Marilyn: The Passion and the Paradox
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Like her art, Marilyn Monroe was rooted in paradox: She was a powerful star and a childlike waif; a joyful, irreverent party girl with a deeply spiritual side; a superb friend and a narcissist; a dumb blonde and an intellectual. No previous biographer has recognized―much less attempted to analyze―most of these aspects of her personality. Lois Banner has. With new details about Marilyn's childhood foster homes, her sexual abuse, her multiple marriages, her affairs, and her untimely death at the age of thirty-six, Marilyn is, at last, the nuanced biography Monroe fans have been waiting for.
didn’t like it. Marilyn called Arthur in Ireland; Arthur called Yves and suggested that Simone join him at the door, since Marilyn felt especially close to her. Now sobbing, Marilyn opened the door and threw herself into Simone’s arms and said she wouldn’t do it again. Of course, she did it again. Marianne Kris was finally contacted in New York, and she recommended bringing in psychiatrist Ralph Greenson to see Marilyn on a temporary basis. Greenson had a practice in Beverly Hills with many star
present, and future for Norma Jeane. As a young adult and a Hollywood starlet living on her own Marilyn painted it white to resemble the white pianos often present in the art moderne sets of 1930s movies. Those pianos were a symbol of elegant sophistication. Norma Jeane stayed with the Atkinsons until June 1935, when Grace sold the Arbol Drive house. They then moved to a house on Glencoe Way, in the Hollywood Hills close to Arbol Drive—not to England, as some biographers suggest. The 1935 Los
co-worker and friend at Consolidated Film Industries, and he and his family lived in Los Angeles, so Norma Jeane would remain in the city. Gladys again refused to allow the adoption.8 When the Giffens left Los Angeles in July, Grace finally brought Norma Jeane to live with her. She told her she wouldn’t have to go to an orphanage, and the child was vastly relieved. She didn’t want to go to a place where she didn’t know any of the children. Some biographers contend that state law required Grace
Factory, 22. Before studying the Hollywood film industry, Powdermaker had studied the antebellum South, including the plantation system. 48. Leonard Mosley, Zanuck: The Rise and Fall of Hollywood’s Last Tycoon (Boston: Little Brown, 1984); Mervyn LeRoy, Mervyn LeRoy, Take One (New York: Hawthorn Books, 1994), 210; Bob Thomas, King Cohn: The Life and Times of a Hollywood Mogul (Beverly Hills, Calif.: New Millennium, 2000). 49. LB, interview with Michael Selsman, October 9, 2008. 50. E. J.
47. Cassini, In My Own Fashion, 184–85. 48. Milton Berle, Milton Berle: An Autobiography (New York: Delacorte, 1975), 265–66. Journalist Joe Hyams verified the Berle affair in his interview with DS, in Spoto—AMPAS. 49. James Bacon, Hollywood Is a Four Letter Town (New York: Avon, 1977), 133. Hank Messick, The Beauties and the Beasts: The Mob in Show Business (New York: McCay, 1973); Norman Zierold, The Moguls (New York: Coward-McCann, 1969); Corinne Calvet, Has Corinne Been a Good Girl? (New