On The Spanish Steps

Piazza di Spagna in an 18th-century etching by Giovanni Battista Piranesi, seen from south. The street on the left is Via del Babuino, leading to Piazza del Popolo.

 
 

The Spanish Steps or Scalinata della Trinità dei Monti are a set of steps in Rome, Italy, climbing a steep slope between the Piazza di Spagna at the base and Piazza Trinità dei Monti, dominated by the Trinità dei Monti church at the top.

The monumental stairway of 135 steps (the slightly elevated drainage system is often mistaken for the first step) was built with French diplomat Étienne Gueffier’s bequeathed funds of 20,000 scudi, in 1723–1725, linking the Bourbon Spanish Embassy, and the Trinità dei Monti church that was under the patronage of the Bourbon kings of France, both located above — to the Holy See in Palazzo Monaldeschi located below. The stairway was designed by architects Francesco de Sanctis and Alessandro Specchi.

 
 

In the piazza, at the corner on the right as one begins to climb the steps, is the house where English poet John Keats lived and died in 1821; it is now a museum dedicated to his memory, full of memorabilia of the English Romantic generation.

 
 

At the top the stairway ramp up the Pincio which is the Pincian Hill. From the top of the steps the Villa Medici can be reached.

During Christmas time a 19th-century crib is displayed on the first landing of the staircase. During May, part of the steps are cover
ed by pots of azaleas. In modern times the Spanish Steps have included a small cut-flower market. The steps are not a place for eating lunch, being forbidden by Roman urban regulations, but they are usually crowded with people.

 
 

 
 

In the Piazza di Spagna at the base is the Early Baroque fountain called Fontana della Barcaccia (Fountain of the ugly Boat), built in 1627-29 and often credited to Pietro Bernini, father of a more famous son, Gian Lorenzo Bernini, who is recently said to have collaborated on the decoration. The elder Bernini had been the pope’s architect for the Acqua Vergine, since 1623. According to a legend, Pope Urban VIII had the fountain installed after he had been impressed by a boat brought here by a flood of the Tiber river.

 
 

The film Roman Holiday (William Wyler, 1953), starring Audrey Hepburn and Gregory Peck, made the Spanish Steps famous to an American audience

 
 

The apartment that was the setting for The Roman Spring of Mrs. Stone (José Quintero, 1961) is halfway up on the right

 
 

The Steps were featured prominently in the film version of The Talented Mr. Ripley(Anthony Minghella, 1999) starring Matt Damon in the title role

 
 

To watch Morten Harket’s Spanish Steps music video, please take a gander at The Genealogy of Style’s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl

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Monsters and Marilyns

CS Lewis once said “How monotonously alike all the great tyrants and conquerors have been”. This was the primary thought behind the series Monsters and Marilyns. Throughout history Fascists, Communists, Marxists, and Socialists have murdered and oppressed those who were under their rule, yet popular culture and propaganda have tried to make these monsters into heros and icons. Twisting peoples memories and brainwashing them into an Orwellian nightmare.

Andy Warhol’s silkscreen painting of Marilyn Monroe is one of the most iconic painting of the Pop Art Movement. Not many people know that the painting was meant to show the mask of popularity that a celebrity wears. On the outside there were different shades of happiness, but under all the paint and smiles there was something darker: depression, drug use, and suicide. I took this idea and reinterpreted it to speak truth into our popular culture. The hair and make-up from the Marilyn Monroe painting is placed on politicians, dictators, public officials, as well as old horror movie monsters that are liars, murderers, and tyrants. By doing this the statement is made that no matter how much popular culture or the mass media tries to dress up and beautify these people, they are still monsters. Saddam Hussein, Barack Obama, Frankenstein, Dracula, Stalin, Lenin, Che Guevara, Ho Chi Minh, Bill Clinton, Pin Head, Leather Face, Barney Frank, Mao Zedong, the Bride of Frankenstein, Hitler, Hannibal Lecter, Jack (the character from Stanley Kubrick‘s The Shining),  and Jesse Jackson are only some of the people that I have Marilynized.

My goal is to force people to look past the media hype and celebrity masks of these people and see them for who they really are. Much like in George Orwell’s masterpiece 1984, people are too willing to give up their freedom and liberty to be taken care of and protected by the Government. They will believe anything that they are told to believe even if they know its a lie because they do not want to know the truth. As a society, we want to be lied to, we want to think that everything is normal even when it is crashing down around us. We want to believe in people even though they give us empty promises and lies every time they open their mouths. We need to wake up and realize that lying to ourselves does not change reality. We must recognize and accept truth. The truth will set you free, but it will not make you sleep easy at night.

Therefore, by linking monsters to the mask-wearing Marilyn Monroe that Andy Warhol portrayed, I demonstrate that things are not what they seem. They are a mask, a lie, a perversion of the truth to allow people to lie to themselves in order to feel secure.”

Jesse Lenz

 
 

Series by Jesse Lenz, 2009

Raggedy Andy and the Cockroach

“Andy Warhol was reasonably well-known by the time he came to see me, although he was still being called Raggedy Andy, not because his work was sloppy, but because of his appearance. He’d had success with book-jacket designs for such publishers as New Directions and with his drawings and paintings for I. Miller shoe ads – and I knew I. Miller – but stories about his mishaps were making the rounds. When he’d zipped open his portfolio to show his work to the art director at Harper’s Bazaar, a cockroach had crawled out. Poor boy, that Raggedy Andy. But Harper’s had given him assignments. He won awards for his work, for his ‘commercial’ art, and he never pretended a difference between what he did to survive and what he called his art. To his credit, I think it was all the same to him. He was a very busy young man. I used Warhol’s art in several of my perfume windows at Bonwit’s. In July 1955, just before my work began at Tiffany’s, I made some wooden fences, and he covered them with graffiti for a series of windows. They were fun, full of a childish playfulness.”

