Crypt 33 (6 page)
Authors: Adela Gregory
Being without a family of sorts was uncomfortable. A woman living without (real) family was a natural target for leeches. At a party at Ben Lyon's beach house, she dramatized her brush with rape, looking for sympathy and protection. John Carroll, a former leading man and then head of Metro-Goldwyn-Mayer talent and a voice coach, and his wife Lucille Ryman, were temporary rescuers. Carroll resembled both her idol, Clark Gable, and her long-lost father Gifford who, together, were intertwined as one savior. She was looking for a father for support and protection, both essential for her existence. John and his wife appeared to have a family environment that was both comfortable and reassuring.
Carroll's motivation for having Marilyn move into their home was questionable. He signed an exclusive management contract with a girl who had obvious talents and looks. Successful film acting depended upon her abilities. He had seen many talented women in his long career at MGM, and this one was different. He saw the enormous talent waiting to be unleashed. The vulnerable beauty turned him on sexually and emotionally.
Moving into the Carrolls' Cheviot Hills home, near Twentieth Century-Fox, Marilyn quickly grew dependent upon their judgment in making every decision, right down to her choice of dress, lipstick, and nail color. Lucille found her enticing and lovely, no threat whatever to her marriage. She believed any attraction her husband felt toward Marilyn would be fleeting. Then business took a downward turn, and the Carrolls moved to a less expensive house in Hollywood. Marilyn moved along too, but things were winding down at Columbia. As expected, Harry Cohn propositioned the actress, but she refused his advances. His already famous “night on his yacht” had gotten stale to the starlets and his unappealing manner and looks were an instant turn-off. Cohn had notches in his belt, and going to bed with him was a last resort for even the most desperate actress. Marilyn could not be bought; if she was attracted to someone, she was willing to share her body and moments of tenderness with him, but she had to be attracted. Harry made his pitch and she refused him. She prayed her refusal wouldn't get her dismissed.
Marilyn was living with the Carrolls and still under contract to Columbia when Aunt Ana Lower died. She had been ill for quite some time. Aunt Ana had always been there to soften blows for the child she had nurtured through to adulthood. At the funeral at Westwood Mortuary Marilyn sat grimly by Ana's coffin and then quietly at her gravesite.
The loss of Aunt Ana went right to Marilyn's heart. There had been ten good years to their relationship, much more than she had ever enjoyed with her own mother. But like a true survivor, Marilyn was already finding a substitute. Ana's replacement was to be the acting coach Natasha Lytess.
Lytess had entered her life when the film producer Harry Romm suggested the actress was not prepared for her small role in
Ladies of the Chorus.
Director Phil Karlson and head talent man Max Arnow agreed. Marilyn's experience in front of the movie camera was practically nil. She was still stuttering and nervous as she rehearsed on the set. Natasha Lytess later recalled that her first encounter with Marilyn was embarrassing. The actress had looked like a “streetwalker” and seemed to lack any sense of direction or purpose. The negative first impression would normally have dissuaded Lytess from wanting to work with such a “floozy,” but Marilyn's apparent vulnerability and talent ignited her interest.
Ladies of the Chorus.
Director Phil Karlson and head talent man Max Arnow agreed. Marilyn's experience in front of the movie camera was practically nil. She was still stuttering and nervous as she rehearsed on the set. Natasha Lytess later recalled that her first encounter with Marilyn was embarrassing. The actress had looked like a “streetwalker” and seemed to lack any sense of direction or purpose. The negative first impression would normally have dissuaded Lytess from wanting to work with such a “floozy,” but Marilyn's apparent vulnerability and talent ignited her interest.
Much to the disdain of Lytess, Marilyn became sexually involved with her handsome and sophisticated voice coach, Fred Karger. The affair turned sour, as Marilyn chased him incessantly, begging him to marry her. His mother, Anne Karger, took a distinct liking to the actress and hoped the couple would resolve their differences. But it was not to be. Instead, the young star gained another surrogate mother, who followed and supported her career. Until her death, Marilyn would cherish her relationship with Anne Karger.
After the first six months of her Columbia contract, the actress had been cast only in
Ladies of the Chorus
. Not surprisingly, Columbia dropped the option to renew.
Ladies of the Chorus
. Not surprisingly, Columbia dropped the option to renew.
