Life and career 1926–1943: Childhood and first marriage Monroe as an infant, wearing a white dress and sitting on a sheepskin rug Monroe as an infant, c. 1927 Marilyn Monroe was born Norma Jeane Mortenson on 1 June 1926 at the Los Angeles General Hospital in Los Angeles, California.[8] Her mother, Gladys Pearl Baker (née Monroe; 1902–1984), was born in Piedras Negras, Coahuila, Mexico[9] to a poor Midwestern family who migrated to California at the turn of the century.[10] At age 15, Gladys married John Newton Baker, an abusive man nine years her senior. They had two children, Robert (1918–1933)[11] and Berniece (1919–2014).[12] She successfully filed for divorce and sole custody in 1923, but Baker kidnapped the children soon after and moved with them to his native Kentucky.[13] Monroe was not told that she had a sister until she was 12, and they met for the first time in 1944 when Monroe was 17 or 18.[14] Following the divorce, Gladys worked as a film negative cutter at Consolidated Film Industries.[15] In 1924, she married Martin Edward Mortensen, but they separated just months later and divorced in 1928.[15][b] In 2022, DNA testing indicated that Monroe's father was Charles Stanley Gifford (1898-1965),[20][21][22] a co-worker of Gladys, with whom she had an affair in 1925.[19] Monroe also had two other half-siblings from Gifford's marriage with his first wife, a sister, Doris (1920–1933), and a brother, Charles (1922–2015).[23] Although Gladys was mentally and financially unprepared for a child, Monroe's early childhood was stable and happy.[24] Gladys placed her daughter with evangelical Christian foster parents Albert and Ida Bolender in the rural town of Hawthorne. She also lived there for six months, until she was forced to move back to the city for employment.[25] She then began visiting her daughter on weekends.[24] In the summer of 1933, Gladys bought a small house in Hollywood with a loan from the Home Owners' Loan Corporation and moved seven-year-old Monroe in with her.[26] They shared the house with lodgers, actors George and Maude Atkinson and their daughter, Nellie.[27] In January 1934, Gladys had a mental breakdown and was diagnosed with paranoid schizophrenia.[28] After several months in a rest home, she was committed to the Metropolitan State Hospital.[29] She spent the rest of her life in and out of hospitals and was rarely in contact with Monroe.[30] Monroe became a ward of the state, and her mother's friend Grace Goddard took responsibility over her and her mother's affairs.[31] Monroe with her first husband, James Dougherty, c. 1943–44. They married when she was 16 years old. Over the next four years, Monroe's living situation changed often. For the first 16 months, she continued living with the Atkinsons, and may have been sexually abused during this time.[32][c] Always a shy girl, she now also developed a stutter and became withdrawn.[38] In the summer of 1935, she briefly stayed with Grace and her husband Erwin "Doc" Goddard and two other families.[39] In September 1935, Grace placed her in the Los Angeles Orphans Home.[40] The orphanage was "a model institution" and was described in positive terms by her peers, but Monroe felt abandoned.[41] Encouraged by the orphanage staff, who thought that Monroe would be happier living in a family, Grace became her legal guardian in 1936, but did not take her out of the orphanage until the summer of 1937.[42] Monroe's second stay with the Goddards lasted only a few months because Doc molested her.[43] She then lived for brief periods with her relatives and Grace's friends and relatives in Los Angeles and Compton.[44] Monroe's childhood experiences first made her want to become an actress: "I didn't like the world around me because it was kind of grim ... When I heard that this was acting, I said that's what I want to be ... Some of my foster families used to send me to the movies to get me out of the house and there I'd sit all day and way into the night. Up in front, there with the screen so big, a little kid all alone, and I loved it."[45] Monroe found a more permanent home in September 1938, when she began living with Grace's aunt Ana Lower in the west-side district of Sawtelle.[46] She was enrolled at Emerson Junior High School and went to weekly Christian Science services with Lower.[47] She excelled in writing and contributed to the school newspaper, but was otherwise a mediocre student.[48] Owing to the elderly Lower's health problems, Monroe returned to live with the Goddards in Van Nuys in about early 1941.[49] The same year, she began attending Van Nuys High School.[50] In 1942, the company that employed Doc Goddard relocated him to West Virginia.