of Ben Lyon, a 20th Century Fox executive, who arranged a screen test for her. Lyon was impressed and commented, “It’s Jean Harlow all over again”. Lyon told her that she reminded him of the actress Marilyn Miller and she took her grandmother’s name of Monroe as her surname. She appeared in Scudda Hoo! She starred in the low-budget musical, Ladies of the Chorus, but the film was not a success, and her contract was not renewed. She appeared in a small role in the Marx Brothers film Love Happy (1949) and impressed the producers, who sent her to New York to feature in the film’s promotional campaign. Love Happy brought Monroe to the attention of the agent, Johnny Hyde, who agreed to represent her. He arranged for her to audition for John Huston, who cast her in the drama The Asphalt Jungle, as the young mistress of an aging criminal. Her performance brought strong reviews, and was seen by the writer and director, Herman Mankiewicz. He accepted Hyde’s suggestion of Monroe for a small comedic role in All About Eve, as Miss Caswell, an aspiring actress, described by another character as a student of “The Copacabana School of Dramatic Art”. Mankiewicz later commented that he had seen an innocence in her that he found appealing, and that this had confirmed his belief in her suitability for the role. Following Monroe’s success in these roles, Hyde negotiated a seven-year contract for her with 20th Century Fox, shortly before his death in December 1950. The press speculated about the identity of the anonymous model and commented that she closely resembled Monroe. She gave an interview in which she discussed the circumstances that led to her posing for the photographs, and the resulting publicity elicited a degree of sympathy for her plight as a struggling actress. She made her first appearance on the cover of Life in April 1952, where she was described as “The Talk of Hollywood”. Stories of her childhood and upbringing portrayed her in a sympathetic light; a cover story for the May 1952 edition of True Experiences magazine showed a smiling and wholesome Monroe beside a caption that read, Do I look happy? I should – for I was a child nobody wanted. A lonely girl with a dream – who awakened to find that dream come true. Read my Cinderella story. It was also during this time that she began dating the baseball player, Joe DiMaggio. A photograph of DiMaggio visiting Monroe at the 20th Century Fox studio, was printed in newspapers throughout the United States, and reports of a developing romance between them generated further interest in Monroe. Over the following months, four films in which Monroe featured were released. She had been loaned to RKO Studios to appear in a supporting role in Clash by Night, a Barbara Stanwyck drama, directed by Fritz Lang. Released in June 1952, the film was popular with audiences, with much of its success credited to curiosity about Monroe, who received generally favorable reviews from critics. This was followed by two films released in July, the comedy We’re Not Married, and the drama Don’t Bother to Knock; We’re Not Married featured Monroe as a beauty pageant contestant, and while Variety described the film as “lightweight”, its reviewer commented that Monroe was featured to full advantage in a bathing suit, but that some of her scenes suggested a degree of exploitation. In “Don’t Bother to Knock”, she played a starring role as a babysitter who threatens to attack the child in her care. The downbeat melodrama was poorly reviewed, although Monroe commented that it contained some of her strongest dramatic acting. Monkey Business, a Howard Hawks directed comedy, costarring Cary Grant and Ginger Rogers, was released in September, and achieved good ticket sales despite weak reviews Darryl F. Zanuck considered that Monroe’s film potential was worth developing, and cast her in “Niagara”, as a femme fatale scheming to murder her husband, played by Joseph Cotten. During filming, Monroe’s make-up artist, Whitey Snyder noticed the stage fright that was to mark her behavior on film sets throughout her career, and was assigned by the director to spend hours gently coaxing and comforting Monroe as she prepared to film her scenes. Much of the critical comment following the release of the film was in relation to Monroe’s overtly sexual performance, and a scene which shows Monroe from the back, making a long walk towards Niagara Falls was frequently referred to in reviews. After seeing the film, Constance Bennett reportedly quipped, There’s a broad with her future behind her. ” Whitey Snyder also commented that it was during preparation for this film, after much experimentation, that Monroe achieved “the look, and we used that look for several pictures in a row… The look was established. While the film was a success, and Monroe’s performance was reviewed positively, her conduct at promotional events sometimes drew negative comments. Her appearance at the Photoplay awards dinner in a skin-tight gold lamé dress was criticized. Joan Crawford was quoted in Louella Parsons’ newspaper column, discussing Monroe’s “vulgarity” and describing her behavior as “unbecoming an actress and a lady”. She had previously received criticism for wearing a dress with a neckline cut almost to her navel, when she acted as Grand Marshall at the Miss America Parade in September 1952. A photograph from this event was used on the cover of the first edition of Playboy Magazine in December 1953, with a nude photograph of Monroe, taken in 1949, inside the magazine. Her next film was Gentlemen Prefer Blondes (1953) co-starring Jane Russell and directed by Howard Hawks. Playing Lorelei Lee, a gold-digging showgirl, she was required to sing and dance. The two stars became friends, with Russell describing Monroe as “very shy and very sweet and far more intelligent than people gave her credit for”. She later recalled that Monroe showed her dedication by rehearsing her dance routines each evening after most of the crew had left, but was habitually late on set for filming. Monroe received positive reviews and the film grossed more than double its production costs. Her rendition of “Diamonds Are a Girl’s Best Friend” became