Gene Moore

 
 

Photo by Leila Davies Singelis, 1950

 
 

In the summer of 1955 Andy Warhol‘s career as a commercial artist took a new turn when Gene Moore hired him to provide artwork for the windows of the Bonwit Teller department store. Moore had arrived in New York in 1935, hoping to become a fine artist, and had ended up a window dresser. One of the jobs Moore took to support himself in New York was making paper mache flowers for the Bob Smith Display Company. When one of Smith’s customers, Jim Buckley, was made the display director of I. Miller Shoes in approximately 1937, he hired Moore to be his assistant. By the following year, Moore was also doing window dressing for Bergdorf Goodman’s and Delman’s department stores. In 1945 he was appointed the display director for Bonwit Teller. Moore often modeled his mannequins on Hollywood stars like Vivien Leigh and Audrey Hepburn, and was responsible for introducing the belly button on mannequins.

The cockroach story became part of Warhol’s legend. It was repeated in The Philosophy of Andy Warhol (From A to B and Back Again). However, according to the painter Philip Pearlstein, the incident had actually happened to him, not to Warhol.

Warhol wasn’t the only artist working for Moore. He was also using Robert Rauschenberg and Jasper Johns, who were window dressing under the combined pseudonym, Matson Jones. According to Moore, James Rosenquist, Andy Warhol, Robert Rauschenberg and Jasper Johns all worked with him during the same period. Rauschenberg and Johns continued to do windows for him when, in July 1956, Moore also started doing windows for Tiffany’s in addition to his continued involvement with Bonwit Teller.

The Terror of Lust

“Don’t let yourself die without knowing the wonder of fucking with love.”
Gabriel García Márquez
Memories of My Melancholy Whores

 
 

Wasserschlangen I or Freundinnen I (Water Serpents I), 1904 Gustav Klimt’s painting on the book cover of the English version of 眠れる美女

 
 

House of the Sleeping Beauties is a 1961 novella by the Japanese author Yasunari Kawabata. A story about a lonely man, Old Eguchi, who continuously visits the House of the Sleeping Beauties in hope of something more. As the great Japanese writer Yukio Mishima expresses it perfectly in his introduction, this book is a pregnant reflection on ‘the terror of lust by the approach of death.’

Memories of My Melancholy Whores, Gabriel Garcia Márquez’s last written work, has some similarities to Kawabata’s short novel, which Marquez even quotes in the epigraph:

 

“He was not to do anything in bad taste, the woman of the house warned old Eguchi. He was not to put his finger into the mouth of the sleeping girl, or try anything else of that sort.”

 

Kawabata’s book is about an old man who watches sleeping young women and feels himself overwhelmed by desire for them. Marquez’s book is about an even older man who first desires a sleeping young woman, and then feels himself overwhelmed by platonic love. Thus, Marquez inverts Kawabata’s painful yearning into a sentimental fantasy.

And of course he replaces Kawabata’s old man with the typical Marquez protagonist. Marquez protagonists are men who invariably possess amazing virility, miraculous longevity, and larger-than-life charisma. They are never good-looking, but they can always get any woman they want. In this book, the protagonist explains that he had been with 514 different women by the age of fifty. It is also typical for Marquez to give the exact number. It’s not enough for his character to have had great success with the ladies, he has to have had exactly 514 of them. Marquez did this exact thing in Love In The Time Of Cholera, where Florentino Ariza filled some similarly huge number of notebooks with descriptions of his romantic conquests.

In 1982 Gabriel García Márquez wrote a story, Sleeping Beauty and the Airplane, in which Kawabata is specifically alluded to. Seated in the first-class cabin of an airplane crossing the Atlantic beside a young woman of extraordinary beauty who sleeps throughout the flight, García Márquez’s narrator is reminded of Kawabata’s novel. As a work of fiction the “Sleeping Beauty” story is undeveloped, no more than a sketch. Perhaps for this reason, García Márquez feels free to reuse its basic situation —the no longer young admirer side by side with the sleeping girl— in Memories of My Melancholy Whores.

House of the Sleeping Beauties is a study of the activities of eros in the mind of a sensualist of an intensive and self-aware kind, acutely—perhaps morbidly—sensitive to odors and fragrances and nuances of touch, absorbed by the physical uniqueness of the women he is intimate with, prone to brood on images from his sexual past, not afraid to confront the possibility that his attraction toward young women may screen desire for his own daughters, or that his obsession with women’s breasts may originate in infantile memories.

 
 

FILM ADAPTATIONS

 
 

Das Haus der schlafenden Schönen (Vadim Glowna, 2006)

 
 

Sleeping Beauty (Julia Leigh, 2011). The film is based in part on the novel House of the Sleeping Beauties. In writing the script, Leigh drew from several literary inspirations— Yasunari Kawabata’s novella; Memories of My Melancholy Whores by Gabriel Garcia Marquez; a story in The Bible in which King David as an old man spends the evening alongside sleeping virgins; and the eponymous fairytales by Charles Perrault and The Brothers Grimm. She also noted the phenomenon of images of sleeping girls on the internet, presumably in somnophilia pornography. Mia Wasikowska was originally cast as Lucy but she dropped out when offered the title role in the adaption of Jane Eyre.

The Blonde and the Brunette

Marilyn Monroe in Jackie wig. Photos: Bern Stern, 1962

 
 

MARILYN AND JACKIE’S 11-YEAR ITCH

Text by Wendy Leigh

The Observer,  Sunday 22 June 2003

 
 

At first glance they couldn’t have been more different. Jackie, the pristine American princess born into East Coast high society, who glided effortlessly into marriage with multi-millionaire’s son Senator John Fitzgerald Kennedy, and then into the White House as First Lady. And Marilyn, the bleached blonde bombshell from the wrong side of the tracks, illegitimate daughter of a mother who went insane and a father she never knew, with a sexual radiance so white hot that it catapulted her from pleasuring ageing Hollywood tycoons, on to the silver screen and into immortality.

Yet while researching my novel, The Secret Letters of Marilyn Monroe and Jacqueline Kennedy, I discovered that, like many wives and mistresses who share the same man, in reality Marilyn and Jackie were sisters under the sheets. It became clear to me that Marilyn was Jackie’s equal and that her illicit affair with Kennedy was significant. For years, that affair has been was painted as brief, fumbling – a one-night stand which might, mainly because of Kennedy’s fascination with Marilyn’s dizzying status as America’s reigning sex goddess, have only temporarily transcended his usual hit-and-run amorous encounters.