[51] California child protection laws prevented the Goddards from taking Monroe out of state, and she faced having to return to the orphanage.[52] As a solution, she married their neighbors' 21-year-old son, factory worker James Dougherty, on June 19, 1942, just after her 16th birthday.[53] Monroe subsequently dropped out of high school and became a housewife. She found herself and Dougherty mismatched, and later said she was "dying of boredom" during the marriage.[54] In 1943, Dougherty enlisted in the Merchant Marine and was stationed on Santa Catalina Island, where Monroe moved with him.[55] 1944–1948: Modeling and first film roles Portrait of Monroe aged 20, taken at the Radioplane Munitions Factory A photo of Monroe taken by David Conover in mid-1944 at the Radioplane Company In April 1944, Dougherty was shipped out to the Pacific, where he remained for most of the next two years.[55] Monroe moved in with her in-laws and began a job at the Radioplane Company, a munitions factory in Van Nuys.[55] In late 1944, she met photographer David Conover, who had been sent by the U.S. Army Air Forces' First Motion Picture Unit to the factory to shoot morale-boosting pictures of female workers.[56] Although none of her pictures were used, she quit working at the factory in January 1945 and began modeling for Conover and his friends.[57][58] Defying her deployed husband, she moved on her own and signed a contract with the Blue Book Model Agency in August 1945.[59] The agency deemed Monroe's figure more suitable for pin-up than high fashion modeling, and she was featured mostly in advertisements and men's magazines.[60] To make herself more employable, she straightened her hair and dyed it blonde.[61] According to Emmeline Snively, the agency's owner, Monroe quickly became one of its most ambitious and hard-working models; by early 1946, she had appeared on 33 magazine covers for publications such as Pageant, U.S. Camera, Laff, and Peek.[62] As a model, Monroe occasionally used the pseudonym Jean Norman.[61] A smiling Monroe sitting on a beach and leaning back on her arms. She is wearing a bikini and wedge sandals. Monroe posing as a pin-up model for a postcard photograph c. 1940s Through Snively, Monroe signed a contract with an acting agency in June 1946.[63] After an unsuccessful interview at Paramount Pictures, she was given a screen-test by Ben Lyon, a 20th Century-Fox executive. Head executive Darryl F. Zanuck was unenthusiastic about it,[64] but he gave her a standard six-month contract to avoid her being signed by rival studio RKO Pictures.[d] Monroe's contract began in August 1946, and she and Lyon selected the stage name "Marilyn Monroe".[66] The first name was picked by Lyon, who was reminded of Broadway star Marilyn Miller; the surname was Monroe's mother's maiden name.[67] In September 1946, she divorced Dougherty, who opposed her career.[68] Monroe spent her first six months at Fox learning acting, singing, and dancing, and observing the film-making process.[69] Her contract was renewed in February 1947, and she was given her first film roles, bit parts in Dangerous Years (1947) and Scudda Hoo! Scudda Hay! (1948).[70][e] The studio also enrolled her in the Actors' Laboratory Theatre, an acting school teaching the techniques of the Group Theatre; she later stated that it was "my first taste of what real acting in a real drama could be, and I was hooked".[72] Despite her enthusiasm, her teachers thought her too shy and insecure to have a future in acting, and Fox did not renew her contract in August 1947.[73] She returned to modeling while also doing occasional odd jobs at film studios, such as working as a dancing "pacer" behind the scenes to keep the leads on point at musical sets.[73] Monroe in a 1948 publicity photo Monroe was determined to make it as an actress, and continued studying at the Actors' Lab. She had a small role in the play Glamour Preferred at the Bliss-Hayden Theater, but it ended after a couple of performances.[74] To network, she frequented producers' offices, befriended gossip columnist Sidney Skolsky, and entertained influential male guests at studio functions, a practice she had begun at Fox.[75] She also became a friend and occasional sex partner of Fox executive Joseph M. Schenck, who persuaded his friend Harry Cohn, the head executive of Columbia Pictures, to sign her in March 1948.[76] At Columbia, Monroe's look was modeled after Rita Hayworth and her hair was bleached platinum blonde.[77] She began working with the studio's head drama coach, Natasha Lytess, who would remain her mentor until 1955.[78] Her only film at the studio was the low-budget musical Ladies of the Chorus (1948), in which she had her first starring role as a chorus girl courted by a wealthy man.