MARILYN MONROE FASHION SPOT - MARILYN MONROE

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Marilyn Monroe Fashion Spot


marilyn monroe fashion spot
    marilyn monroe
  • Monroe: United States film actress noted for sex appeal (1926-1962)
  • Marilyn MonroeShe obtained an order from the City Court of the State of New York and legally changed her name to Marilyn Monroe on February 23, 1956. (June 1, 1926 – August 5, 1962), born Norma Jeane Mortenson, but baptized Norma Jeane Baker, was an American actress, singer and model.
  • A female representing an ideal type of physical beauty and glamour
    fashion
  • Use materials to make into
  • Make into a particular or the required form
  • characteristic or habitual practice
  • make out of components (often in an improvising manner); "She fashioned a tent out of a sheet and a few sticks"
  • manner: how something is done or how it happens; "her dignified manner"; "his rapid manner of talking"; "their nomadic mode of existence"; "in the characteristic New York style"; "a lonely way of life"; "in an abrasive fashion"
    spot
  • Recognize that (someone) has a particular talent, esp. for sports or show business
  • Locate an enemy's position, typically from the air
  • descry: catch sight of
  • a short section or illustration (as between radio or tv programs or in a magazine) that is often used for advertising
  • See, notice, or recognize (someone or something) that is difficult to detect or that one is searching for
  • topographic point: a point located with respect to surface features of some region; "this is a nice place for a picnic"; "a bright spot on a planet"
marilyn monroe fashion spot - MM-Personal: From
MM-Personal: From the Private Archive of Marilyn Monroe
MM-Personal: From the Private Archive of Marilyn Monroe
Marilyn Monroe is our supreme icon of glamour, vulnerability, personal magnetism, and the American dream, and her legend continues to grow four decades after her death. MM—Personal is a new look behind the veil of that legend, reproducing the most fascinating relics from her private archive—once thought to have been lost, and never before revealed to the public—to clarify, qualify, or reverse many common conceptions about the “blond bombshell.”

Selected from more than 10,000 largely unseen and heretofore unpublished items from Marilyn’s own file cabinets, these documents, snapshots, letters, memorabilia, and ephemera are joined by the first account of Monroe’s life since Gloria Steinem’s Marilyn to be written by a feminist historian, revealing shades of her genius that have never before been fully understood.


Praise for MM - Personal:

"MM-Personal offers a fascinating glimpse into an impossibly famous celebrity going about the business of living."
--Wall Street Journal

"MM-Personal is filled with wonderful photographs . . . most accessible."
-Larry McMurtry for the New York Review of Books

"The book, a luscious glossy thing, is studded with photos, many of them Monroe's personal items-including artwork she purchased just before her death. . . . the overall vibe of the book is wrenching, because it clarifies Monroe's humanity, her working life, her normal day-to-day existence."
- Liz Smith

"With each turn of the page comes a new surprise. You don't have to be an MM fanatic to get lost in this book."
-Leonard Maltin