But their liaison was far from brief. The future President met the actress in 1951, at the house of Marilyn’s agent and Jack’s friend, Charles K Feldman. Kennedy was an up-and-coming senator, a bachelor playboy whose political campaign was funded by his father’s vast fortune. Marilyn was on the brink of stardom. Their affair was to last 11 years, ending with one final meeting in Manhattan’s Carlyle Hotel just hours after Marilyn had sung ‘Happy Birthday, Mr President’ in such an erotically charged way that the columnist Dorothy Kilgallen noted: ‘It seemed like Marilyn was making love to the President in front of 40 million Americans.’

If their affair lasted for 11 years, it was also far from superficial, as a cache of letters from Kennedy to Marilyn, now in the possession of Marilyn’s heirs, attests. Monroe was Kennedy’s long-term mistress, a serious rival to his wife.

Yet below the surface, Marilyn and Jackie shared many similarities. Growing up, they both adored Gone With the Wind, worshipped the Empress Josephine and idolized Clark Gable – Marilyn kissing his picture goodnight as a child, fantasizing that he was her father, and Jackie insisting that her own father, Jack Bouvier, was Gable’s double. Both women retained whispery, baby-doll voices as adults, often playing ‘Daddy’s girl’ with the men in their lives. Even when she was in her late fifties, Jackie simulated a little-girl quality around Maurice Templesman, the last man in her life. And Marilyn actually addressed her third husband, Arthur Miller, as ‘Daddy’. Both had difficulties conceiving a child.

They shared a love of salacious gossip. According to Truman Capote, Jackie was set on discovering what a mutual friend was like in bed. Capote was also Marilyn’s confidant of choice, revealing to him how she witnessed Errol Flynn playing ‘You Are my Sunshine‘ on the piano with his penis.

Naturally, their jetset lifestyles rocketed Marilyn and Jackie into the same orbit. When Jackie met Hungarian actress Zsa Zsa Gabor, Gabor gave her skin-care advice. Marilyn met Zsa Zsa in less felicitous circumstances, on the set of All About Eve, in which she starred with George Sanders – with Gabor, his then wife, ever present. Zsa Zsa’s reasons were clear. She later recalls George telling her: ‘The doorbell rings and there stands Marilyn in a beautiful sable coat. I asked her what she wanted and she opened the coat. Marilyn was stark naked underneath. Who am I not to make love to a woman like that?’

Marilyn and Jackie each met and flirted with Krushchev and Sukarno; Aristotle Onassis acted as a go-between for Prince Rainier when Rainier wanted to marry Marilyn. And while Onassis never met Marilyn, he did, of course, meet Jackie, whereupon, according to Onassis’s biographer, Willi Frischauer, ‘he compared her to a diamond – cool, sharp at the edges, fiery and hot beneath the surface’.

Jackie and Marilyn both favoured Chanel; Jackie wore Chanel designs, Marilyn slept in Chanel No 5. Their hairdresser of choice was Kenneth, who created Jackie’s trademark bouffant, and advised Marilyn to dye her pubic hair blonde so that it didn’t show through her clinging clothes. Marilyn and Jackie shared a number of lovers and admirers. British actor Peter Lawford, Jack Kennedy’s friend and sometime pimp, was one of them.

Robert Mitchum also appealed to both women. Jackie enthused that he had always been her favourite movie star. Marilyn, who co-starred with Mitchum in River of No Return, said: ‘Mitchum is one of the most interesting, fascinating men I’ve ever known’, but drew the line at a threesome with Mitchum and his stand-in, Tim Wallace: ‘Ooh,’ said Marilyn, ‘that would kill me.’ ‘Well, nobody’s died from it yet,’ Wallace snickered. ‘Ooh, I bet they have!’ Marilyn told him, ‘but in the papers they just say the girl died of natural causes.’

After Kennedy’s death, rumours raged that Jackie and Frank Sinatra had an affair. Their relationship dated back to the Inauguration Ball, to which Frank escorted Jackie. Watching the footage of that night, the chemistry between them is palpable. Marilyn, in turn, had a sporadic affair with Sinatra. One night, according to her maid, Lena Pepitone: ‘She absent-mindedly wandered downstairs with nothing on to look for Frank. She said that she was lonely and just wanted to talk to him. After walking through one empty room after another, she finally opened the door to the smoking-room where the card game was in session. Frank was livid. “He yanked me to one side and ordered me to get my ‘fat ass’ back upstairs.” How dare she embarrass him in front of his friends.’

Marlon Brando dazzled Marilyn and Jackie. He met Marilyn in 1955; there was a strong attraction between them; she called him Carlo, reporting that he was sweet and tender. In the late Sixties, Jackie had dinner with Brando at a Washington club and danced with him afterwards. According to one of Brando’s friends: ‘Jackie pressed her thighs against his and did everything she could to arouse him. They talked about going away on a skiing vacation together, just the two of them. Brando could feel Jackie’s breath on his ear. He felt Jackie expected him to make a move, to try and take her to bed.’ However, having drunk too much, Brando was fearful he might be impotent, so made his apologies and left.

Apart from sharing President Kennedy’s bed, Marilyn and Jackie both had affairs with his brother, Bobby. Jackie’s affair with Bobby, in the years following Jack’s assassination, has only recently been revealed by C David Heymann in his biography RFK . ‘Socialite Mary Harrington was staying at a house next to the Kennedy compound in Palm Beach in 1964. “I was looking out a window on the third floor and there was Jackie, sunbathing in the grass wearing a black bikini bottom with no top. Then Bobby, wearing a white swimsuit, emerged from the house and knelt by her side. As they began to kiss, he placed one hand on her breast and the other between her legs. After a few minutes, she stood up and wrapped a towel around her. Together, Bobby and Jackie disappeared into the house.'”

Ultimately, it appears that the wife was as libidinous as the mistress. Yet neither of them was as highly sexed as the man in their lives. Jack Kennedy insisted that if he didn’t have sex on a daily basis he would get a headache, and claimed: ‘I’m not through with a woman until I’ve had her three ways’. But according to Jackie’s friend, Peter Duchin: ‘Jackie was very, very romantic, but not sexy’, while Peter Lawford alluded to Marilyn’s ‘romanticism’.