associated with her. How to Marry a Millionaire, a comedy about three models scheming to attract a wealthy husband, teamed Monroe with Betty Grable and Lauren Bacall, directed by Jean Negulesco. The producer and scriptwriter, Nunnally Johnson, said that it was the first film in which audiences liked Marilyn for herself [and that] she diagnosed the reason very shrewdly. She said that it was the only picture she’d been in, in which she had a measure of modesty… About her own attractiveness. ” Monroe’s films of this period established her “dumb blonde persona and contributed to her popularity. During this time, Monroe discussed her acting ambitions, telling the New York Times, I want to grow and develop and play serious dramatic parts. My dramatic coach, Natasha Lytess, tells everybody that I have a great soul, but so far nobody’s interested in it. She saw a possibility in 20th Century Fox’s upcoming film, The Egyptian, but was rebuffed by Darryl F. Zanuck who refused to screen test her. Instead, she was assigned to the western River of No Return, opposite Robert Mitchum. It was directed by Otto Preminger who resented Monroe’s reliance on Natasha Lytess, who coached her and gave her verdict at the end of each scene. Eventually Monroe refused to speak to Preminger, and Mitchum was required to mediate. On the finished product, she commented, I think I deserve a better deal than a grade Z cowboy movie in which the acting finished second to the scenery and the CinemaScope process. In late 1953, Monroe was scheduled to begin filming The Girl in Pink Tights with Frank Sinatra, and when she failed to appear for work, she was suspended by 20th Century Fox. She and DiMaggio were married in San Francisco on January 14, 1954, and travelled to Japan soon after, combining a honeymoon with a business trip previously arranged by DiMaggio. For two weeks she took a secondary role to DiMaggio as he conducted his business, and said to a reporter, “Marriage is my main career from now on”. She then travelled alone to Korea where she performed for 13,000 American marines over a three-day period, and later commented that the experience had helped her overcome a fear of performing in front of large crowds. Returning to Hollywood in March 1954, Monroe settled her disagreement with 20th Century Fox and appeared in There’s No Business Like Show Business, a musical which failed to recover its production costs. The film was received poorly; Ed Sullivan described Monroe’s performance of the song “Heat Wave” as “one of the most flagrant violations of good taste” he had witnessed, Time compared her unfavourably to co-star Ethel Merman, while Bosley Crowther for The New York Times said that Mitzi Gaynor had surpassed Monroe’s “embarrassing to behold” performance. The reviews echoed Monroe’s opinion of the film, which she had made reluctantly, with the assurance that she would be given the starring role in the film adaption of the Broadway hit The Seven Year Itch. In September 1954, Monroe filmed one of the key scenes for The Seven Year Itch in New York City. In it, she stands with her co-star, Tom Ewell, while the air from a subway grating blows her skirt over her head. A large crowd watched as director Billy Wilder ordered the scene to be refilmed many times. Among the crowd was Joe DiMaggio, who was reported to have been infuriated by the spectacle. Their divorce was granted in November 1954. The filming was completed in early 1955, and after refusing what Monroe considered to be inferior parts in The Girl in the Red Velvet Swing and How to Be Very, Very Popular, she decided to leave Hollywood, at the advice of Milton Greene. Greene had first met Monroe in 1953 when he was assigned to photograph her for Look magazine. While many photographers tried to emphasize her sexy image, Greene presented her in more modest poses, and she was pleased with his work. As a friendship developed between them, she confided in him her frustration with her 20th Century Fox contract, and the roles she was offered. Greene agreed that she could earn more by breaking away from 20th Century Fox. He gave up his job in 1954, mortgaged his home to finance Monroe, and allowed her to live with his family as they determined the future course of her career. Truman Capote introduced Monroe to Constance Collier, who gave her acting lessons. She felt that Monroe was not suited to stage acting, but possessed a “lovely talent” that was “so fragile and subtle, it can only be caught by the camera”. After only a few weeks of lessons, Collier died. Monroe had met Paula Strasberg and her daughter Susan on the set of There’s No Business Like Show Business, and had previously said that she would like to study with Lee Strasberg at the Actors Studio. On June 1, 1955, Monroe’s birthday, Joe DiMaggio accompanied Monroe to the premiere of The Seven Year Itch in New York City. He later hosted a birthday party for her, but the evening ended with a public quarrel, and Monroe left the party without him. A lengthy period of estrangement followed. Throughout 1955, Monroe studied with the Actors Studio, and found that one of her biggest obstacles was her severe stage fright. She was befriended by the actors, Kevin McCarthy and Eli Wallach who each recalled her as studious and sincere in her approach to her studies, and noted that she tried to avoid attention by sitting quietly in the back of the class. When Strasberg felt Monroe was ready to give a performance in front of her peers, Monroe and Maureen Stapleton chose the opening scene from Eugene O’Neill’s Anna Christie, and although she had faltered during each rehearsal, she was able to complete the performance without forgetting her lines. Kim Stanley later recalled that students were discouraged from applauding, but that Monroe’s performance had resulted in spontaneous applause from the audience. While Monroe was a student, Lee Strasberg commented, I have worked with hundreds and hundreds of actors and actresses, and there are only two that stand out way above the rest. Number one is Marlon Brando, and the second is Marilyn Monroe. Monroe received positive reviews for her performance, and was in a strong position to negotiate