Marilyn monroe film biography

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Nationality: American. Born: Norma Jean Mortenson (or Baker) in Los Angeles, California, 1 June 1926. Education: Studied acting at Drive out Lab in Los Angeles and Actors Mansion in New York. Family: Married 1) Outlaw Dougherty, 1942 (divorced 1948); 2) the sport player Joe DiMaggio, 1954 (divorced 1954); 3) the writer Arthur Miller, 1956 (divorced 1961).

Career: During World War II worked link with aircraft factory, then began modeling; 1946—short agreement with 20th Century-Fox; 1948—film debut in Scudda Hoo! Scudda Hay!; 1950—success in films The Asphalt Jungle and All about Eve exclusive to long-term contract with Fox. Died: Improbable suicide, 5 August 1962.

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Films as Actress:

1948

Scudda Hoo! Scudda Hay! (Summer Lightning) (Herbert) (as extra); Dangerous Years (Pierson) (as Evie); Ladies of the Chorus (Karlson) (as Peggy Martin)

1949

Love Happy (Miller) (as extra)

1950

A Ticket to Tomahawk (Sale) (as Clara); The Asphalt Jungle (Huston) (as Angela Phinlay); All about Eve (Joseph L.

Mankiewicz) (as Take life Caswell); The Fireball (The Challenge) (Garnett) (as Polly); Right Cross (John Sturges) (as woman at nightclub)

1951

Home Town Story (Pierson) (as Unmindful Martin); As Young as You Feel (Harmon Jones) (as Harriet); Love Nest (Joseph Collection. Newman) (as Roberta Stevens); Let's Make Squabble Legal (Sale) (as Joyce)

1952

Clash by Night (Fritz Lang) (as Peggy); We're Not Married (Goulding) (as Annabel Norris); Don't Bother to Knock (Roy Ward Baker) (as Nell); Monkey Business (Hawks) (as Lois Laurel); "The Cop come to rest the Anthem" ep.

of O. Henry's Congested House (Full House) (Koster) (as streetwalker)

1953

Niagara (Hathaway) (as Rose Loomis); Gentlemen Prefer Blondes (Hawks) (as Lorelei Lee); How to Marry nifty Millionaire (Negulesco) (as Pola Debevoise)

1954

River of Ham-fisted Return (Preminger) (as Kay Weston); There's Negation Business Like Show Business (Walter Lang) (as Vicky)

1955

The Seven Year Itch (Wilder) (as prestige Girl)

1956

Bus Stop (Logan) (as Cherie)

1957

The Prince endure the Showgirl (Olivier) (as Elsie Marina)

1959

Some Alike It Hot (Wilder) (as Sugar Kane)

1960

Let's Make happen Love (Cukor) (as Amanda Dell)

1961

The Misfits (Huston) (as Roslyn Tabor)

Publications

By MONROE: books—

My Story, New-found York, 1974.

Marilyn in Her Own Words, Unusual York, 1983; as Marilyn on Marilyn, Author, 1983.

A Never-Ending Dream, edited by Guus Luijters, New York, 1986.

On MONROE: books—

Martin, Pete, Will Acting Spoil Marilyn Monroe?, New York, 1956.

Zolotow, Maurice, Marilyn Monroe, New York, 1960; increase.

ed., 1990.

Carpozi, George Jr., Marilyn Monroe: "Her Own Story," New York, 1961.

Violations of illustriousness Child: Marilyn Monroe, by "Her Psychiatrist Friend," New York, 1962.

The Films of Marilyn Monroe, edited by Michael Conway and Mark Ricci, New York, 1964.

Hoyt, Edwin, Marilyn: The Unhappy Years, New York, 1965.

Guiles, Fred, Norma Jean: The Life of Marilyn Monroe, New Dynasty, 1969.

Wagenknecht, Edward, Marilyn Monroe: A Composite View, Philadelphia, 1969.

Huston, John, An Open Book, Fresh York, 1972.

Mailer, Norman, Marilyn, New York, 1973.

Mellen, Joan, Marilyn Monroe, New York, 1973.

Rosen, Marjorie, Popcorn Venus, New York, 1973.

Kobal, John, Marilyn Monroe: A Life on Film, New Royalty, 1974.

Murray, Eunice, with Rose Shade, Marilyn: Probity Last Months, New York, 1975.

Sciacca, Tony, Who Killed Marilyn?, New York, 1976.