Perhaps it is natural that, from the start, Marilyn and Jackie were enthralled by one another. When she was working as a young reporter in Washington, Jackie invariably asked men: ‘If you had a date with Marilyn Monroe, what would you talk about?’ And Marilyn’s fascination with Jackie was such that she even dressed as her for a Life magazine shoot, donning a black wig and pearls for the occasion.

When Marilyn died at the age of 36 in 1962, Jackie, the wronged wife, declared sombrely: ‘She will go on eternally.’ Jackie herself died on 19 May 1994, the thirty-second anniversary of the night on which Marilyn Monroe sang ‘Happy Birthday, Mr President’ to her lover, Jack Kennedy.

Like Father… (Artists)

English author, critic and mountaineer Leslie Stephen and Virginia Woolf

 
 

Painter Lucian Freud with his daughter, fashion designer Bella Freud

 
 

Gerolamo “Gimmo” Etro, the brand’s founder and his four children: Jacopo (manages textiles, leather goods and the home collections), Kean (is responsible for the menswear collections) , Ippolito (the CEO) and Veronica (is responsible for the women’s collections).

 
 

Gabriel García Márquez, his wife Mercedes Barcha, alongside their sons Rodrigo (screenwriter, television and film director) and Gonzalo (graphic designer)

 
 

Spanish fashion designer Adolfo Dominguez and two of her three daughters

 
 

Tommy Hilfiger and His son Richard, a rapper who is known as Ricky Hil

 
 

Alex Bolen, her wife Eliza Bolen, Oscar de la Renta’s step-daughter, and Moisés de la Renta

 
 

Jerry Hall, Oscar De la Renta and his adopted child Moisés, who debuted his very first collection (a limited edition T-shirt line called MDLR for a Spanish chain) in 2010

 
 

Ralph Lauren, his wife Ricky and their children Andrew (film producer and actor), David (Senior Vice President, Advertising, Marketing and Corporate Communications at Polo Ralph Lauren) and Dylan (owner of Dylan’s Candy Bar, which claims to be the largest candy store in the world, based in New York City)

 
 

Pablo and Paloma Picasso

 
 

John and Anjelica Huston

 
 

Henry Fonda with his children Peter and Jane

 
 

Francis Ford Coppola, Sofia and Roman

 
 

Alain Delon and Anthony

 
 

Vincente Minelli and Liza. Photo: Bob Willoughby

 
 

Mel Ferrer with Audrey Hepburn Holding Newborn Sean

 
 

Alfred Hitchcock, Alma Reville and Patricia

 
 

Kelly Curtis, Jamie Leigh Curtis, Tony Curtis and Janet Leigh

 
 

de niro and his father Robert De Niro Sr. (painter) and Robert De Niro Jr.(actor)

 
 

Jaime Haven Voight, Angelina Jolie, and Jon Voight. Photo: Ron Galella

 
 

Angelina Jolie, Brad Pitt and their blended family

 
 

Steve McQueen, Neile Adams, Terry Leslie and Chad

 
 

Jean Paul Belmondo and Patricia

 
 

Heath Ledger and Matilda

Fashionable Bunnies

Dorian Leigh in a hat by Paulette. Harper’s Bazaar, October, 1949

 
 

Halston black velvet dress with mink trim, 1966. Collection Museum of The City of New York

 
 

Alber Elbaz

 
 

Stella Tenant and Charles Guislain, photographed by Tim Walker, Tim Walker

 
 

Candice Bergen at Truman Capote’s Black-and-White Ball. The Plaza Hotel, New York. November 28, 1966

 
 

Liza Minnelli, Truman Capote and Studio 54 owner, Steve Rubell

 
 

Andy Warhol and Eddie Sedgwick

 
 

Elsa Peretti in a Halston-designed Bunny costume, photographed by Helmut Newton in New York City, 1975

 
 

Lauren Hutton

 
 

Playboy-inspired logo bathing suit

 
 

 Yasmin Le Bon for Ralph Lauren Fall 1985 “Rabbit Hole” ad campaign

 
 

Betsey Johnson

 
 

Reese Whiterspoon in a still from Legally Blonde (Robert Luketic, 2001)

 
 

Hilary Swank. Photo: Inez van Lamsweerde and Vinoodh Matadin, 2007

 
 

Marc Jacobs. Photo: Craig McDean for the CFDA

 
 

Madonna. Louis Vuitton, 2009 Fall-Winter ad campaign photographed by Steven Meisel.

Lady Gaga in the cover of Neo2 Magazine. September 2009 issue. Photo: Olivier Rauh

 
 

Dita Von Teese

 
 

Beth Ditto

 
 

Emma Watson for Elle UK. November 2011. Photo: Rankin

 
 

Ewan McGregor. Photo: Alexi Lubomirski

 
 

Helena Bonham Carter. The Sunday Times, April 2012

 
 

Carolina Herrera’s Bunny Print dress 2013 Resort Collection

An Adorable Child

Marilyn Monroe and Truman Capote dancing at The Morocco, 1955

 

A.K.A: Abbess in High-heeled Shoes

Short story written by Truman Capote

From Music for Chamaleons

April 28, 1955

 

Scene: The chapel of the Universal funeral home at Lexington Avenue and 52nd Street, New York City. An interesting galaxy packs the pews: celebrities, for the most part, from an international arena of theater, films, literature, all present in tribute to Constance Collier, the English-born actress who had died three days before at age 75.

Born in 1880, Miss Collier had begun her career as a music-hall Gaiety Girl, graduated from that to become one of England’s principal Shakespearean actresses (and the fiancée of Sir Max Beerbohm, whom she never married, and perhaps for that reason was the inspiration for the mischievously unobtainable heroine in Sir Max’s novel Zuleika Dobson). Eventually she emigrated to the United States, where she established herself as a considerable figure on the New York stage as well as in Hollywood films. During the last decades of her life she lived in New York, where she practiced as a drama coach of unique caliber; she accepted only professionals as students, and usually only professionals who were already “stars”—Katharine Hepburn was a permanent pupil; another Hepburn, Audrey, was also a Collier protégée, as were Vivien Leigh and, for a few months prior to her death, a neophyte Miss Collier referred to as “my special problem,” Marilyn Monroe.