with 20th Century Fox. On New Year’s Eve 1955, they signed a new contract which required Monroe to make four films over a seven-year period. In addition to being able to work for other studios, Monroe had the right to reject any script, director or cinematographer she did not approve of. The first film to be made under the contract and production company was Bus Stop directed by Joshua Logan. Logan had studied under Konstantin Stanislavsky, approved of method acting, and was supportive of Monroe. Her costumes, make-up and hair reflected a character who lacked sophistication, and Monroe provided deliberately mediocre singing and dancing. Bosley Crowther of The New York Times proclaimed: Hold on to your chairs, everybody, and get set for a rattling surprise. Marilyn Monroe has finally proved herself an actress. ” In his autobiography, Movie Stars, Real People and Me, director Logan wrote: “I found Marilyn to be one of the great talents of all time… She struck me as being a much brighter person than I had ever imagined, and I think that was the first time I learned that intelligence and, yes, brilliance have nothing to do with education. Logan championed Monroe for an Academy Award nomination and complimented her professionalism until the end of his life. Though not nominated for an Academy Award, she received a Golden Globe nomination. During this time, the relationship between Monroe and Miller had developed, and although the couple were able to maintain their privacy for almost a year, the press began to write about them as a couple, often referred to as “The Egghead and The Hourglass”. The reports of their romance were soon overtaken by news that Miller had been called to testify before the House Un-American Activities Committee to explain his supposed communist affiliations. Called upon to identify communists he was acquainted with, Miller refused and was charged with contempt of Congress. He was acquitted on appeal. During the investigation, Monroe was urged by film executives to abandon Miller, rather than risk her career but she refused, later branding them as “born cowards”. The press began to discuss an impending marriage, but Monroe and Miller refused to confirm the rumor. In June 1956, a reporter was following them by car, and as they attempted to elude him, the reporter’s car crashed, killing a female passenger. Monroe became hysterical upon hearing the news, and their engagement was announced, partly in the expectation that it would reduce the excessive media interest they were being subjected to. They were married on June 29, 1956. Bus Stop was followed by The Prince and the Showgirl directed by Laurence Olivier, who also co-starred. Prior to filming, Olivier praised Monroe as “a brilliant comedienne, which to me means she is also an extremely skilled actress”. During filming he resented Monroe’s dependence on her drama coach, Paula Strasberg, regarding Strasberg as a fraud whose only talent was the ability to “butter Marilyn up”. He recalled his attempts at explaining a scene to Monroe, only to hear Strasberg interject, “Honey – just think of Coca-Cola and Frank Sinatra”. Despite Monroe and Olivier clashing, Olivier later commented that in the film “Marilyn was quite wonderful, the best of all”. Monroe’s performance was hailed by critics, especially in Europe, where she won the David di Donatello, the Italian equivalent of the Academy Award, as well as the French Crystal Star Award. Although Wilder had experienced Monroe’s tardiness, stage fright, and inability to remember lines during production of The Seven Year Itch, her behavior was more hostile, and was marked by refusals to participate in filming, and occasional outbursts of profanity. She consistently refused to take direction from Wilder, or insisted on numerous retakes of simple scenes until she was satisfied. She developed a rapport with Lemmon, but she disliked Curtis after hearing that he had described their love scenes as “like kissing Hitler”. Curtis later stated that the comment was intended as a joke. During filming, Monroe discovered that she was pregnant, but suffered another miscarriage in December 1958, as filming was completed. The film became a resounding success, and was nominated for five Academy Awards. Monroe was acclaimed for her performance and won the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy. Wilder commented that the film was the biggest success he had ever been associated with. He discussed the problems he encountered during filming, saying Marilyn was so difficult because she was totally unpredictable. I never knew what kind of day we were going to have… Would she be cooperative or obstructive? ” He had little patience with her method acting technique and said that instead of going to the Actors Studio “she should have gone to a train-engineer’s school… To learn something about arriving on schedule. ” Wilder had become ill during filming, and explained, “We were in mid-flight – and there was a nut on the plane. She agreed to appear in Let’s Make Love, which was to be directed by George Cukor, but she was not satisfied with the script, and Arthur Miller rewrote it. Gregory Peck was originally cast in the male lead role, but he refused the role after Miller’s rewrite; Cary Grant, Charlton Heston, Yul Brynner and Rock Hudson also refused the role before it was offered to Yves Montand. Monroe and Miller befriended Montand, and his wife, the actress, Simone Signoret and filming progressed well until Miller was required to travel to Europe on business. Monroe began to leave the film set early and on several occasions failed to attend, but her attitude improved after Montand confronted her. The film was not a critical or commercial success. Monroe’s health deteriorated during this period, and she began to see a Los Angeles psychiatrist, Dr. He later recalled that during this time she frequently complained of insomnia, and told Greenson that she visited several medical doctors to obtain what Greenson considered an excessive variety of drugs. He concluded that she was progressing to the point of addiction, but also noted that she could give up the drugs for extended periods, without suffering