[71] She also screen-tested for the lead role in Born Yesterday (1950), but her contract was not renewed in September 1948.[79] Ladies of the Chorus was released the following month and was not a success.[80] 1949–1952: Breakthrough years Monroe in The Asphalt Jungle. She is wearing a black dress and stands in a doorway, facing a man wearing a trench coat and a fedora Monroe in The Asphalt Jungle (1950), one of her earliest performances to gain attention from film critics. When her contract at Columbia ended, Monroe returned again to modeling. She shot a commercial for Pabst beer and posed for artistic nude photographs by Tom Kelley for John Baumgarth[81] calendars, using the name 'Mona Monroe'.[82] Monroe had previously posed topless or clad in a bikini for other artists including Earl Moran, and felt comfortable with nudity.[83][f] Shortly after leaving Columbia, she also met and became the protégée and mistress of Johnny Hyde, the vice president of the William Morris Agency.[84] Through Hyde, Monroe landed small roles in several films,[g] including two critically acclaimed works: Joseph Mankiewicz's drama All About Eve (1950) and John Huston's film noir The Asphalt Jungle (1950).[85] Despite her screen time being only a few minutes in the latter, she gained a mention in Photoplay and according to biographer Donald Spoto "moved effectively from movie model to serious actress".[86] In December 1950, Hyde negotiated a seven-year contract for Monroe with 20th Century-Fox.[87] According to its terms, Fox could opt to not renew the contract after each year.[88] Hyde died of a heart attack only days later, which left Monroe devastated.[89] In 1951, Monroe had supporting roles in three moderately successful Fox comedies: As Young as You Feel, Love Nest, and Let's Make It Legal.[90] According to Spoto all three films featured her "essentially [as] a sexy ornament", but she received some praise from critics: Bosley Crowther of The New York Times described her as "superb" in As Young As You Feel and Ezra Goodman of the Los Angeles Daily News called her "one of the brightest up-and-coming [actresses]" for Love Nest.[91] Her popularity with audiences was also growing: she received several thousand fan letters a week, and was declared "Miss Cheesecake of 1951" by the army newspaper Stars and Stripes, reflecting the preferences of soldiers in the Korean War.[92] In February 1952, the Hollywood Foreign Press Association named Monroe the "best young box office personality".[93] In her private life, Monroe had a short relationship with director Elia Kazan and also briefly dated several other men, including director Nicholas Ray and actors Yul Brynner and Peter Lawford.[94] In early 1952, she began a highly publicized romance with retired New York Yankees baseball star Joe DiMaggio, one of the most famous sports personalities of the era.[95] Monroe with Keith Andes in Clash by Night (1952). The film allowed Monroe to display more of her acting range in a dramatic role. Monroe found herself at the center of a scandal in March 1952, when she revealed publicly that she had posed for a nude calendar in 1949.[96] The studio had learned about the photos and that she was publicly rumored to be the model some weeks prior, and together with Monroe decided that to prevent damaging her career it was best to admit to them while stressing that she had been broke at the time.[97] The strategy gained her public sympathy and increased interest in her films, for which she was now receiving top billing. In the wake of the scandal, Monroe was featured on the cover of Life magazine as the "Talk of Hollywood", and gossip columnist Hedda Hopper declared her the "cheesecake queen" turned "box office smash".[98] Three of Monroe's films —Clash by Night, Don't Bother to Knock and We're Not Married!— were released soon after to capitalize on the public interest.[99] Despite her newfound popularity as a sex symbol, Monroe also wished to showcase more of her acting range. She had begun taking acting classes with Michael Chekhov and mime Lotte Goslar soon after beginning the Fox contract,[100] and Clash by Night and Don't Bother to Knock showed her in different roles.[101] In the former, a drama starring Barbara Stanwyck and directed by Fritz Lang, she played a fish cannery worker; to prepare, she spent time in a fish cannery in Monterey.[102] She received positive reviews for her performance: The Hollywood Reporter stated that "she deserves starring status with her excellent interpretation", and Variety wrote that she "has an ease of delivery which makes her a cinch for popularity".[103][104] The latter was a thriller in which Monroe starred as a mentally disturbed babysitter and which Zanuck used to test her abilities in a heavier dramatic role.