Marilyn Monroe, whom I’d met when John Huston was directing her in The Asphalt Jungle, one of her first speaking roles, had come under Miss Collier’s wing at my suggestion. I had known Miss Collier perhaps a half-dozen years and admired her as a woman of true stature, physically, emotionally, creatively; and, for all her commanding manner, her grand cathedral voice, as an adorable person, mildly wicked but exceedingly warm, dignified yet Gemütlich. I loved to go to the frequent small lunch parties she gave in her dark Victorian studio in mid-Manhattan; she had a barrel of yarns to tell about her adventures as a leading lady opposite Sir Beerbohm Tree [Max’s half-brother] and the great French actor Coquelin, her involvements with Oscar Wilde, the youthful Chaplin, and Garbo in the silent Swede’s formative days. Indeed Miss Collier was a delight, as was her devoted secretary and companion, Phyllis Wilbourn, a quietly twinkling maiden lady who, after her employer’s demise, became the companion of Katharine Hepburn. Miss Collier introduced me to many people who became friends: the Lunts, the Oliviers, and especially Aldous Huxley. But it was I who introduced her to Marilyn Monroe, and at first it was not an acquaintance she was too keen to acquire: her eyesight was faulty, she had seen none of Marilyn’s movies, and really knew nothing about her except that she was some sort of platinum sex-explosion who had achieved global notoriety; in short, she seemed hardly suitable clay for Miss Collier’s stern classic shaping. But I thought they might make a stimulating combination.

They did. “Oh yes,” Miss Collier reported to me, “there is something there. She is a beautiful child. I don’t mean that in the obvious way—the perhaps too obvious way. I don’t think she’s an actress at all, not in any traditional sense. What she has—this presence, this luminosity, this flickering intelligence—could never surface on the stage. It’s so fragile and subtle, it can only be caught by the camera. It’s like a hummingbird in flight: only a camera can freeze the poetry of it. But anyone who thinks this girl is simply another Harlow or harlot or whatever is mad. Speaking of mad, that’s what we’ve been working on together: Ophelia. I suppose people would chuckle at the notion, but really, she could be the most exquisite Ophelia. I was talking to Greta last week, and I told her about Marilyn’s Ophelia, and Greta said yes, she could believe that because she had seen two of her films, very bad and vulgar stuff, but nevertheless she had glimpsed Marilyn’s possibilities. Actually, Greta has an amusing idea. You know that she wants to make a film of Dorian Gray? With her playing Dorian, of course. Well, she said she would like to have Marilyn opposite her as one of the girls Dorian seduces and destroys. Greta! So unused! Such a gift—and rather like Marilyn’s, if you consider it. Of course, Greta is a consummate artist, an artist of the utmost control. This beautiful child is without any concept of discipline or sacrifice. Somehow I don’t think she’ll make old bones. Absurd of me to say, but somehow I feel she’ll go young. I hope, I really pray, that she survives long enough to free the strange lovely talent that’s wandering through her like a jailed spirit.”

But now Miss Collier had died, and here I was loitering in the vestibule of the Universal Chapel waiting for Marilyn. We had talked on the telephone the evening before, and agreed to sit together at the services, which were scheduled to start at noon. She was now a half-hour late; she was always late, but I’d thought just for once! For God’s sake, goddamnit! Then suddenly there she was, and I didn’t recognize her until she said…

Marilyn: Oh, baby, I’m so sorry. But see, I got all made up, and then I decided maybe I shouldn’t wear eyelashes or lipstick or anything, so then I had to wash all that off, and I couldn’t imagine what to wear…

(What she had imagined to wear would have been appropriate for the abbess of a nunnery in private audience with the Pope. Her hair was entirely concealed by a black chiffon scarf; her black dress was loose and long and looked somehow borrowed; black silk stockings dulled the blond sheen of her slender legs. An abbess, one can be certain, would not have donned the vaguely erotic black high-heeled shoes she had chosen, or the owlish black sunglasses that dramatized the vanilla-pallor of her dairy-fresh skin.)

TC: You look fine.

Marilyn (gnawing an already chewed-to-the-nub thumbnail): Are you sure? I mean, I’m so jumpy. Where’s the john? If I could just pop in there for a minute—

TC: And pop a pill? No! Shhh. That’s Cyril Ritchard’s voice: he’s started the eulogy.

(Tiptoeing, we entered the crowded chapel and wedged ourselves into a narrow space in the last row. Cyril Ritchard finished; he was followed by Cathleen Nesbitt, a lifelong colleague of Miss Collier’s, and finally Brian Aherne addressed the mourners. Through it all, my date periodically removed her spectacles to scoop up tears bubbling from her blue-grey eyes. I’d sometimes seen her without makeup, but today she presented a new visual experience, a face I’d not observed before, and at first I couldn’t perceive why this should be. Ah! It was because of the obscuring head scarf. With her tresses invisible, and her complexion cleared of all cosmetics, she looked 12 years old, a pubescent virgin who has just been admitted to an orphanage and is grieving over her plight. At last the ceremony ended, and the congregation began to disperse.)

Marilyn: Please, let’s sit here. Let’s wait till everyone’s left.

TC: Why?

Marilyn: I don’t want to have to talk to anybody. I never know what to say.

TC: Then you sit here, and I’ll wait outside. I’ve got to have a cigarette.

Marilyn: You can’t leave me alone! My God! Smoke here.

TC: Very funny. Come on, let’s go.

Marilyn: Please. There’s a lot of shutter-bugs downstairs. And I certainly don’t want them taking my picture looking like this.

TC: I can’t blame you for that.

Marilyn: You said I looked fine.

TC: You do. Just perfect—if you were playing the Bride of Frankenstein.

Marilyn: Now you’re laughing at me.

TC: Do I look like I’m laughing?

Marilyn: You’re laughing inside. And that’s the worst kind of laugh. (Frowning; nibbling thumbnail) Actually, I could’ve worn makeup. I see all these other people are wearing makeup.

TC: I am. Globs.

Marilyn: Seriously, though. It’s my hair. I need color. And I didn’t have time to get any. It was all so unexpected, Miss Collier dying and all. See?

(She lifted her kerchief slightly to display a fringe of darkness where her hair parted.)

TC: Poor innocent me. And all this time I thought you were a bona fide blonde.

Marilyn: I am. But nobody’s that natural.