any withdrawal symptoms. According to Greenson, the marriage between Miller and Monroe was strained; he said that Miller appeared to genuinely care for Monroe and was willing to help her, but that Monroe rebuffed while also expressing resentment towards him for not doing more to help her. Greenson stated that his main objective at the time was to enforce a drastic reduction in Monroe’s drug intakeIn 1956 Arthur Miller had lived briefly in Nevada and wrote a short story about some of the local people he had become acquainted with, a divorced woman and some aging cowboys. By 1960 he had developed the short story into a screenplay, and envisioned it as a suitable role for Monroe. It became her last completed film, The Misfits, directed by John Huston and costarring Clark Gable, Montgomery Clift and Thelma Ritter. Filming commenced in July 1960, with most of it taking place in the hot Northern Nevada Black Rock Desert. Monroe was frequently ill and unable to perform, and away from the influence of Dr. Greenson, had resumed her consumption of sleeping pills and alcohol. A visitor to the set, Susan Strasberg, later described Monroe as “mortally injured in some way, ” and in August, Monroe was rushed to Los Angeles where she was hospitalized for ten days. Newspapers reported that she had been near death, although the nature of her illness was not disclosed. Louella Parsons wrote in her newspaper column that Monroe was “a very sick girl, much sicker than at first believed”, and disclosed that she was being treated by a psychiatrist. Making the film had proved to be an arduous experience for the actors; in addition to Monroe’s distress, Montgomery Clift had frequently been unable to perform due to illness, and by the final day of shooting, Thelma Ritter was in hospital suffering from exhaustion. Gable, commenting that he felt unwell, left the set without attending the wrap party. Within ten days Monroe had announced her separation from Miller, and Gable had died from a heart attack. Gable’s widow, Kay, commented to Louella Parsons that it had been the “eternal waiting” on the set of The Misfits that had contributed to his death, though she did not name Monroe. When reporters asked Monroe if she felt guilty about Gable’s death, she refused to answer, but the journalist, Sidney Skolsky, recalled that privately she expressed regret for her poor treatment of Gable during filming and described her as being in “a dark pit of despair”. Monroe later attended the christening of the Gables’ son, at the invitation of Kay GableThe Misfits was the subject of mediocre reviews, and was not a commercial success, though some praised the performances of Monroe and Gable. Huston later commented that Monroe’s performance was not acting in the true sense, and that she had drawn from her own experiences to show herself, rather than a character. She had no techniques. It was all the truth. It was only Marilyn. During the following months, Monroe’s dependence on alcohol and prescription medications began to take a toll on her health, and friends such as Susan Strasberg later spoke of her illness. Her divorce from Arthur Miller was finalized in January 1961, with Monroe citing “incompatibility of character”, and in February she voluntarily entered the Payne Whitney Psychiatric Clinic. Illness prevented her from working for the remainder of the year; she underwent surgery to correct a blockage in her Fallopian tubes in May, and the following month underwent gall bladder surgery. It was to be directed by George Cukor, and co-starred Dean Martin and Cyd Charisse. She was ill with a virus as filming commenced, and suffered from high temperatures and recurrent sinusitis. On one occasion she refused to perform with Martin as he had a cold, and the producer Henry Weinstein recalled seeing her on several occasions being physically ill as she prepared to film her scenes, and attributed it to her dread of performing. He commented, Very few people experience terror. We all experience anxiety, unhappiness, heartbreaks, but that was sheer primal terror. On May 9, 1962, she attended the birthday celebration of President John F. Kennedy at Madison Square Garden, at the suggestion of Kennedy’s brother-in-law, actor Peter Lawford. Monroe performed “Happy Birthday” along with a specially written verse based on Bob Hope’s “Thanks for the Memory”. Kennedy responded to her performance with the remark, Thank you. I can now retire from politics after having had “Happy Birthday” sung to me in such a sweet, wholesome way. Commenting that she wanted to “push Liz Taylor off the magazine covers”, she gave permission for several partially nude photographs to be published by Life. Having only reported for work on twelve occasions out of a total of 35 days of production, Monroe was dismissed. 20th Century Fox filed a lawsuit against her for half a million dollars, and the studio’s vice president, Peter hand. We’ve let the inmates run the asylum, and they’ve practically destroyed it. Monroe was replaced by Lee Remick, and when Dean Martin refused to work with any other actress, he was also threatened with a lawsuit. Following her dismissal, Monroe engaged in several high-profile publicity ventures. She gave an interview to Cosmopolitan and was photographed at Peter Lawford’s beach house sipping champagne and walking on the beach. She next posed for Bert Stern for Vogue in a series of photographs that included several nudes. Published after her death, they became known as The Last Sitting. Richard Meryman interviewed her for Life, in which Monroe reflected upon her relationship with her fans and her uncertainties in identifying herself as a “star” and a “sex symbol”. She referred to the events surrounding Arthur Miller’s appearance before the House Un-American Activities Committee in 1956, and her studio’s warning that she would be “finished” if she showed public support for him, and commented, You have to start all over again. But I believe you’re always as good as your potential. I now live in my work and in a few relationships with the few people I can really count on. Fame will go by, and, so long, I’ve had you fame. If it goes by, I’ve always