[105] It received mixed reviews from critics, with Crowther deeming her too inexperienced for the difficult role,[106] and Variety blaming the script for the film's problems.[107][108] Monroe, wearing a transparent lace robe and diamond earrings, sitting at a dressing table and looking off-camera with a shocked expression Monroe in Don't Bother to Knock (1952) Monroe's three other films in 1952 continued with her typecasting in comedic roles that highlighted her sex appeal. In We're Not Married!, her role as a beauty pageant contestant was created solely to "present Marilyn in two bathing suits", according to its writer Nunnally Johnson.[109] In Howard Hawks's Monkey Business, in which she acted opposite Cary Grant, she played a secretary who is a "dumb, childish blonde, innocently unaware of the havoc her sexiness causes around her".[110] In O. Henry's Full House, with Charles Laughton she appeared in a passing vignette as a nineteenth-century street walker.[111] Monroe added to her reputation as a new sex symbol with publicity stunts that year: she wore a revealing dress when acting as Grand Marshal at the Miss America Pageant parade, and told gossip columnist Earl Wilson that she usually wore no underwear.[112] By the end of the year, gossip columnist Florabel Muir named Monroe the "it girl" of 1952.[113][114] During this period, Monroe gained a reputation for being difficult to work with, which would worsen as her career progressed. She was often late or did not show up at all, did not remember her lines, and would demand several re-takes before she was satisfied with her performance.[115] Her dependence on her acting coaches—Natasha Lytess and then Paula Strasberg—also irritated directors.[116] Monroe's problems have been attributed to a combination of perfectionism, low self-esteem, and stage fright.[117] She disliked her lack of control on film sets and never experienced similar problems during photo shoots, in which she had more say over her performance and could be more spontaneous instead of following a script.[117][118] To alleviate her anxiety and chronic insomnia, she began to use barbiturates, amphetamines, and alcohol, which also exacerbated her problems, although she did not become severely addicted until 1956.[119] According to Sarah Churchwell, some of Monroe's behavior, especially later in her career, was also in response to the condescension and sexism of her male co-stars and directors.[120] Biographer Lois Banner said that she was bullied by many of her directors.[121] 1953: Rising star Monroe in Niagara. A close-up of her face and shoulders; she is wearing gold hoop earrings and a shocking pink top Monroe in Niagara (1953), which dwelt on her sex appeal Monroe in Gentlemen Prefer Blondes. She is wearing a shocking pink dress with matching gloves and diamond jewelry, and is surrounded by men in tuxedos Monroe performing the song "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (1953) Monroe in How to Marry a Maire. She is wearing an orange swimsuit and is seated next to Betty Grable, who is wearing shorts and a shirt, and Lauren Bacall, who is wearing a blue dress. Monroe, Betty Grable, and Lauren Bacall in How to Marry a Maire, her biggest box office success of 1953 Monroe starred in three movies that were released in 1953 and emerged as a major sex symbol and one of Hollywood's most bankable performers.[122][123] The first was the Technicolor film noir Niagara, in which she played a femme fatale scheming to murder her husband, played by Joseph Cotten.[124] By then, Monroe and her make-up artist Allan "Whitey" Snyder had developed her "trademark" make-up look: dark arched brows, pale skin, "glistening" red lips and a beauty mark.[125] According to Sarah Churchwell, Niagara was one of the most overtly sexual films of Monroe's career.[110] In some scenes, Monroe's body was covered only by a sheet or a towel, considered shocking by contemporary audiences.[126] Niagara's most famous scene is a 30-second long shot behind Monroe where she is seen walking with her hips swaying, which was used heavily in the film's marketing.[126] When Niagara was released in January 1953, women's clubs protested it as immoral, but it proved popular with audiences.[127] While Variety deemed it "clichéd" and "morbid", The New York Times commented that "the falls and Miss Monroe are something to see", as although Monroe may not be "the perfect actress at this point ... she can be seductive—even when she walks".[128][129] Monroe continued to attract attention by wearing revealing outfits, most famously at the Photoplay Awards in January 1953, where she won the "Fastest Rising Star" award.[130] A pleated "sunburst" waist-tight, deep decolleté gold lamé dress designed by William Travilla for Gentlemen Prefer Blondes, but barely seen at all in the film, was to become a sensation.