TC: Okay, everybody’s cleared out. So up, up.

Marilyn: Those photographers are still down there. I know it.

TC: If they didn’t recognize you coming in, they won’t recognize you going out.

Marilyn: One of them did. But I’d slipped through the door before he started yelling.

TC: I’m sure there’s a back entrance. We can go out that way.

Marilyn: I don’t want to see any corpses.

TC: Why would we?

Marilyn: This is a funeral parlor. They must keep them somewhere. That’s all I need today, to wander into a room full of corpses. Be patient. I’ll take us somewhere and treat us to a bottle of bubbly.

So we sat and talked and Marilyn said: “I hate funerals. I’m glad I won’t have to go to my own. Only, I don’t want a funeral—just my ashes cast on waves by one of my kids, if I ever have any. I wouldn’t have come today except Miss Collier cared about me, my welfare, and she was just like a granny, a tough old granny, but she taught me a lot. She taught me how to breathe. I’ve put it to good use, too, and I don’t mean just acting. There are other times when breathing is a problem. But when I first heard about it, Miss Collier cooling, the first thing I thought was: Oh, gosh, what’s going to happen to Phyllis?! Her whole life was Miss Collier. But I hear she’s going to live with Miss Hepburn. Lucky Phyllis; she’s going to have fun now. I’d change places with her pronto. Miss Hepburn is a terrific lady, no shit. I wish she was my friend. So I could call her up sometimes and…well, I don’t know, just call her up.”

We talked about how much we liked New York and loathed Los Angeles (“Even though I was born there, I still can’t think of one good thing to say about it. If I close my eyes, and picture L.A., all I see is one big varicose vein”); we talked about actors and acting (“Everybody says I can’t act. They said the same thing about Elizabeth Taylor. And they were wrong. She was great in A Place in the Sun. I’ll never get the right part, anything I really want. My looks are against me. They’re too specific”); we talked some more about Elizabeth Taylor, and she wanted to know if I knew her, and I said yes, and she said well, what is she like, what is she really like, and I said well, she’s a bit like you, she wears her heart on her sleeve and talks salty, and Marilyn said f—you and said well, if somebody asked me what Marilyn Monroe was like, what was Marilyn Monroe really like, what would I say, and I said I’d have to think about that.

TC: Now do you think we can get the hell out of here? You promised me champagne, remember?

Marilyn: I remember. But I don’t have any money.

TC: You’re always late and you never have any money. By any chance are you under the delusion that you’re Queen Elizabeth?

Marilyn: Who?

TC: Queen Elizabeth. The Queen of England.

Marilyn (frowning): What’s that cunt got to do with it?

TC: Queen Elizabeth never carries money either. She’s not allowed to. Filthy lucre must not stain the royal palm. It’s a law or something.

Marilyn: I wish they’d pass a law like that for me.

TC: Keep going the way you are and maybe they will.

Marilyn: Well, gosh. How does she pay for anything? Like when she goes shopping.

TC: Her lady-in-waiting trots along with a bag full of farthings.

Marilyn: You know what? I’ll bet she gets everything free. In return for endorsements.

TC: Very possible. I wouldn’t be a bit surprised. By Appointment to Her Majesty. Corgi dogs. All those Fortnum & Mason goodies. Pot. Condoms.

Marilyn: What would she want with condoms?

TC: Not her, dopey. For that chump who walks two steps behind, Prince Philip.

Marilyn: Him. Oh, yeah. He’s cute. He looks like he might have a nice prick. Did I ever tell you about the time I saw Errol Flynn whip out his prick and play the piano with it? Oh well, it was a hundred years ago, I’d just got into modeling, and I went to this half-ass party, and Errol Flynn, so pleased with himself, he was there and he took out his prick and played the piano with it. Thumped the keys. He played You Are My Sunshine. Christ! Everybody says Milton Berle has the biggest schlong in Hollywood. But who cares? Look, don’t you have any money?

TC: Maybe about fifty bucks.

Marilyn: Well, that ought to buy us some bubbly.

(Outside, Lexington Avenue was empty of all but harmless pedestrians. It was around two, and as nice an April afternoon as one could wish: ideal strolling weather. So we moseyed toward Third Avenue. A few gawkers spun their heads, not because they recognized Marilyn as the Marilyn, but because of her funereal finery; she giggled her special little giggle, a sound as tempting as the jingling bells on a Good Humor wagon, and said: “Maybe I should always dress this way. Real anonymous.”)

(As we neared P.J. Clarke’s saloon, I suggested P.J.’s might be a good place to refresh ourselves, but she vetoed that: “It’s full of those advertising creeps. And that bitch Dorothy Kilgallen, she’s always in there getting bombed. What is it with these micks? The way they booze, they’re worse than Indians.”)

(I felt called upon to defend Kilgallen, who was a friend, somewhat, and I allowed as to how she could upon occasion be a clever funny woman. She said: “Be that as it may, she’s written some bitchy stuff about me. But all those types hate me. Hedda. Louella. I know you’re supposed to get used to it, but I just can’t. It really hurts. What did I ever do to those hags? The only one who writes a decent word about me is Sidney Skolsky. But he’s a guy. The guys treat me okay. Just like maybe I was a human person. At least they give me the benefit of the doubt. And Bob Thomas is a gentleman. And Jack O’Brian.”)

(We looked in the windows of antique shops; one contained a tray of old rings, and Marilyn said: “That’s pretty. The garnet with the seed pearls. I wish I could wear rings, but I hate people to notice my hands. They’re too fat. Elizabeth Taylor has fat hands. But with those eyes, who’s looking at her hands?”)

(Another window displayed a handsome grandfather clock, which prompted her to observe: “I’ve never had a home. Not a real one with all my own furniture. But if I ever get married again, and make a lot of money, I’m going to hire a couple of trucks and ride down Third Avenue buying every damn kind of crazy thing. I’m going to get a dozen grandfather clocks and line them all up in one room and have them all ticking away at the same time. That would be real homey, don’t you think?”)

Marilyn: Hey! Across the street!

TC: What?

Marilyn: See the sign with the palm? That must be a fortune-telling parlor.

TC: Are you in the mood for that?

Marilyn: Well, let’s take a look.