known it was fickle. So at least it’s something I experienced, but that’s not where I live. In the final weeks of her life, Monroe engaged in discussions about future film projects, and firm arrangements were made to continue negotiations. Among the projects was a biography of Jean Harlow. Starring roles in Billy Wilder’s Irma La Douce and What a Way to Go! Were also discussed; Shirley MacLaine eventually played her role in both films. Kim Novak replaced her in Kiss Me, Stupid, a comedy in which she was to star opposite Dean Martin. A film version of the Broadway musical, A Tree Grows In Brooklyn, and an unnamed World War I themed musical co-starring Gene Kelly were also discussed, but the projects did not eventuate. Her dispute with 20th Century Fox was resolved, and her contract renewed, and filming of Something’s Got to Give was scheduled to resume before the end of the year. Allan “Whitey” Snyder who saw her during the last week of her life, said Monroe was pleased by the opportunities available to her, and that she “never looked better [and] was in great spirits”. On August 5, 1962, LAPD police sergeant Jack Clemmons received a call at 4:25AM from Dr. Hyman Engelberg proclaiming that Monroe was dead at her home in Brentwood, Los Angeles, California. Sergeant Clemmons was the first police officer to arrive at the death scene. Many questions remain unanswered about the circumstances of her death and the timeline from when Monroe’s body was found. The official cause of Monroe’s death was classified by Dr. Thomas Noguchi of the Los Angeles County Coroners office as “acute barbiturate poisoning”, which he recorded as a “probable suicide”. Eight milligram percent of chloral hydrate and 4.5 milligram percent of Nembutal were found in her system after the autopsy. Her death was classified as “probable suicide”, but because of a lack of evidence, investigators could not classify her death as suicide or homicide. Also, some conspiracy theories involve John and Robert Kennedy with her death, while other theories suggest CIA or mafia complicity. As a side note, toxicology tests revealed that Monroe also had a slight iron deficiency in her blood. On August 8, 1962, Monroe was interred in a crypt at Corridor of Memories, #24, at the Westwood Village Memorial Park Cemetery in Los Angeles, California. Lee Strasberg delivered the eulogy. Some Like It Hot is a 1959 American romantic comedy film set in 1929, directed and produced by Billy Wilder, starring Marilyn Monroe, Tony Curtis, and Jack Lemmon. The supporting cast includes George Raft, Pat O’Brien, Joe E. Brown, Joan Shawlee, and Nehemiah Persoff. The plot is based on a screenplay by Billy Wilder and Michael Logan from the French film Fanfare of Love. The film is about two musicians who dress in drag in order to escape from mafia gangsters whom they witnessed commit a crime inspired by the Saint Valentine’s Day Massacre. The film was produced in black and white, even though color films were increasing in popularity. Some Like It Hot is considered to be one of the greatest film comedies of all time. It was voted as the top comedy film by the American Film Institute on their list on AFI’s 100 Years… 100 Laughs poll in 2000. The film is also notable for featuring cross dressing, and for playing with the idea of homosexuality, which led to it being produced without approval from the Motion Picture Production Code. The code had been gradually weakening in its scope during the early 1950s, due to increasing social tolerance for previously taboo topics in film, but it was still officially enforced. The overwhelming success of Some Like It Hot was a final nail in the coffin for the Hays Code. [1] Contents [hide] 1 Plot 2 Cast 3 Soundtrack 4 Production 4.1 Pre-production 4.2 Casting 4.3 Filming 4.4 Style 5 Reception 6 Awards and honors 7 Adaptations 8 See also 9 References 10 Further reading 11 External links Plot[edit] It is February 1929 in the city of Chicago, during the era of prohibition. Joe (Tony Curtis) is an irresponsible jazz saxophone player, gambler and ladies’ man; his friend Jerry (Jack Lemmon) is a sensible jazz double-bass player; both are working in a speakeasy (disguised as a funeral home) owned by mob gangster “Spats” Colombo (George Raft). When the joint is raided by the police after being tipped off by informant “Toothpick” Charlie George E. Stone, Joe and Jerry flee-only to accidentally witness Spats and his henchmen exacting his revenge on “Toothpick” and his own gang (inspired by the real-life Saint Valentine’s Day Massacre). Penniless and in a mad rush to get out of town, the two musicians take a job with Sweet Sue (Joan Shawlee) and her Society Syncopators, an all-female band headed to Miami. Disguised as women and renaming themselves Josephine and Daphne, they board a train with the band and their male manager, Bienstock. Before they board the train, Joe and Jerry notice Sugar Kane (Marilyn Monroe), the band’s vocalist and ukulele player. Joe and Jerry become enamored of Sugar and compete for her affection while maintaining their disguises. Sugar confides that she has sworn off male saxophone players, who have stolen her heart in the past and left her with “the fuzzy end of the lollipop”. She has set her sights on finding a sweet, bespectacled millionaire in Florida. During the forbidden drinking and partying on the train, Josephine and Daphne become intimate friends with Sugar, and have to struggle to remember that they are supposed to be girls and cannot make a pass at her. Once in Miami, Joe woos Sugar by assuming a second disguise as a millionaire named Junior, the heir to Shell Oil, while feigning disinterest in Sugar. An actual millionaire, the much-married aging mama’s boy Osgood Fielding III, Joe E. Osgood invites Daphne for a champagne supper on his yacht. Joe convinces Daphne to keep Osgood occupied onshore so that Junior can take Sugar to Osgood’s yacht, passing it off as his. Once on the yacht, Junior explains to Sugar that, due to psychological trauma, he is impotent and frigid, but that he would marry anyone who could change that. Sugar tries to arouse some sexual response in Junior, and begins to succeed. Meanwhile, Daphne