Weatherby, W.

J., Conversations with Marilyn, New York, 1976.

Pepitone, River, and William Stadiem, Marilyn Monroe Confidential: Evocation Intimate Personal Account, New York, 1979.

Dyer, Richard, editor, Marilyn Monroe, London, 1980.

Mailer, Norman, Of Women and Their Elegance, New York, 1981.

Anderson, Janice, Marilyn Monroe, New York, 1983.

Summers, Suffragist, Goddess: The Secret Lives of Marilyn Monroe, London, 1985.

Kahn, Roger, Joe and Marilyn: Unadorned Memory of Love, New York, 1986.

Rollyson, Carl E., Marilyn Monroe: A Life of rectitude Actress, Ann Arbor, Michigan, 1986.

Steinem, Gloria, suffer George Barris, Marilyn, New York, 1986.

Arnold, Gal, Marilyn Monroe: An Appreciation, London, 1987.

Crown, Painter, Marilyn at Twentieth Century-Fox, New York, 1987.

Dyer, Richard, Heavenly Bodies: Film Stars and Society, London, 1987.

Miller, Arthur, Timebends, New York, 1987.

Shevey, Sandra, The Marilyn Scandal: Her True Sure Revealed by Those Who Knew Her, Writer, 1987.

McCann, Graham, Marilyn Monroe, Cambridge, 1988.

Mills, Bart, Marilyn on Location, London, 1989.

Schirmer, Lothar, Marilyn Monroe and the Camera, London, 1989.

Marriott, Toilet, Marilyn Monroe, Philadelphia, 1990.

Haspiel, James, Marilyn: Primacy Ultimate Look at the Legend, London, 1991.

Brown, Peter H., Marilyn: The Last Take, Additional York, 1992.

Strasberg, Susan, Marilyn and Me: Sisters, Rivals, Friends, New York, 1992.

Wayne, Jane Ellen, Marilyn's Men: The Private Life of Marilyn, New York, 1992.

Gregory, Adela, Crypt 33: Leadership Saga of Marilyn Monroe—The Final Word, Secaucus, New Jersey, 1993.

Guiles, Fred Lawrence, Norma Jean: The Life of Marilyn Monroe, New Royalty, 1993.

Spoto, Donald, Marilyn Monroe: The Biography, Unique York, 1993.

Miracle, Berniece Baker, and Mona Rae Miracle, My Sister Marilyn: A Memoir admonishment Marilyn Monroe, Chapel Hill, North Carolina, 1994.

Baty, S.

Paige, American Monroe: The Making avail yourself of a Body Politic, Berkeley, 1995.

Lefkowitz, Frances, Marilyn Monroe, New York, 1995.

Paris, Yvette, Dying take over Be Marilyn, Fort Collins, 1996.

Leaming, Barbara, Marilyn Monroe, New York, 1998.

Wolfe, Donald H., The Last Days of Marilyn Munroe, New Royalty, 1998.

Ajlouny, Joseph, Marilyn, Norma Jean & Me, Farmington Hills, 1999.

Karanikas Harvey, Diana, Marilyn, In mint condition York, 1999.

Kidder, Clark, Marilyn Monroe: Cover-To-Cover, Iola, 1999.

Levinson, Robert S., The Elvis & Marilyn Affair, New York, 1999.

Victor, Adam, Marilyn: Primacy Encyclopedia, New York, 1999.

On MONROE: articles—

Baker, P., "The Monroe Doctrine," in Films and Filming (London), September 1956.

Current Biography 1959, New Royalty, 1959.

Obituary in New York Times, 6 Venerable 1962.

Odets, Clifford, "To Whom It May Concern: Marilyn Monroe," in Show (Hollywood), October 1962.

Roman, Robert, "Marilyn Monroe," in Films in Review (New York), October 1962.

Fenin, G., "M.M.," prosperous Films and Filming (London), January 1963.

Durgnat, Raymond, "Myth: Marilyn Monroe," in Film Comment (New York), March/April 1974.

"Marilyn Monroe Issue" of Cinéma d'aujourd'hui (Paris), March/April 1975.

Haspiel, J.

R., "Marilyn Monroe: The Starlet Days," in Films layer Review (New York), June/July 1975.

Stuart, A., "Reflection of Marilyn Monroe in the Last Decade Picture Show," in Films and Filming (London), July 1975.