Once more without work, Marilyn quickly landed a job on stage at the Mayan Theater. Located on South Hill Street in seedy downtown Los Angeles, the theater originally showcased first-run movies. By the time Marilyn got a job there, it housed a burlesque show just ten blocks from City Hall. The downtown area, jammed with business types during the day, was generally deserted by the affluent at night, and it wasn't fashionable for Hollywood notables to socialize there. But Marilyn needed money. Her rent was weeks overdue again and a long list of creditors were calling for payment.
She entered the manager's office, which faced north, climbed the metal staircase, and peered cautiously across the street, hoping she wouldn't be seen. A soiled blue scarf wrapped carelessly around her head hid her hairdo. Her tattered nylon stockings had been discarded that morning. With minimum wage barely up to a dollar fifty an hour, she could hardly afford new hose at a dollar a pair. Room and board were eighteen dollars a week. The economy was weak all around.
She knew her body was attractive, but she was insecure about her ability on the dance floor. Her knock knees were her biggest shame. Doctors had told her they were likely the result of malnourishment as a child. That sounded on-target to her; she had certainly known hungry days. So maybe being a striptease dancer wasn't so bad. At least it would pay the rent.
As the lights dimmed and the footlights came on, a low roar came from the crowd. As the music played up its tempo, Marilyn shimmied out onto the stage. Men from the audience screamed hoarsely, “Take it off, baby! Take it all off!” as they gaped at her with drink-blurred eyes. She reached for a strap and, in slow motion, playing it up, hinted at undoing her brassiere. Prancing around seductively on the stage, a smile pasted to her face, the young woman threw kisses to her viewers, flirting with them as she had been instructed.
Anton LaVey focused his shifty eyes on the young woman cavorting across the stage. He had the best seat in the house every nightâhe was the organist accompanying the strippers. And he was Marilyn's newest man.
“We made love sometimes in a motel, or when we were broke we did it in her car,” he would remark casually.
1
The car was a 1948 convertible that cost her around thirteen hundred dollars. The payments were small, but so was Marilyn's paycheck. Soon after the affair ended, the Ford was repossessed.
1
The car was a 1948 convertible that cost her around thirteen hundred dollars. The payments were small, but so was Marilyn's paycheck. Soon after the affair ended, the Ford was repossessed.
Fortunately for the reluctant stripper, Marilyn soon got a call she had been anticipating. She had spoken to producer Lester Cowan about a role in the Marx Brothers' new film
Love Happy
. Getting a part would enable her to quit her job at the Mayan Theater. The movie, story by Groucho, script by Frank Tashlin and Mac Benoff, was meant to serve as a comeback for both United Artists and the Marx Brothers, who had been on a five-year hiatus.
Love Happy
. Getting a part would enable her to quit her job at the Mayan Theater. The movie, story by Groucho, script by Frank Tashlin and Mac Benoff, was meant to serve as a comeback for both United Artists and the Marx Brothers, who had been on a five-year hiatus.
After her interview at RKO Studios with Cowan and Groucho, who said she had the prettiest ass in the business, she landed the role. The starlet garnered two lines, more than she ever had before. In the film she walked into Groucho's office. He asks, “Is there anything I can do for you?” Marilyn says, “Mr. Grunion, I want you to help me... some men are following me.” With his famous eye movements, Groucho returns, “Really, I can't understand why.” Her sensational walk and bounteous bosom no doubt attracted plenty of attention, but her two lines were hardly enough to carry the movie, which bombed miserably.
Driving a borrowed car to a reading, without a nickel in her purse, and almost later, Marilyn absentmindedly struck another vehicle, disabling the car she was driving. Practically in tears, Marilyn knew if she was late she'd certainly lose the role. The other driver, photographer Tom Kelley, noticed that Marilyn was an exceptionally pretty girl. Hoping for a future date, he slipped her a five-dollar bill and his business card. His small investment would pay off well in the future. Marilyn left the borrowed car at the scene of the accident and dashed off to her appointment.