and Osgood dance the tango (“La Cumparsita”) till dawn. When Joe and Jerry get back to the hotel, Jerry explains that Osgood has proposed marriage to Daphne and that he, as Daphne, has accepted, anticipating an instant divorce and huge cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot actually marry Osgood. The hotel hosts a conference for “Friends of Italian Opera”, which is in fact a front for a major meeting of various branches of La Cosa Nostra. Spats and his gang from Chicago recognize Joe and Jerry as the witnesses to the Valentine’s Day murders. Joe and Jerry, fearing for their lives, realize they must quit the band and leave the hotel. Joe breaks Sugar’s heart by telling her that he, Junior, has to marry a woman of his father’s choosing and move to Venezuela. After several chases, Joe and Jerry witness additional mob killings, this time of Spats and his boys. Joe, dressed as Josephine, sees Sugar onstage singing that she will never love again. He kisses her before he leaves, and Sugar realizes that Joe is both Josephine and Junior. Sugar runs from the stage at the end of her performance and manages to jump into the launch from Osgood’s yacht New Caledonia just as it is leaving the dock with Joe, Jerry, and Osgood. Joe tells Sugar that he is not good enough for her, that she would be getting the “fuzzy end of the lollipop” yet again, but Sugar wants him anyway. Jerry, for his part, comes up with a list of reasons why he and Osgood cannot get married, ranging from a smoking habit to infertility. Osgood dismisses them all; he loves Daphne and is determined to go through with the marriage. Exasperated, Jerry removes his wig and shouts, I’m a man! ” Osgood simply responds, “Well, nobody’s perfect. ” Cast[edit] Marilyn Monroe as Sugar “Kane” Kowalczyk, a ukulele player and singer Tony Curtis as Joe/”Josephine”/”Shell Oil Junior”, a saxophone player Jack Lemmon as Jerry (Gerald)/”Daphne”, a double bass player George Raft as “Spats Colombo, a mobster from Chicago Pat O’Brien as Detective Mulligan Joe E. Brown as Osgood Fielding III Nehemiah Persoff as “Little Bonaparte, ” a mobster Joan Shawlee as Sweet Sue, the bandleader of “Sweet Sue and Her Society Syncopators” Dave Barry as Mister Beinstock, the band manager for “Sweet Sue and Her Society Syncopators” Billy Gray as Sig Poliakoff, Joe and Jerry’s agent in Chicago Barbara Drew as Nellie Weinmeyer, Poliakoff’s secretary George E. Stone as “Toothpick” Charlie, a gangster who is killed by “Spats” Colombo Mike Mazurki as Spats’s henchman Harry Wilson as Spats’s henchman Edward G. As Johnny Paradise, a gangster who kills “Spats” Colombo Beverly Wills as Dolores, a trombone player, and Sugar’s apartment friend Al Breneman as the fresh bellboy (uncredited)[citation needed] Tom Kennedy as bouncer (uncredited)[citation needed] Soundtrack[edit] Song[2] Performer(s) Note(s) “Runnin’ Wild” Marilyn Monroe Played during the opening credits. Also performed a capella by Tony Curtis “Liebesträume” – Performed on the organ at Mozzarella’s Funeral Parlour “Sugar Blues” – Performed by Matty Malneck & his Orchestra “Down Among the Sheltering Palms” – Performed by Society Syncopators “Randolph Street Rag” – “I Wanna Be Loved by You” Marilyn Monroe “Park Avenue Fantasy (Stairway to the Stars)” – “I’m Thru with Love” Marilyn Monroe “Sweet Georgia Brown” – Played in the back room of the Funeral Parlour “By the Beautiful Sea” – Performed by Society Syncopators “Some Like It Hot” – Performed by Matty Malneck & his Orchestra “La Cumparsita” – “Sweet Sue, Just You” – In the score after “I Wanna Be Loved By You” “For He’s a Jolly Good Fellow” – Sung by all at the gangsters’ meeting “Sugar Blues / Runnin’ Wild” – Performed by Matty Malneck & his Orchestra Production[edit] Pre-production[edit] Billy Wilder wrote the script for the film Some Like it Hot. [3] The plot is based on a screenplay by Robert Thoeren and Michael Logan from the 1936 French film Fanfare of Love. [4] However, the original script for Fanfare of Love was untraceable, so Walter Mirisch found a copy of the German remake Fanfaren der Liebe. He bought the rights to the script and Wilder worked with this to produce a new story. [4] Some Like It Hot is often seen as a remake of Fanfare of Love, as both films follow the story of two musicians in search of work. [3] The studio hired Barbette, a famous female impersonator, to coach Lemmon and Curtis on gender illusion for the film. [5] Casting[edit] Tony Curtis was spotted by Billy Wilder while he was making the film Houdini (1953), [6] as he thought Tony would be perfect for the role of Joe. “I was sure Tony was right for it, ” explained Wilder, “because he was quite handsome, and when he tells Marilyn that he is one of the Shell Oil family, she has to be able to believe it”. [7]Wilder’s first idea for the role of Jerry was Frank Sinatra, but he never came to the audition. [8] Jerry Lewis and Danny Kaye were also considered for the role of Joe. Finally, Wilder saw Jack Lemmon in the comedy Operation Mad Ball[9] and selected him for the role of Jerry. Billy Wilder and Jack Lemmon made numerous films together until 1981, among them The Apartment and some films with Walter Matthau. According to York Film Notes, Billy Wilder and I. Diamond didn’t expect such a big star as Marilyn Monroe to take the part of Sugar[3] in fact, Wilder said, Mitzi Gaynor was who we had in mind. The word came that Marilyn wanted the part and then we had to have Marilyn. [10] Wilder and Monroe had already made the film The Seven Year Itch together in 1955. Filming[edit] Hotel del Coronado (2011) The film was made in California during the summer and autumn of 1958. [11] Many scenes were shot at the Hotel del Coronado in San Diego which appeared as the “Seminole Ritz Hotel” in Miami in the film. The Hotel in San Diego fitted into the era of the 1920s and was near Hollywood, so Wilder chose it although it was not in Florida. There were many problems with Marilyn Monroe, who lacked concentration and suffered from addiction to pills. She could not memorize many of her lines and required 47 takes to get “It’s me, Sugar” correct, instead saying either “Sugar, it’s me” or “It’s