 

Palmistry photoshoot. Milton Greene. Arizona, 1956

 

(It was not an inviting establishment. Through a smeared window we could discern a barren room with a skinny, hairy gypsy lady seated in a canvas chair under a hellfire-red ceiling lamp that shed a torturous glow; she was knitting a pair of baby booties, and did not return our stares. Nevertheless, Marilyn started to go in, then changed her mind.)

Marilyn: Sometimes I want to know what’s going to happen. Then I think it’s better not to. There’s two things I’d like to know, though. One is whether I’m going to lose weight.

TC: And the other?

Marilyn: That’s a secret.

TC: Now, now. We can’t have any secrets today. Today is a day of sorrow, and sorrowers share their innermost thoughts.

Marilyn: Well, it’s a man. There’s something I’d like to know. But that’s all I’m going to tell. It really is a secret.

(And I thought: That’s what you think; I’ll get it out of you.)

TC: I’m ready to buy that champagne.

(We wound up on Second Avenue in a gaudily decorated, deserted Chinese restaurant. But it did have a well-stocked bar, and we ordered a bottle of Mumm’s; it arrived unchilled, and without a bucket, so we drank it out of tall glasses with ice cubes.)

Marilyn: This is fun. Kind of like being on location—if you like location. Which I most certainly don’t. Niagara. That stinker. Yuk.

TC: So let’s hear about your secret lover.

Marilyn: (Silence)

TC: (Silence)

Marilyn: (Giggles)

TC: (Silence)

Marilyn: You know so many women. Who’s the most attractive woman you know?

TC: No contest. Barbara Paley. Hands down.

Marilyn (frowning): Is that the one they call “Babe”? She sure doesn’t look like any Babe to me. I’ve seen her in Vogue and all. She’s so elegant. Lovely. Just looking at her pictures makes me feel like pig-slop.

TC: She might be amused to hear that. She’s very jealous of you.

Marilyn: Jealous of me? Now there you go again, laughing.

TC: Not at all. She is jealous.

Marilyn: But why?

TC: Because one of the columnists, Kilgallen I think, ran a blind item that said something like: “Rumor hath it that Mrs. DiMaggio rendezvoused with television’s toppest tycoon and it wasn’t to discuss business.” Well, she read the item and she believes it.

Marilyn: Believes what?

TC: That her husband is having an affair with you. William S. Paley. TV’s toppest tycoon. He’s partial to shapely blondes. Brunettes, too.

Marilyn: But that’s batty. I’ve never met the guy.

TC: Ah, come on. You can level with me. This secret lover of yours—it’s William S. Paley, n’est-ce pas?

Marilyn: No! It’s a writer. He’s a writer.

TC: That’s more like it. Now we’re getting somewhere. So your lover is a writer. Must be a real hack, or you wouldn’t be ashamed to tell me his name.

Marilyn (furious, frantic): What does the “S” stand for?

TC: “S.” What “S”?

Marilyn: The “S” in William S. Paley.

TC: Oh, that “S.” It doesn’t stand for anything. He sort of tossed it in there for appearance sake.

Marilyn: It’s just an initial with no name behind it? My goodness. Mr. Paley must be a little insecure.

TC: He twitches a lot. But let’s get back to our mysterious scribe.

Marilyn: Stop it! You don’t understand. I have so much to lose.

TC: Waiter, we’ll have another Mumm’s, please.

Marilyn: Are you trying to loosen my tongue?

TC: Yes. Tell you what. We’ll make an exchange. I’ll tell you a story, and if you think it’s interesting, then perhaps we can discuss your writer friend.

Marilyn (tempted, but reluctant): What’s your story about?

TC: Errol Flynn.

Marilyn: (Silence)

TC: (Silence)

Marilyn (hating herself): Well, go on.

TC: Errol and I once spent a cozy evening together. If you follow me.

Marilyn: You’re making this up. You’re trying to trick me.

TC: Scout’s honor. I’m dealing from a clean deck. (Silence; but I can see that she’s hooked, so after lighting a cigarette…) Well, this happened when I was 18. Nineteen. It was during the war. The winter of 1943. That night Carol Marcus, or maybe she was already Carol Saroyan, was giving a party for her best friend, Gloria Vanderbilt. She gave it in her mother’s apartment on Park Avenue. Big party. About 50 people. Around midnight Errol Flynn rolls in with his alter ego, a swashbuckling playboy named Freddie McEvoy. They were both pretty loaded. Anyway, Errol started yakking with me, and he was bright, we were making each other laugh, and suddenly he said he wanted to go to El Morocco, and did I want to go with him and his buddy McEvoy. I said okay, but then McEvoy didn’t want to leave the party and all those debutantes, so in the end Errol and I left alone. Only we didn’t go to El Morocco. We took a taxi down to Gramercy Park, where I had a little one-room apartment. He stayed until noon the next day.

Marilyn: And how would you rate it? On a scale of one to ten.

TC: Frankly, if it hadn’t been Errol Flynn, I don’t think I would have remembered it.

Marilyn: That’s not much of a story. Not worth mine—not by a long shot.

TC: Waiter, where is our champagne? You’ve got two thirsty people here.

Marilyn: And it’s not as if you’d told me anything new. I’ve always known Errol zigzagged. I have a masseur, he’s practically my sister, and he was Tyrone Power’s masseur, and he told me all about the thing Errol and Ty Power had going. No, you’ll have to do better than that.

TC: You drive a hard bargain.

Marilyn: I’m listening. So let’s hear your best experience. Along those lines.

TC: The best? The most memorable? Suppose you answer the question first.

Marilyn: And I drive hard bargains! Ha! (Swallowing champagne) Joe’s not bad. He can hit home runs. If that’s all it takes, we’d still be married. I still love him, though. He’s genuine.

TC: Husbands don’t count. Not in this game.

Marilyn (nibbling nail; really thinking): Well, I met a man, a stockbroker and nothing much to look at—65, and he wears those very thick glasses. Thick as jellyfish. I can’t say what it was, but—

TC: You can stop right there. I’ve heard all about him from other girls. He’s supposed to be sensational.

Marilyn: He is. Okay, smart-ass. Your turn.

TC: Forget it. I don’t have to tell you damn nothing. Because I know who your masked marvel is: Arthur Miller. (She lowered her black glasses: Oh boy, if looks could kill, wow!) I guessed as soon as you said he was a writer.