Months later, Marilyn called Tom looking for work. Her 1948 Ford convertible had just been repossessed by the finance company, and she needed to redeem it. Kelley had an assignment to photograph nudes for an industrial calendar. He said the pay for the shooting was good: fifty dollars. Not only did Marilyn need money immediately, she felt beholden to the man who had allowed her to get to her reading on time. The photo session lasted three hours. The luscious blonde lay languorously on a red velvet blanket. Marilyn seemed at home in front of the camera. She did not mind, but rather, seemed comforted, that Kelley's wife was present. A commercial photographer, Tom did not ordinarily photograph nudes, but his camera eye was keen and the session produced brilliant results. She saved her car.
Later on, when Marilyn was once again under contract with Twentieth, she would stop by his studio, have a cup of coffee, and chat. One day she saw the results of their work. Marilyn stared at the photo as though it were someone else, concluding that it was pretty good. Several weeks later, while on the set of
Clash by Night
, the actress phoned and asked for twenty-five copies of the calendar, which Tom ordered for her. Marilyn picked them up and released them to her friends and the media. Pulling off that stunt was pretty savvy. When publicity hounds got hold of the calendar, all hell broke loose. In those days nudity was considered risqué. The newly controversial starlet got a lot of mileage from her nude shots, especially when she confessed that she had needed the money to pay bills. Marilyn Monroe soon became the most talked-about actress in town.
Clash by Night
, the actress phoned and asked for twenty-five copies of the calendar, which Tom ordered for her. Marilyn picked them up and released them to her friends and the media. Pulling off that stunt was pretty savvy. When publicity hounds got hold of the calendar, all hell broke loose. In those days nudity was considered risqué. The newly controversial starlet got a lot of mileage from her nude shots, especially when she confessed that she had needed the money to pay bills. Marilyn Monroe soon became the most talked-about actress in town.
6
Johnny Hyde
J
ohnny Hyde, vice president of William Morris, the most powerful agency in Hollywood, was present at a screening of
Love Happy.
Although Hyde thought the film stank, he was wildly impressed with Marilyn. His agency represented such stars as Rita Hayworth, Betty Hutton, Esther Williams, and Lana Turner, and Hyde sensed Marilyn would reach that magnitude at least.
ohnny Hyde, vice president of William Morris, the most powerful agency in Hollywood, was present at a screening of
Love Happy.
Although Hyde thought the film stank, he was wildly impressed with Marilyn. His agency represented such stars as Rita Hayworth, Betty Hutton, Esther Williams, and Lana Turner, and Hyde sensed Marilyn would reach that magnitude at least.
After meeting her in person at the Racquet Club in Palm Springs, he fell uncontrollably in love with her. He completely forgot he was already married to Mozelle Cravens and had four healthy sons.
Son of a Russian acrobat, Hyde had show business in his blood, but he had no stomach for performing. Instead he was highly successful negotiating top-pay salaries for actors such as Bob Hope.
Johnny openly expressed his love for Marilyn. He was old enough to be the twenty-two-year-old's father. But that did not stop them from becoming an item at nearly every Hollywood affair. At the Crystal Room of the Beverly Hills Hotel, Betty Hutton held a party in honor of Louis Sobol and his bride. All the town's glittering elite were there, including Johnny and Marilyn. Tongues wagged as the much shorter Johnny whirled his ingenue across the dance floor. Marilyn relished the role of social shocker; the attention made her feel important. Besides, Johnny seemed to be the only man who really understood her. She didn't care what anyone else thought about their affair; she was too busy soaking up his love. They would frequently go to Romanoffs, later to become Marilyn's favorite night spot. Men would constantly walk to their table and ask her to dance. Instead of being jealous, Johnny felt proud that she drew so much attention. Secure in Marilyn's love for him, Johnny felt confident in her promises to be faithful, despite her confession to him that she was still in love with Fred Kargar (who did not return the sentiment). Perhaps because of her fears of complete commitment, she used Kargar as a wedge, hedging her bets should Johnny decide to abandon her.
Many saw Marilyn unfairly as a conniving opportunist who would manipulate her way to the top. This type of behavior was rather a defense mechanism to squelch her feelings and the pain of her past, to keep from falling apart. With Johnny she didn't have to hide her insecurities, hurts, and disappointments, because he accepted her completely. He understood her burning need to overcome her past struggles by plunging into her career, to be noticed, respected, and loved by everyone. Nurturing her ambition to show the world what she was made of, he took the time and patience to introduce her to classical music and literature. He respected Marilyn for her sensitivity, honesty, and her inner as well as outer beauty. She in turn saw him as the kindest, warmest, gentlest, most charming man she ever knew.