Sugar, me”. Tony Curtis and Jack Lemmon made bets during the filming how many takes Marilyn would need to get it right. [12]For the scene with Shell Jr. And Sugar at the beach three days for shooting were scheduled. Although Marilyn had plenty of complicated lines, the whole scene between Shell Jr. And Sugar was completely finished in only 20 minutes. [13] Monroe’s acting coach Paula Strasberg and Monroe’s husband Arthur Miller both tried to influence the production, which Wilder and other crew members found annoying. [14][15] Billy Wilder said in 1959 about filming another movie with Marilyn Monroe: I have discussed this with my doctor and my psychiatrist and they tell me I’m too old and too rich to go through this again. “[16] But Wilder also admitted: “My Aunt Minnie would always be punctual and never hold up production, but who would pay to see my Aunt Minnie? [17] He also stated that Monroe played her part wonderfully. [18] The film’s iconic closing line, “Nobody’s perfect”-now ranked 78th on The Hollywood Reporter list of Hollywood’s 100 Favorite Movie Lines-was never supposed to be in the final cut. Diamond and Wilder put it in the script as a “placeholder” until they could come up with something better, but never did. [19] Style[edit] With regards to sound design, there is a’strong musical element'[3] in the film, with the soundtrack created by Adolph Deutsch. It has an authentic 1920s jazz feel using sharp, brassy strings to create tension in certain moments, for example whenever Spats’ gangsters appear. In terms of cinematography and aesthetics, Billy Wilder chose to shoot the film in black and white as Jack Lemmon and Tony Curtis in full drag costume and make-up looked’unacceptably grotesque’ in early color tests. [3] Reception[edit] Some Like it Hot received widespread critical acclaim, and received six Academy Award nominations, including Best Actor for Lemmon and Best Director and Best Screenplay for Wilder, the latter along with I. [20] It was voted as the top comedy film by the American Film Institute on their list on AFI’s 100 Years… [22] Roger Ebert wrote about the movie, Wilder’s 1959 comedy is one of the enduring treasures of the movies, a film of inspiration and meticulous craft. “[23] John McCarten of The New Yorker referred to the film as “a jolly, carefree enterprise. [24] The Guardian’s Richard Roud claims that Wilder comes “close to perfection” with the film. [25] Rotten Tomatoes reports a score of 96%, with an average score of 8.9 out of 10. [26] In 1989 this film became one of the first 25 inducted into the United States National Film Registry. [27] Awards and honors[edit] Date of ceremony Award Category Recipients and nominees Result August 23 – September 6, 1959[28] Venice Film Festival Golden Lion Some Like It Hot Nominated December 1959[29][30] National Board of Review Awards Top Ten Films Some Like It Hot Won February 6, 1960[31][32] Directors Guild of America Award Outstanding Achievement in Feature Film Billy Wilder Won 1960[33] British Academy Film Awards Best Film from any Source Some Like It Hot Nominated Best Foreign Actor Jack Lemmon Won March 10, 1960[34][35] Golden Globe Awards Best Actor in a Motion Picture – Comedy or Musical Jack Lemmon Won Best Actress in a Motion Picture – Comedy or Musical Marilyn Monroe Won Best Motion Picture – Musical or Comedy Some Like It Hot Won April 4, 1960[36] Academy Awards Best Director Billy Wilder Nominated Best Actor Jack Lemmon Nominated Best Cinematography – Black-and-white Charles Lang, Jr. Nominated Best Art Direction – Black-and-white Ted Haworth (Art Direction), Edward G. Boyle (Set Decoration) Nominated Best Costume Design-Black and white Orry-Kelly Won Best Adapted Screenplay Billy Wilder, I. Diamond Nominated May 6, 1960[37][38] Writers Guild of America Awards Best Written Comedy Billy Wilder, I. Diamond Won September 28, 1960[39] Laurel Awards Top Female Comedy Performance Marilyn Monroe (2nd place) Won Top Male Comedy Performance Jack Lemmon (2nd place) Won Top Comedy Some Like It Hot (3rd place) Won 1960[39][40] Bambi Awards Best Actor-International Tony Curtis (2nd place) Nominated The film is recognized by American Film Institute in these lists: 1998: AFI’s 100 Years… 100 Movies – #14[41] 2000: AFI’s 100 Years… 100 Laughs – #1[42] 2005: AFI’s 100 Years… 100 Movie Quotes: Osgood Fielding II: Well, nobody’s perfect. #48[43] 2007: AFI’s 100 Years… 100 Movies (10th Anniversary Edition) – #22[44] Adaptations[edit] An unsold television pilot was filmed by Mirisch Productions in 1961 featuring Vic Damone and Tina Louise. As a favor to the production company, Jack Lemmon and Tony Curtis agreed to film cameo appearances, returning as their original characters, Daphne and Josephine, at the beginning of the pilot. Their appearance sees them in a hospital where Jerry (Lemmon) is being treated for his impacted back tooth and Joe (Curtis) is the same O blood type. [45] In 1972, a musical play based on the screenplay of the film, entitled Sugar, opened on Broadway, and starred Elaine Joyce, Robert Morse, Tony Roberts and Cyril Ritchard, with book by Peter Stone, lyrics by Bob Merrill, and (all-new) music by Jule Styne. A 1991 stage production of this show in London featured Tommy Steele and retained the film’s title. In 2002, the ageing Tony Curtis performed in a stage production of the film, cast as the character originally played by Joe E. Brown (Osgood Fielding III). What a work of art and nature is Marilyn Monroe. She hasn’t aged into an icon, some citizen of the past, but still seems to be inventing herself as we watch her. Poured into a dress that offers her breasts like jolly treats for needy boys, she seems totally oblivious to sex while at the same time melting men into helpless desire. Jack Lemmon tells Curtis as he watches her adoringly. Look how she moves. Like Jell-O on springs. She must have some sort of built-in motor. I tell you, it’s a whole different sex. Wilder’s 1959 comedy is one of the enduring treasures of the movies, a film of inspiration and meticulous craft, a movie that’s about nothing but sex and yet pretends it’s about crime and greed. It is underwired with Wilder’s cheerful cynicism, so