Marilyn (stammering): But how? I mean, nobody… hardly anybody—

TC: At least three, maybe four years ago Irving Drutman—

Marilyn: Irving who?

TC: Drutman. He’s a writer on the Herald Tribune. He told me you were fooling around with Arthur Miller. Had a hang-up on him. I was too much of a gentleman to mention it before.

Marilyn: Gentleman! You bastard. (Stammering again, but dark glasses in place) You don’t understand. That was long ago. That ended. But this is new. It’s all different now, and—

TC: Just don’t forget to invite me to the wedding.

Marilyn: If you talk about this, I’ll murder you. I’ll have you bumped off. I know a couple of men who’d gladly do me the favor.

TC: I don’t question that for an instant.

(At last the waiter returned with the second bottle.)

Marilyn: Tell him to take it back. I don’t want any. I want to get the hell out of here.

TC: Sorry if I’ve upset you.

Marilyn: I’m not upset.

(But she was. While I paid the check, she left for the powder room, and I wished I had a book to read: her visits to powder rooms sometimes lasted as long as an elephant’s pregnancy. Idly, as time ticked by, I wondered if she was popping uppers or downers. Downers, no doubt. There was a newspaper on the bar, and I picked it up; it was written in Chinese. After 20 minutes had passed, I decided to investigate. Maybe she’d popped a lethal dose, or even cut her wrists. I found the ladies’ room, and knocked on the door. She said: “Come in.” Inside, she was confronting a dimly lit mirror. I said: “What are you doing?” She said: “Looking at Her.” In fact, she was coloring her lips with ruby lipstick. Also, she had removed the somber head scarf and combed out her glossy, fine-as-cotton-candy hair.)

Marilyn: I hope you have enough money left.

TC: That depends. Not enough to buy pearls, if that’s your idea of making amends.

Marilyn (giggling, returned to good spirits. I decided I wouldn’t mention Arthur Miller again): No. Only enough for a long taxi ride.

TC: Where are we going—Hollywood?

Marilyn: Hell, no. A place I like. You’ll find out when we get there.

(I didn’t have to wait that long, for as soon as we had flagged a taxi, I heard her instruct the cabby to drive to the South Street pier, and I thought: Isn’t that where one takes the ferry to Staten Island? And my next conjecture was: She’s swallowed pills on top of that champagne and now she’s off her rocker.)

TC: I hope we’re not going on any boat rides. I didn’t pack my Dramamine.

Marilyn (happy, giggling): Just the pier.

TC: May I ask why?

Marilyn: I like it there. It smells foreign, and I can feed the seagulls.

TC: With what? You haven’t anything to feed them.

Marilyn: Yes, I do. My purse is full of fortune cookies. I swiped them from that restaurant.

TC (kidding her): Uh-huh. While you were in the John I cracked one open. The slip inside was a dirty joke.

Marilyn: Gosh. Dirty fortune cookies?

TC: I’m sure the gulls won’t mind.

(Our route carried us through the Bowery. Tiny pawnshops and blood-donor stations and dormitories with 50-cent cots and tiny, grim hotels with dollar beds and bars for whites, bars for blacks, everywhere bums, bums, young, far from young, ancient, bums squatting curbside, squatting amid shattered glass and pukey debris, bums slanting in doorways and huddled like penguins at street corners. Once, when we paused for a red light, a purple-nosed scarecrow weaved toward us and began swabbing the taxi’s windshield with a wet rag clutched in a shaking hand. Our protesting driver shouted Italian obscenities.)

Marilyn: What is it? What’s happening?

TC: He wants a tip for cleaning the window.

Marilyn (shielding her face with her purse): How horrible! I can’t stand it. Give him something. Hurry. Please!

(But the taxi had already zoomed ahead, damn near knocking down the old lush. Marilyn was crying.) I’m sick.

TC: You want to go home?

Marilyn: Everything’s ruined.

TC: I’ll take you home.

Marilyn: Give me a minute. I’ll be okay.

(Thus we traveled on to South Street, and indeed the sight of a ferry moored there, with the Brooklyn skyline across the water and careening, cavorting seagulls white against a marine horizon streaked with thin fleecy clouds fragile as lace—this tableau soon soothed her soul.

(As we got out of the taxi we saw a man with a chow on a leash, a prospective passenger, walking toward the ferry, and as we passed them, my companion stopped to pat the dog’s head.)

The Man (firm, but not unfriendly): You shouldn’t touch strange dogs. Especially chows. They might bite you.

Marilyn: Dogs never bite me. Just humans. What’s his name?

The Man: Fu Manchu.

Marilyn (giggling): Oh, just like the movie. That’s cute.

The Man: What’s yours?

Marilyn: My name? Marilyn.

The Man: That’s what I thought. My wife will never believe me. Can I have your autograph?

(He produced a business card and a pen; using her purse to write on, she wrote: God Bless You—Marilyn Monroe.)

Marilyn: Thank you.

The Man: Thank you. Wait’ll I show this back at the office.

(We continued to the edge of the pier, and listened to the water sloshing against it.)

Marilyn: I used to ask for autographs. Sometimes I still do. Last year Clark Gable was sitting next to me in Chasen’s, and I asked him to sign my napkin.

(Leaning against a mooring stanchion, she presented a profile: Galatea surveying unconquered distances. Breezes fluffed her hair, and her head turned toward me with an ethereal ease, as though a breeze had swiveled it.)

TC: So when do we feed the birds? I’m hungry, too. It’s late, and we never had lunch.

Marilyn: Remember, I said if anybody ever asked you what I was like, what Marilyn Monroe was really like—well, how would you answer them? (Her tone was teaseful, mocking, yet earnest, too: she wanted an honest reply.) I bet you’d tell them I was a slob. A banana split.

TC: Of course. But I’d also say…

(The light was leaving. She seemed to fade with it, blend with the sky and clouds, recede beyond them. I wanted to lift my voice louder than the seagulls’ cries and call her back: Marilyn! Marilyn, why did everything have to turn out the way it did? Why does life have to be so rotten?)

TC: I’d say…

Marilyn: I can’t hear you.

TC: I’d say you are a beautiful child.