Johnny repeatedly begged Marilyn to marry himâthat he would seek a divorce; to no avail. Though she confessed to loving him, she was never “in love.” He tried every trick in the book, baiting her with money, career, and social status. Having left his wife and children, he set Marilyn up in a posh Beverly Hills home on exclusive North Palm Drive. Though she had never before been so unconditionally loved and accepted by a man, perhaps her deep-rooted fear of abandonment kept her from commitment. Her low self-esteem and undernourished ego may also have interfered with her complete acceptance of a loving relationship. Regardless of her lack of commitment to him, Johnny continued to peddle unimpressive film footage of Marilyn to every studio executive in town. The Hollywood community interpreted his zealous efforts to promote Marilyn as the work of a love-happy fool in the desperate throes of one last fling.
Finally Johnny's tenacity paid off. Former manager Lucille Ryman arranged for Marilyn to read with director John Huston for a small but important role in
The Asphalt Jungle.
Johnny and Marilyn met with Huston and producer Arthur Hornblow Disregarding MGM policy, John Huston had given a script to Marilyn before the reading to enable her to be better prepared. Realizing the part demanded a very skilled actress, Johnny enlisted Natasha Lytess to coach Marilyn for her big scene, in which she was to break down and cry.
The Asphalt Jungle.
Johnny and Marilyn met with Huston and producer Arthur Hornblow Disregarding MGM policy, John Huston had given a script to Marilyn before the reading to enable her to be better prepared. Realizing the part demanded a very skilled actress, Johnny enlisted Natasha Lytess to coach Marilyn for her big scene, in which she was to break down and cry.
Everybody was in a good mood at the reading, except Marilyn, who was terrified and nearly catatonic. As the consummate professional, Huston quickly recognized Marilyn's anxiety and broke the ice by asking for her opinion of the part. Marilyn remained speechless. Huston then asked, “Can you tackle this role?” After a long pause, she admitted she didn't think she could do it. When it came time to read, Marilyn asked if she could lie down on the floor since her character was supposed to be on a couch and, since there wasn't a couch in the room, the floor would do. Amused by her gritty sense of realism, Huston graciously acquiesced. Though still awestruck by the director of
The Treasure of Sierra Madre
, her reading went well enough. But she wanted to try it again. Though Huston had already chosen her, he allowed another reading. Afterward, as she was getting up from the floor, Huston, in his emphatic, dictatorial style, commanded, “Fix yourself up with the wardrobe department.”
The Treasure of Sierra Madre
, her reading went well enough. But she wanted to try it again. Though Huston had already chosen her, he allowed another reading. Afterward, as she was getting up from the floor, Huston, in his emphatic, dictatorial style, commanded, “Fix yourself up with the wardrobe department.”
Working in front of the camera for John Huston was thrilling to Marilyn. Not only was he the most respected director she had worked with, he was the most interested in the task of actingâas opposed to many other directors who were more interested in doing flashy camera work in order to impress producers. Huston had empathy for his actors. He made Marilyn feel important, and she did her best for him.
Everybody congratulated Johnny on Marilyn's success. At the first-cut preview, her performance received raves from the audience along with catcalls and admiring whistles.
As Johnny acknowledged her newest triumph, Marilyn felt his love more than ever. It was not only the Marilyn on the silver screen he loved, but Norma Jeane as wellâand that made all the difference in the world.
Riding high on
The Asphalt Jungle
, Johnny planned to negotiate a contract with Metro. “They have a new star on their hands,” he apprised Marilyn. But after a meeting with top brass Dore Schary, their hopes were dashed. Although Schary confessed that he liked Marilyn's work in the film, he remained unconvinced that she possessed the star quality of Hyde's other top clients such as Lana Turner and Rita Hayworth.
The Asphalt Jungle
, Johnny planned to negotiate a contract with Metro. “They have a new star on their hands,” he apprised Marilyn. But after a meeting with top brass Dore Schary, their hopes were dashed. Although Schary confessed that he liked Marilyn's work in the film, he remained unconvinced that she possessed the star quality of Hyde's other top clients such as Lana Turner and Rita Hayworth.