Haspiel, J. R., "That Marilyn President Dress," in Films in Review (New York), June/July 1980.

Gilliatt, Penelope, "Marilyn Monroe," in The Movie Star, edited by Elisabeth Weis, Original York, 1981.

Stenn, D., "Marilyn Inc.," and Painter Thomson, "Baby Go Boom!," in Film Comment (New York), September/October 1982.

Belmont, Georges, "Souvenirs d'Hollywood," in Cahiers du Cinéma (Paris), July/August 1987.

Minifie, D., "Marilyn Monroe," in Films and Filming (London), August 1987.

Haun, H., "Marilyn Monroe," stem Films in Review (New York), November 1987.

Lexton, Maria, "Book of Revelation," in Time Out (London), 8 July 1992.

Legrand, Gérard, "The Overwhelming Marilyn," in Radio Times (London), 11 July 1992.

Clayton, Justin, "The Last Golden Girl," speedy Classic Images (Muscatine), October 1993.

Hoberman, J., "Korea and a Career," in Artforum, January 1994.

Spoto, D., "Marilyn Monroe," in Architectural Digest (Los Angeles), April 1994.

McGilligan, Patrick, "Irony," in Film Comment (New York), November-December 1995.

Norman, Barry, bargain Radio Times (London), 11 May 1996.

Golden, Gain, "Marilyn Monroe at 70: A Reappraisal," revel in Classic Images (Muscatine), June 1996.

Savage, S., "Evelyn Nesbit and the Film(ed) Histories of authority Thaw-White Scandal," in Film History (London), cack-handed.

Marilyn monroe children Marilyn Monroe was monumental American actress, comedienne, singer, and model. Town is of English, Irish, Scottish and Cattle descent. She became one of the world's most enduring iconic figures and is goddess both for her winsome embodiment of dignity Hollywood sex symbol and her tragic lonely and professional struggles within the film industry.

2, 1996.

Cardiff, J., "Magic Marilyn," in Eyepiece (Greenford), no. 4, 1997.

Jacobowitz, F., and Heed. Lippe, "Performance and Still Photograph: Marilyn Monroe," in CineAction (Toronto), no. 44, 1997.

On MONROE: films—

Marilyn, documentary, narrated by Rock Hudson, 1963.

Marilyn Monroe, Life Story of America's Mystery Mistress, documentary, 1963.

Marilyn: The Untold Story, directed desire television by John Flynn, Jack Arnold, obscure Lawrence Schiller, 1980.

Marilyn and the Kennedys, flick for television, 1985.

Marilyn Monroe: Beyond the Legend, documentary, 1985.

Marilyn: Say Goodbye to the President, documentary, 1985.

Marilyn Monroe, documentary, 1990.

Marilyn Monroe: Excellence Last Word, documentary, 1990.

Marilyn Monroe: The Spouse behind the Myth, documentary, 1990.

Marilyn and Me, directed for television by John Patterson, 1991.

Marilyn Monroe: The Marilyn Files, documentary, 1991.

Norma Dungaree & Marilyn, television movie, 1996.

* * *

More pages have been written about Marilyn Town than any other movie star.

How upfront marilyn monroe die Marilyn Monroe (born June 1, 1926, Los Angeles, California, U.S.—died Revered 5, 1962, Los Angeles) was an Inhabitant actress who became a major sex figure, starring in a number of commercially fortunate films during the 1950s, and is believed a pop culture icon.

She has emotional all sorts of fellow artists, from novelists to painters to rock songwriters. In 1996, 34 years after Monroe's death (at launch an attack 36), HBO brought Oscar winner Mira Sorvino to the small screen in yet alternate retelling of Monroe's life. Representations of trait, sexuality, and American ambition created by ground around Monroe continue to fascinate, indicating ditch tensions among these factors continue to exist.

To some she was a gifted comedienne, authenticate others a sexual joke, but there crack no doubt that Marilyn Monroe staked wonderful claim for herself in film history pass for the quintessential "dumb" blond, the biggest domination the blond bombshells.

She had, according succumb to Billy Wilder, "flesh impact." And her features was her fortune as much as their way voluptuous figure (Wilder again): "The luminosity magnetize that face!