[131] Prompted by such imagery, veteran star Joan Crawford publicly called the behavior "unbecoming an actress and a lady".[130] While Niagara made Monroe a sex symbol and established her "look", her second film of 1953, the satirical musical comedy Gentlemen Prefer Blondes, cemented her screen persona as a "dumb blonde".[132] Based on Anita Loos' novel and its Broadway version, the film focuses on two "gold-digging" showgirls played by Monroe and Jane Russell. Monroe's role was originally intended for Betty Grable, who had been 20th Century-Fox's most popular "blonde bombshell" in the 1940s; Monroe was fast eclipsing her as a star who could appeal to both male and female audiences.[133] As part of the film's publicity campaign, she and Russell pressed their hand and footprints in wet concrete outside Grauman's Chinese Theatre in June.[134] Gentlemen Prefer Blondes was released shortly after and became one of the biggest box office successes of the year.[135] Crowther of The New York Times and William Brogdon of Variety both commented favorably on Monroe, especially noting her performance of "Diamonds Are a Girl's Best Friend"; according to the latter, she demonstrated the "ability to sex a song as well as point up the eye values of a scene by her presence".[136][137] In September, Monroe made her television debut in the Jack Benny Show, playing Jack's fantasy woman in the episode "Honolulu Trip".[138] She co-starred with Betty Grable and Lauren Bacall in her third movie of the year, How to Marry a Maire, released in November. It featured Monroe as a naïve model who teams up with her friends to find rich husbands, repeating the successful formula of Gentlemen Prefer Blondes. It was the second film ever released in CinemaScope, a widescreen format that Fox hoped would draw audiences back to theaters as television was beginning to cause losses to film studios.[139] Despite mixed reviews, the film was Monroe's biggest box office success at that point in her career.[140] Monroe was listed in the annual Top Ten Money Making Stars Poll in both 1953 and 1954,[123] and according to Fox historian Aubrey Solomon became the studio's "greatest asset" alongside CinemaScope.[141] Monroe's position as a leading sex symbol was confirmed in December 1953, when Hugh Hefner featured her on the cover and as centerfold in the first issue of Playboy; Monroe did not consent to the publication.[142] The cover image was a photograph taken of her at the Miss America Pageant parade in 1952, and the centerfold featured one of her 1949 nude photographs.[142] 1954–1955: Conflicts with 20th Century-Fox and marriage to Joe DiMaggio Monroe had become one of 20th Century-Fox's biggest stars, but her contract had not changed since 1950, so that she was paid far less than other stars of her stature and could not choose her projects.[143] Her attempts to appear in films that would not focus on her as a pin-up had been thwarted by the studio head executive, Darryll F. Zanuck, who had a strong personal dislike of her and did not think she would earn the studio as much revenue in other types of roles.[144] Under pressure from the studio's owner, Spyros Skouras, Zanuck had also decided that Fox should focus exclusively on entertainment to maximize profits and canceled the production of any "serious films".[145] In January 1954, he suspended Monroe when she refused to begin shooting yet another musical comedy, The Girl in Pink Tights.[146] Close-up of Monroe and DiMaggio kissing; she is wearing a dark suit with a white fur-collar and he a dark suit. Monroe and Joe DiMaggio after getting married at San Francisco City Hall in January 1954 This was front-page news, and Monroe immediately took action to counter negative publicity. On January 14, she and Joe DiMaggio were married at the San Francisco City Hall.[147] They then traveled by car[148] to San Luis Obispo,[149] then honeymooned[150] outside Idyllwild, California,[151][152][153] in the mountain lodge of Monroe's lawyer Lloyd Wright.[154][155] On January 29, 1954, fifteen days later,[156] they flew to Japan,[157] combining a "honeymoon" with his commitment to his former San Francisco Seals coach Lefty O'Doul,[158] to help train[159] Japanese baseball teams.[160][161] From Tokyo, she traveled with Jean O'Doul,[160] Lefty's wife, to Korea,[162][163] where she participated in a USO show,[164] singing songs from her films for over 60,000 U.S. Marines over a four-day period.[165][166][167] After returning to the U.S., she was awarded Photoplay's "Most Popular Female Star" prize.[168] Monroe settled with Fox in March, with the promise of a new contract, a bonus of $100,000, and a starring role in the film adaptation of the Broadway success The Seven Year Itch.