Marilyn became severely depressed. She had heard the same discouraging words from Zanuck. Never fully confident in herself, the actress started to believe her critics might be right. But Hyde would not hear it, reassuring her that she was the most talented, beautiful actress alive.
Aware that timing made all the difference in a business where memories were short, Johnny Hyde pursued director Joseph Mankiewicz to cast Marilyn for the role of Miss Cawell in
All About Eve,
the story of an ambitious ingenue and a fading star. Mankiewicz had received an Oscar for directing
A Letter to Three Wives.
A consummate filmmaker, his talents were also respected in the fields of screenwriting and producing. He did not have John Huston's eccentricity or flair, but he was intelligent and sensitive. The making of the film was a joy, although Marilyn was intimidated by its all-star cast, including Bette Davis, Anne Baxter, George Sanders, Celeste Holm, Gary Merrill, and Thelma Ritter.
All About Eve,
the story of an ambitious ingenue and a fading star. Mankiewicz had received an Oscar for directing
A Letter to Three Wives.
A consummate filmmaker, his talents were also respected in the fields of screenwriting and producing. He did not have John Huston's eccentricity or flair, but he was intelligent and sensitive. The making of the film was a joy, although Marilyn was intimidated by its all-star cast, including Bette Davis, Anne Baxter, George Sanders, Celeste Holm, Gary Merrill, and Thelma Ritter.
During the filming, Marilyn managed to steal a few scenes and hearts. George Sanders instantly took a liking to her. Her fresh beauty, innocence, and honesty were qualities lacking in Zsa Zsa Gabor, his wife. After a take for their scene together, George invited Marilyn to the commissary for lunch. No sooner had they sat down in the dining room than the waitress informed George that he had a phone call. After taking it, he excused himself from the lunch table. Marilyn insisted he finish his meal; he had told her that he had been hungry on the set. But he refused and stalked out of the commissary.
, Later that afternoon Marilyn discovered what had happened. A hired spy on the set instructed Marilyn that hereafter she could not speak to George unless at a considerable distance. George's wife Zsa Zsa was jealous of the young actress and feared for her marriage. Sanders had spoken very highly of Monroe to her, and Zsa Zsa suspected the worst.
After this incident, Marilyn ate lunch alone. While strolling to the commissary, she was approached by the young Cameron Mitchell, who had been a hit playing Happy in
Death of a Salesman
in the original Broadway production. He had originally figured Marilyn to be the sort of dumb beautiful blonde Hollywood starlet that theater actors despised. But she turned out to be a many-faceted person, not just attracted to the glitzy life, but interested in exploring the psyche. She had begun reading the works of thinkers such as Freud and Menninger.
Death of a Salesman
in the original Broadway production. He had originally figured Marilyn to be the sort of dumb beautiful blonde Hollywood starlet that theater actors despised. But she turned out to be a many-faceted person, not just attracted to the glitzy life, but interested in exploring the psyche. She had begun reading the works of thinkers such as Freud and Menninger.
As they spoke, they walked around the lot for exercise. Marilyn caught sight of an extremely thin, tall man with deep-set eyes who resembled her childhood idol, Abraham Lincoln. The lanky gentleman was engaged in conversation with a short intense man. Cameron recognized the tall man as Pulitzer Prizeâwinning playwright Arthur Miller. His companion was director Elia Kazan. Marilyn was introduced and instantly bedazzled, but nothing came of the attraction then.
When
All About Eve
was finally released, reviewers enthusiastically singled out Bette Davis's performance, and few neglected to sing the praises of newcomer Marilyn Monroe. The film was a major critical and financial success. In 1950, the American Academy of Motion Picture Arts and Sciences named the film Best Picture, but Bette Davis was not named Best Actress. Everyone had noticed the small part played by Marilyn Monroe. A star was born.
All About Eve
was finally released, reviewers enthusiastically singled out Bette Davis's performance, and few neglected to sing the praises of newcomer Marilyn Monroe. The film was a major critical and financial success. In 1950, the American Academy of Motion Picture Arts and Sciences named the film Best Picture, but Bette Davis was not named Best Actress. Everyone had noticed the small part played by Marilyn Monroe. A star was born.
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