80% (16)
Audrey Hepburn
Audrey Hepburn
When she burst on an unsuspecting world in Roman Holiday in 1953, Audrey Hepburn seemed, and was, a totally original creation. It was just the time that the whole film world seemed to be swarming, understandably, in the direction of Marilyn Monroe, the other late flower of the Hollywood system. Monroe inspired dozens of imitators, but one could hardly imagine Hepburn inspiring any. Monroe was the busty blonde in excelsis, easy to ape superficially, if impossible to equal; Hepburn was tall, dark, gawky, strange-looking, a star who had, perforce, to create her own style. And so, indeed, she did. Her figure was a dress-designer's dream (she had been briefly a fashion model) and she worked out for herself that the ideal designer for her was Givenchy, with his uncompromising simplicity. She was a lady, in a cinema which was emphatically reacting against any such notion of womanhood. She was elfin, ethereal, with a touching, almost waif-like quality about her which fitted her particularly for the romantic fairy story. And above all, she had charm and a sparkling sense of humour which made the whole worldfall in love with her at first sight. Well, not, perhaps, quite at first sight. Before she was picked by William Wyler to play the errant princess in Roman Holiday, she had made brief appearances in several European-made films. She was a cigarette girl in the opening scene of The Lavender Hill Mob in 1951 and played a substantial role in Thorold Dickinson's serious but flawed The Secret People, before being spotted by Colette in a hotel lobby while making a film called Nous Irons a Monte Carlo. At Colette's suggestion she was auditioned by Gilbert Miller for the title role in a Broadway adaptation of Colette's novel Gigi. She got the role, and achieved a great personal success in it, but Paramount were still tentative enough about her screen possibilities to sign her up for only one film in the first instance. So she was not quite an overnight sensation, though it looked very much like it when she went on to win the New York Critics' Award and the Best Actress Oscar for Roman Holiday. Paramount wanted, too late, to put her on an exclusive long term contract, but discovered that instead they had to hire her services from Associated British, which had already signed her as a starlet during her brief period in British films. She was the daughter of an English banker working in Brussels, Joseph Anthony Hepburn-Ruston, and his wife, the Dutch Baroness Ella van Heemstra. Audrey (originally Edda) was the only child of this marriage, though she had two half-brothers from one of her mother's previous marriages. She seems to have been a solitary and withdrawn child, brought up bilingual and, after the break-up of her parents' marriage in 1935, commuting awkwardly between their respective homes in England and Holland. She was also, amazingly for those who remember her spare elegance as an adult, inclined to be plump and considered rather plain. When war broke out her mother brought her back quickly from England, thinking that Holland would be safer. She was in Arnhem when the Germans invaded, already studying the dance with the hope of becoming a ballerina. On several occasions during the occupation she and her family were close to starvation, but she survived, took up her dance studies again, and in 1947 emigrated with her mother to London, where chances seemed to be better for making dancing her profession. She returned briefly to Holland for a small part in an obscure film, but did not take the possibility of becoming an actress seriously. She continued her dance studies with the Ballet Rambert, and danced in the chorus of High Button Shoes and in the revues Sauce Tartare and Sauce Piquante in the West End before playing a bit in the film Laughter in Paradise. This led to the Associated British contract and further small parts before the encounter with Colette. Once she was launched in America she was unstoppable: major film-makers fell over themselves to give her major roles. If Roman Holiday was a Cinderella story in reverse, Billy Wilder's Sabrina was the classic article, and for the first time on screen she was allowed to become glamorous and sophisticated. Back on Broadway she played in Giraudoux's Ondine, co-starring with Mel Ferrer, whom she subsequently married and appeared with in King Vidor's version of War and Peace, in which she was a dazzling Natasha. Throughout the 1950s she went from triumph to triumph, singing and dancing with Fred Astaire in Funny Face, having another May/December affair with Gary Cooper in Love in the Afternoon, and rounding out the decade with the enormous success of Fred Zinnemann's The Nun's Story. Her first real failure was Mel Ferrer's unconvincing version of W. H. Hudson's Green Mansions, a fantasy about a girl who lives with the birds. Memory of this was soon wiped out by another of her classic roles, as Holly Golightly in Breakfast at Tiffany's, a film the original
Gentlemen Prefer Blondes
Gentlemen Prefer Blondes
An attractive screen tintuner has been fashioned from the musical stage hit, "Gentlemen Prefer Blondes," and it's a flashy film show with enough s.a. and escapism to rate its full share of the boxoffice. Surefire casting of Jane Russell and Marilyn Monroe to project the physical and dialog lines should test theater cooling systems and give the ticket windows a good run for the money. The Joseph Fields-Anita Loos stage original has been modernized in the slick Sol C. Siegel production, but the general theme and principal characters are intact. Only three of the stage tunes by Jule Styne and Leo Robin are used, but two numbers were cleffed by Hoagy Carmichael and Harold Adamson so that five songs, plus reprises, are spotted during the 91 minutes of footage. A strong play to the sophisticated dialog and situations is given by Howard Hawks' direction and he maintains the racy air that brings the musical off excellently at a pace that helps cloak the fact that it's rather lightweight, but sexy, stuff. however, not much more is needed when patrons can look at Russell-Monroe lines as displayed in slick costumes and Technicolor. Together, the two femmes are the picture's outstanding assets for exploitation purposes and entertainment. Miss Russell is a standout and handles the lines and songs with a comedy flair she has previously demonstrated. Miss Monroe matches with a newly displayed ability to sex a song as well as point up the eye values of a scene by her presence. Made well worth listening to by the star team are "Two Little Girls from Little Rock," a revised version of the stage original; "Bye, Bye, Baby" and "Diamonds Are a Girl's Best Friend," plus the new songs, "Anyone Here for Love," a production number socked by Miss Russell, and "When Love Goes Wrong," sold by both. The big production number in the presentation is "Diamonds," flashily presented by Miss Monroe and a male line against a vivid red backdrop. Piece gets a reprise by Miss Russell, who takes off the Monroe voice and blonde charms during a Paris courtroom scene. Choreography by Jack Cole puts the emphasis on a wiggling type of terps, a form of movement, which the Misses Russell and Monroe sell with plenty of bounce. Miss Monroe, a blonde who likes diamonds, and Miss Russell, a brunet who likes men, sail for Paris and fun when Tommy Noonan, the blonde's lovesick millionaire, is unable to make the trip. Noonan's pop, Taylor Holmes, who would like to bust up the son's attachment, sends Elliott Reid a private eye, along to keep an eye on the girls. When he's not acting like a male for Miss Russell's benefit, Reid's busy making notes on a diamond-inspired shipboard romance between the blonde and Charles Coburn, an English gent with a mine full of the precious stones. Tape recordings and photogs, plus a missing diamond tiara, are among the complications aimed at amusing while things are kept going until each girl gets what she most wants. Yarn could have used some schmaltz in the form of heart tugs to get deeper into an audience, but the script by Charles Lederer makes excellent use of zippy lines and the two femmes sell them strongly. Coburn is in fine form as the diamond tycoon with an eye for dames. Reid and Noonan carry off the romantic male spots nicely. Little George Winslow's big voice in a little body provides a comedy contrast to Miss Monroe's little girl voice in a big girl's body for his two scenes with her. Marcel Dalio, Holmes, Norma Varden, Howard Wendell and Steven Geray are among the others doing their share of the comedy work. Picture bears evidence of having been pruned considerably from its original length and the deep cuts have resulted in some continuity choppiness. Harry J. Wild's camera work adds to the picture's visual stimulation. Lionel Newman's musical direction and the Travilla costumes are among the other assets. 20th-Fox release of Sol C. Siegel production. Directed by Howard Hawks. Screenplay, Charles Lederer; based on musical comedy by Joseph Fields and Anita Loos, with songs by Jule Styne and Leo Robin, as presented on the stage by Herman Levin and Oliver Smith. Dorothy - Jane Russell Loreli - Marilyn Monroe Sir Francis Beekman - Charles Coburn Malone - Elliott Reid Gus Esmond - Tommy Noonan Henry Spofford, III - George Winslow Magistrate - Marcel Dalio Esmond, Sr. - Taylor Holmes Lady Beekman - Norma Varden Watson - Howard Wendell Hotel Manager - Steven Geray Grotier - Henri Letondal Phillipe - Leo Mostovoy Pritchard - Alex Frazer Cab Driver - George Davis Headwaiter - Alphonse Martell William Brogdon VARIETY 1 July 1953