[169] In April 1954, Otto Preminger's western River of No Return, the last film that Monroe had filmed prior to the suspension, was released. She called it a "Z-grade cowboy movie in which the acting finished second to the scenery and the CinemaScope process", but it was popular with audiences.[170] The first film she made after the suspension was the musical There's No Business Like Show Business, which she strongly disliked but the studio required her to do for dropping The Girl in Pink Tights.[169] It was unsuccessful upon its release in late 1954, with Monroe's performance considered vulgar by many critics.[171] Monroe is posing for photographers, wearing a white halterneck dress, which hem is blown up by air from a subway grate on which she is standing. Monroe posing for photographers in The Seven Year Itch (1955) In September 1954, Monroe began filming Billy Wilder's comedy The Seven Year Itch, starring opposite Tom Ewell as a woman who becomes the object of her married neighbor's sexual fantasies. Although the film was shot in Hollywood, the studio decided to generate advance publicity by staging the filming of a scene in which Monroe is standing on a subway grate with the air blowing up the skirt of her white dress on Lexington Avenue in Manhattan.[172] The shoot lasted for several hours and attracted nearly 2,000 spectators.[172] The "subway grate scene" became one of Monroe's most famous, and The Seven Year Itch became one of the biggest commercial successes of the year after its release in June 1955.[173] The publicity stunt placed Monroe on international front pages, and it also marked the end of her marriage to DiMaggio, who was infuriated by it.[174] The union had been troubled from the start by his jealousy and controlling attitude; he was also physically abusive.[175] After returning from NYC to Hollywood in October 1954, Monroe filed for divorce, after only nine months of marriage.[176] After filming for The Seven Year Itch wrapped up in November 1954, Monroe left Hollywood for the East Coast, where she and photographer Milton Greene founded their own production company, Marilyn Monroe Productions (MMP)—an action that has later been called "instrumental" in the collapse of the studio system.[177][h] Monroe stated that she was "tired of the same old sex roles" and asserted that she was no longer under contract to Fox, as it had not fulfilled its duties, such as paying her the promised bonus.[179] This began a year-long legal battle between her and Fox in January 1955.[180] The press largely ridiculed Monroe, and she was parodied in the Broadway play Will Success Spoil Rock Hunter? (1955), in which her lookalike Jayne Mansfield played a dumb actress who starts her own production company.[181] Monroe, who is wearing a skirt, blouse and jacket, standing below a sign for the Actors Studio looking up towards it Monroe at the Actors Studio in 1961 After founding MMP, Monroe moved to Manhattan and spent 1955 studying acting. She took classes with Constance Collier and attended workshops on method acting at the Actors Studio, run by Lee Strasberg.[182] She grew close to Strasberg and his wife Paula, receiving private lessons at their home due to her shyness, and soon became a family member.[183] She replaced her old acting coach, Natasha Lytess, with Paula; the Strasbergs remained an important influence for the rest of her career.[184] Monroe also started undergoing psychoanalysis, as Strasberg believed that an actor must confront their emotional traumas and use them in their performances.[185][i] Monroe continued her relationship with DiMaggio despite the ongoing divorce process; she also dated actor Marlon Brando and playwright Arthur Miller.[187] She had first been introduced to Miller by Elia Kazan in the early 1950s.[187] The affair between Monroe and Miller became increasingly serious after October 1955, when her divorce was finalized and he separated from his wife.[188] The studio urged her to end it, as Miller was being investigated by the FBI for allegations of communism and had been subpoenaed by the House Un-American Activities Committee, but Monroe refused.[189] The relationship led to the FBI opening a file on her.[188] By the end of the year, Monroe and Fox signed a new seven-year contract, as MMP would not be able to finance films alone, and the studio was eager to have Monroe working for them again.[180] Fox would pay her $400,000 to make four films, and granted her the right to choose her own projects, directors and cinematographers.[190] She would also be free to make one film with MMP per each completed film for Fox |
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