that no time is lost to soppiness and everyone behaves according to basic Darwinian drives. The plot is classic screwball. Curtis and Lemmon play Chicago musicians who disguise themselves as women to avoid being rubbed out after they witness the St. Valentine’s Day Massacre. They join an all-girl orchestra on its way to Florida. Monroe is the singer, who dreams of marrying a millionaire but despairs, I always get the fuzzy end of the lollipop. Curtis lusts for Monroe and disguises himself as a millionaire to win her. Their relationship is flipped and mirrored in low comedy as Lemmon gets engaged to a real millionaire, played by Joe E. You’re not a girl! Curtis protests to Lemmon. You’re a guy! Why would a guy want to marry a guy? The movie has been compared to Marx Brothers classics, especially in the slapstick chases as gangsters pursue the heroes through hotel corridors. The weak points in many Marx Brothers films are the musical interludes–not Harpo’s solos, but the romantic duets involving insipid supporting characters. Consider her solo of I Wanna Be Loved by You. The situation is as basic as it can be: a pretty girl standing in front of an orchestra and singing a song. Monroe and Wilder turn it into one of the most mesmerizing and blatantly sexual scenes in the movies. She wears that clinging, see-through dress, gauze covering the upper slopes of her breasts, the neckline scooping to a censor’s eyebrow north of trouble. Wilder places her in the center of a round spotlight that does not simply illuminate her from the waist up, as an ordinary spotlight would, but toys with her like a surrogate neckline, dipping and clinging as Monroe moves her body higher and lower in the light with teasing precision. It is a striptease in which nudity would have been superfluous. All the time she seems unaware of the effect, singing the song innocently, as if she thinks it’s the literal truth. To experience that scene is to understand why no other actor, male or female, has more sexual chemistry with the camera than Monroe. Capturing the chemistry was not all that simple. Legends surround Some Like It Hot. Kissing Marilyn, Curtis famously said, was like kissing Hitler. Monroe had so much trouble saying one line Where’s the bourbon? While looking in a dresser drawer that Wilder had the line pasted inside the drawer. Then she opened the wrong drawer. So he had it pasted inside every drawer. 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. Watch the final take of Where’s the bourbon? And Monroe seems utterly spontaneous. And watch the famous scene aboard the yacht, where Curtis complains that no woman can arouse him, and Marilyn does her best. She kisses him not erotically but tenderly, sweetly, as if offering a gift and healing a wound. You remember what Curtis said but when you watch that scene, all you can think is that Hitler must have been a terrific kisser. The movie is really the story of the Lemmon and Curtis characters, and it’s got a top-shelf supporting cast Joe E. Brown, George Raft, Pat O’Brien, but Monroe steals it, as she walked away with every movie she was in. It is an act of the will to watch anyone else while she is on the screen. Yet he stays fresh and alive in sparkling dialogue scenes like their first meeting on the beach, where he introduces himself as the Shell Oil heir and wickedly parodies Cary Grant. Watch his timing in the yacht seduction scene, and the way his character plays with her naivete. Isn’t that terribly dangerous? Curtis: I’ll say! I had two ponies drown under me. Watch, too, for Wilder’s knack of hiding bold sexual symbolism in plain view. When Monroe first kisses Curtis while they’re both horizontal on the couch, notice how his patent-leather shoe rises phallically in the mid-distance behind her. Does Wilder intend this effect? Undoubtedly, because a little later, after the frigid millionaire confesses he has been cured, he says, I’ve got a funny sensation in my toes–like someone was barbecuing them over a slow flame. ” Monroe’s reply: “Let’s throw another log on the fire. Jack Lemmon gets the fuzzy end of the lollipop in the parallel relationship. The screenplay by Wilder and I. Diamond is Shakespearean in the way it cuts between high and low comedy, between the heroes and the clowns. The Curtis character is able to complete his round trip through gender, but Lemmon gets stuck halfway, so that Curtis connects with Monroe in the upstairs love story while Lemmon is downstairs in the screwball department with Joe E. Their romance is frankly cynical: Brown’s character gets married and divorced the way other men date, and Lemmon plans to marry him for the alimony. But they both have so much fun in their courtship! While Curtis and Monroe are on Brown’s yacht, Lemmon and Brown are dancing with such perfect timing that a rose in Lemmon’s teeth ends up in Brown’s. Lemmon has a hilarious scene the morning after his big date, laying on his bed, still in drag, playing with castanets as he announces his engagement. Curtis: What are you going to do on your honeymoon? ” Lemmon: “He wants to go to the Riviera, but I kinda lean toward Niagara Falls. Both Curtis and Lemmon are practicing cruel deceptions–Curtis has Monroe thinking she’s met a millionaire, and Brown thinks Lemmon is a woman–but the film dances free before anyone gets hurt. Both Monroe and Brown learn the truth and don’t care, and after Lemmon reveals he’s a man, Brown delivers the best curtain line in the movies. If you’ve seen the movie, you know what it is, and if you haven’t, you deserve to hear it for the first time from him. This item is in the category “Collectibles\Photographic Images\Film Slides”. The seller is “judaica-bookstore” and is located in this country: IL. This item can be shipped worldwide.

• Country/Region of Manufacture: United States
• Theme: Celebrities
• Type: MAGAZINE – NEWSPAPER – PERIODICAL
• Subject: MARILYN MONROE PORTRAIT
• Size Type/Largest Dimension: Size of magazine 10\
• Listed By: Dealer or Reseller
• Date of Creation: May 1960
• Color: Color
• Photo Type: MAGAZINE COVER
• Original/Reprint: Original Print
• Antique: No
• Time Period Manufactured: Contemporary (1940-Now)