The Explanation
(for those who require one)

And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness."
-- Nick Tosches, Where Dead Voices Gather

Marilyn in Action #19


Marilyn aspires

5 comments :

Vanwall said...

Poor Susan Strasberg - her life as a daughter was over as soon as Marilyn walked in the door there.

Christopher said...

...I've heard that sir Larry Olivier couldn't stand her when they made The Prince and the Showgirl because she farted all the time!..
To AIR is human..forgive divine..larry

Inukshuk said...

I was told the Actors Studio used to keep a close eye on neurotics actors...

They must have made an exception that time... and just keep their eye stuck on this new actress-in-progress... ;)

Tommy O'C said...

Lee Strasberg was starstruck by Monroe, much to the dismay of Actors Studio members who'd embraced his decades-long admonishment that they resist the easy temptations of fame and fortune in the interests of preserving their artistic integrity.

As for Olivier, there's much more to it than that. Booze and drugs, in the words of Maurice Zolotow, one of Billy Wilder's biographers, had turned Monroe into an unprofessional, malfunctioning, explosive "monster." Of course, she was desperately ill.

During the filming of "Some Like It Hot," for example, it took Monroe over eighty takes to open and close the drawers of a dresser and recite one simple line: "Where's the bourbon?" Wilder even put notes inside the drawers with the line writ large, and still, Monroe flubbed and flubbed and flubbed the line.

As Wilder said many times over the years, Monroe apologists(e.g., Steinem, Mailer, et al) never knew the woman, whereas he made two movies with her.

However, Wilder also gave credit where it was due. Why did you make two movies with Monroe (and Wilder would have made a third, "Kiss Me Stupid," but for her tragic, untimely death) if she was so terrible? A fair question. Because she was worth it every bit of the trouble she caused, Wilder said, the camera loved her.

Shades of "they had faces then," Wilder said he had an aunt in Jersey City who could nail "Where's the bourbon" on the first take. Get it right every time.

But who'd pay to see her? he asked.

Testify said...

On the wall by Marilyn there appears to be the shadow of two people kissing.