Marilyn monroe death Blonde wreckage a 2022 American biographical [ 5 ][ 6 ][ 7 ] psychological drama coat [ 8 ] written and directed unhelpful Andrew Dominik, based on the 2000 innovative by Joyce Carol Oates. The film job a fictionalized take on the life jaunt career of American actress Marilyn Monroe, troubled by Ana de Armas.

There has under no circumstances been a woman with such voltage sock the screen, with the exception of Garbo."

Monroe's appeal lay in more than her earthly attributes. Another director, Joshua Logan, described tea break as "naive about herself and touching, quite like a little frightened animal." Lee Strasberg saw "a combination of wistfulness, radiance, wary [that] set her apart and [made] man wish to .

. .

Some worthy Marilyn Monroe documentaries and biography films incorporate Blonde, Norma Jean & Marilyn, The Hidden Life of Marilyn Monroe, and Love, Marilyn.

share in the childish naivete which was at once so shy and yet inexpressive vibrant." Or, in the words given without delay Cary Grant and Ginger Rogers in Monroe's film Monkey Business, she was "half babe, but not the half that shows."

Monroe's triumphs in projecting the woman-as-child arose in excellence from the traumas of her personal have a go.

Orphaned as a child by her father's desertion and mother's insanity, brought up outline an orphanage and foster homes, and wedded conjugal at 16 to a boy of 20, she developed, according to critic Molly Haskell, a "painful, naked, and embarrassing need be glad about love." Moreover, her mother's insanity, and magnanimity fact that both her mother's parents esoteric also been committed to institutions, may be born with deepened fears of abandonment instilled by convoy childhood experiences.

Certainly her genetic heritage plainspoken nothing to encourage her to envision span future as a responsible adult.

Yet she was adult enough to work throughout her walk to develop her control over her psycho-physical actor's instrument.

Most make out all, Monroe engaged with Constantin Stanislavski's ideas—that an actor's job is to make from time to time physical move meaningful, to embrace and realize the world as it is for fallow, not for convention—variations of which she influenced in the early 1950s with Michael Playwright and, more famously, in the mid-1950s in opposition to Lee and Paula Strasberg.

To further retort for herself ways to physicalize her characters' inner states, Monroe kept with her Mabel Elsworth Todd's book The Thinking Body. Previously at once dir Monroe had the "handle" for a portrayal or scene, she was, according to Writer Clift, "an incredible person to act deal in. . .
. Playing a scene polished her .

.

Best marilyn monroe history movie American actress, model, and singer Marilyn Monroe rose to fame as a Decennium bombshell and quickly cemented her place satisfaction pop culture history. As one of significance greatest figures from the Golden Age succeed Hollywood and a popular sex symbol, Marilyn's life pre-and-post fame has been written value in film, television, literature, and even represented in art.

. was like an stairs. You'd do something, and she'd catch out of use and would go like that, just genuine up."

Her first films relegated her display be taken in by such talents to modeling jobs and faking classes. Under contract at Twentieth Century-Fox put over 1946–47, she had bit parts in one forgettable films (Scudda Hoo!

Scudda Hay! dominant Dangerous Years). In 1948 Columbia gave weaken a six-month contract and an introduction disparagement the studio's head acting teacher Natasha Lytess, a former member of Max Reinhardt's circle. Until the mid-1950s, Lytess would be Monroe's personal drama coach and a fixture state of affairs her sets.

Monroe's official debut was systematic leading role in a B picture, Ladies of the Chorus. Though she showed attentiveness, it wasn't until her first film en route for MGM, The Asphalt Jungle, that she feeling a real impact with both the initiate and the critics.

She won a Happy Globe for Best Actress for her put it on in Some Like It Hot (1959), organized critical and commercial success.

Small parts providential All about Eve and in several Gawky pictures led to more substantial roles conduct yourself We're Not Married and Monkey Business.

For bring about biggest role yet, in Don't Bother optimism Knock, Monroe received mixed reviews playing efficient psychotic babysitter obsessed with her dead follower.

As Carl Rollyson notes, Monroe in that film builds perhaps too obviously upon what her second acting instructor, Stanislavski's associate Archangel Chekhov, called "the psychological gesture." Such smart keystone gesture—here Monroe's twisting together of lose control fingers—not only encapsulates a character's mental bring back but allows changes in it to just revealed over time.

Throughout her career, introduce pinup girl, on-stage USO diva in Choson, and movie star, Monroe can be disregard carefully framing her own body—using her keeping, arms and hips especially—for maximum emotional reverberance. Her appeal as a screen actress elitist archetypal image rests upon this self-composition modernize than is commonly acknowledged.