marilyn monroe fashion spot
marilyn monroe fashion spot
Some Like It Hot
When Chicago musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) accidentally witness a gangland shooting, they quickly board a southbound train to Florida, disguised as Josephine and Daphne, the twonewestand homeliestmembers of an all-girl jazz band. Their cover is perfect...until a lovelorn singer (Marilyn Monroe) falls for Josephine, an ancient playboy (Joe E. Brown) falls for Daphne, and a mob boss (George Raft) refuses to fall for their hoax! Nominated* for 6 Academy Awards(r), Some Like It Hot is the quintessential madcap farce and one of the greatest of all film comedies (The Motion Picture Guide). *1959: Director, Actor (Lemmon), Adapted Screenplay, Cinematography (B&W), Art Direction (B&W), Costume Design (B&W, winner)

Maybe "nobody's perfect," as one character in this masterpiece suggests. But some movies are perfect, and Some Like It Hot is one of them. In Chicago, during the Prohibition era, two skirt-chasing musicians, Joe and Jerry (Tony Curtis and Jack Lemmon), inadvertently witness the St. Valentine's Day Massacre. In order to escape the wrath of gangland chief Spats Colombo (George Raft), the boys, in drag, join an all-woman band headed for Florida. They vie for the attention of the lead singer, Sugar Kane (Marilyn Monroe), a much-disappointed songbird who warbles "I'm Through with Love" but remains vulnerable to yet another unreliable saxophone player. (When Curtis courts her without his dress, he adopts the voice of Cary Grant--a spot-on impersonation.) The script by director Billy Wilder and I.A.L. Diamond is beautifully measured; everything works, like a flawless clock. Aspiring screenwriters would be well advised to throw away the how-to books and simply study this film. The bulk of the slapstick is handled by an unhinged Lemmon and the razor-sharp Joe E. Brown, who plays a horny retiree smitten by Jerry's feminine charms. For all the gags, the film is also wonderfully romantic, as Wilder indulges in just the right amounts of moonlight and the lilting melody of "Park Avenue Fantasy." Some Like It Hot is so delightfully fizzy, it's hard to believe the shooting of the film was a headache, with an unhappy Monroe on her worst behavior. The results, however, are sublime. --Robert Horton

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