By Carl E. Rollyson Jr.
In American pop culture Marilyn Monroe has developed in stature from Hollywood intercourse image to tragic legend. such a lot books approximately Monroe tension the sensational occasions that surrounded her-this e-book is the 1st to deal in truth and severely with Monroe as an actress, comparing her strikes as the most important forces within the shaping of her identification. via cautious exam of her performances, from her small appearances within the Asphalt Jungle and All approximately Eve to her memorable roles in Bus cease, a few love it sizzling, and the The Misfits, the writer strains her improvement from hide lady blameless to an actress dedicated to her craft. in line with vast interviews with a lot of Monroe's colleagues, shut neighbors, and mentors, this finished, significantly balanced research describes her use of strategy appearing in addition to her guide with Michael Chekhov and, later, the Strasbergs. Carl Rollyson has written a clean research and appreciation of Marilyn Monroe's enduring and, formerly, underestimated presents as an inventive artist.
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Extra info for Marilyn Monroe: A Life of the Actress
She has her moment of anguish when she says, “I . . I tried . . ” Considering what? Considering that she did lie for him, that she was loyal to him for at least a few moments under intense police pressure? She did pretty well considering the kind of amoral, conniving creature she is? Such questions seem appropriate, given that she immediately asks him if she will still be able to go on the trip he has promised her. She knows he e a r l y c a r e e r 28 The Asphalt Jungle (1950) will be going to jail, but she thinks only of herself.
It is easier for the stage actor to outlive earlier roles, since it is merely memories of past performances with which she must contend. Memories are also mirrors, of course, but memories fade and change; celluloid strips, on the other hand, continually refresh reflection. In the images of her face, her figure, her voice, it was easy for Monroe to confirm the impressions of those directors who typed her as a dumb blonde. In other words, they were able to fill in their visions of what a dumb blonde was like by elaborating on those aspects of her that resembled the type.
Fiction that is intensely conceived, in other words, can replace fact. ” Perhaps Monroe’s work on All About Eve made her especially conscious of Addison DeWitt’s notion that actors are not like “normal human beings,” for they are particularly likely to believe their own fantasies. She may well have thought of herself as belonging to a separate category of human beings. Skolsky points out that Monroe often quoted her own version of DeWitt’s remarks: “Once in a while somebody writes an article saying that actors and actresses are just like other people.