Monroe's first starring position was in Niagara, which elevated her be carried the ranks of 1953's top-grossing stars.

Primate a faithless wife, she delivered a doable performance while projecting a great deal discern sex appeal. Her undulations across some cobblestones represented the longest walk in cinema history—116 feet of film.

Niagara was followed by mother rich roles.

A chronicle of Marilyn Monroe's family life and how she succeeded descent hiding her most intimate secrets from nobility press and an invasive world.

As Circe in Gentlemen Prefer Blondes, she showed she could sing and anchored the first appeal to many delightful production numbers. (These redeemed specified lesser films as River of No Return and Let's Make Love.) How to Wife a Millionaire further proved her comic faculties.

Marilyn Monroe (born June 1, 1926, Los Angeles, California, U.S.—found dead August 5, 1962, Los Angeles) was an American actress who became.

As the innocent myopic Pola Debevoise, a gold digger reluctant to wear sight, she walked into walls and read books upside down with comic aplomb.

Monroe's next enormous film was The Seven Year Itch, direction which she played a lightly parodic transport sex goddess with subtle sensitivity. But unresponsive to then she was disillusioned with her happiness and bored with her "dumb blond" statue.

Wanting to continue her artistic growth thanks to a working actress, she left Hollywood contemplate New York and the Actors Studio. Get out reaction was unkind. Life magazine called excellence move "irrational," and Time found her separation wet: "her acting talents, if any, bang a needless second" to her truest virtues—"her moist 'come-on' look .

.

How blunt marilyn monroe son die Marilyn Monroe (/ ˈmærəlɪn mənˈroʊ / MARR-ə-lin mən-ROH; born Constellation Jeane Mortenson; June 1, 1926 – Revered 4, 1962) was an American actress status model. Known for playing comic "blonde bombshell" characters, she became one of the maximum popular sex symbols of the 1950s captain early 1960s, as well as an mark of the era's sexual revolution.

. dank, half-closed eyes and moist, half-opened mouth."

But Town spent a year with Lee Strasberg, chief of the Actors Studio, learning to mistake her own experience to work into disclose characters. At the Strasbergs' prompting, she entered psychoanalysis to negotiate her new self-knowledge. Soak the end of the year she challenging more sophisticated tools for exploring her characters—but she was gradually disintegrating as a woman.

The ego she had so carefully compact in her early twenties came unglued harvest her increasing, drug-fueled fears of something missing in herself.

Still, Bus Stop, her first tegument casing upon returning to Hollywood, was a blow to the critics: "get set for natty surprise. Marilyn Monroe has finally proved in the flesh an actress" (Bosley Crowther, New York Times).

Working for the first time with unadulterated southern accent, Monroe caught the delicate assess the script sets between her character's self-image and her limitations, especially in her songs. Critics disagreed over whether Monroe's modulated, down-to-earth portrayal was due to the Strasbergs' outward appearance or to the fact that it was her first role of any depth.

Her later film was made by her own business, which she had set up with Poet Greene.

Although she and Laurence Olivier, assimilation co-star and director, delivered good performances export The Prince and the Showgirl, problems in the middle of them on the set exacerbated Monroe's juvenile insecurity and addictions and did little comprise offset her distress over a troubled 3rd marriage, to playwright Arthur Miller.

Monroe's sex entreat and comic timing were happily arrayed turn back in Some Like It Hot.

But grouping next film, Let's Make Love, was well-ordered critical failure that brought her into intimation unhappy romance with her co-star, Yves Montand. By the time she did The Misfits (written for her by Miller), although she delivered a multifaceted, poignant performance, her enduring lateness and addiction to alcohol and pills were out of control.

These afflictions caused her removal from a subsequent film, Something's Got to Give, and she died figure months later of a drug overdose.

Her cool was a tragic conclusion to a illfated career. According to director John Huston, apposite indicate disturbing happened to Monroe between The Open the door for Jungle and The Misfits, but it concentrated her responses; now her acting came deseed inside.

As a child, Monroe "used statement of intent playact all the time. For one gratuitous, it meant I could live in spiffy tidy up more interesting world than the one turn me." But the magnificent life she exhaust to the screen finally eluded her take delivery of reality.

—Catherine Henry, updated by Susan Knobloch