I Wanna Be Loved By You – Andrew Wilson

The cast was starry: Clark Gable as ageing cowboy Gay; Eli Wallach as his widowed best friend Guido; Montgomery Clift as the psychologically and physically damaged rodeo rider Perce; and Monroe as Roslyn, who is in Reno to get a divorce. ‘Each one has their aria of pain and they’re all explaining their pain to this woman, who is in pain as well,’ said Eli Wallach.3 The plot centres around the men’s mission to track down a group of wild horses that they hope to be able to sell for dog food.

‘It’s sort of an Eastern Western,’ Miller told Gable after the actor expressed some initial doubts about his script. ‘It’s about our lives’ meaninglessness and maybe how we got to where we are.’4 At the beginning of filming, Miller maintained that he believed the project could still save his marriage to Marilyn. ‘And Roslyn’s dilemma was hers, but in the story it was resolved,’ he wrote in his memoir.5 The shoot was challenging: the temperature was often as high as 110 degrees Fahrenheit; forest fires led to power cuts which meant that for a few days there was no electricity at the Mapes Hotel, in Reno, where the cast and crew were staying.

There were tensions and divisions on set between those who cast their lot in with Marilyn and her camp of devotees, such as Paula Strasberg (known as ‘Black Bart’ on the set because of her penchant for black clothes and black cone- shaped hat), and others who sympathised with and supported Arthur Miller.

Miller kept rewriting the script, unusually shot in sequence, which meant that the actors – including Marilyn – often had to learn new lines overnight. Arthur had trouble settling on the ending of the film, particularly whether to let Roslyn and Gay (symbolic stand-ins for Marilyn and himself) separate or drive into the sunset together. The irony of the situation was not lost on Miller: while he had conceived the story of The Misfits in a spirit of ‘hopefulness’, as filming progressed he realised that he had to accept that his marriage to Marilyn was over.6 When he talked to Marilyn about the ending, she was clear: ‘What they really should do is break up at the end,’ she told him.

‘Sometimes I had the eerie sense that we were in another dimension – that we were hearing Marilyn’s own cry against the brutal violations of her life,’ said John Huston.7 At times, during filming, she heard herself uttering lines that came directly from her own past – moments she had shared with Arthur Miller and which he had then transposed into the script.

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You will continue to receive exclusive offers in your inbox. OceanofPDF.com OceanofPDF.com To the many fans of Marilyn OceanofPDF.com Introduction THE MARILYN TAPES I am listening to the voices of the dead whisper their memories of Marilyn Monroe. From an old audio recording comes a hiss, a crackle, the sizzle of white noise, and then Jane Russell begins to reminisce about her Gentlemen Prefer Blondes co-star. She remembers being told by a colleague that when the cameras began to roll, Marilyn made a kind of magical transformation.

‘It was like a whole electric light went on,’ she says.1 On another tape I hear the voice of Marion Marshall, who knew Marilyn at the beginning of her career; both actresses had small parts in the 1950 film A Ticket to Tomahawk. In her words, Marilyn was ‘the most spectacular girl I’ve ever met as far as having a…

what do you call it?… a dynamic quality. I remember sitting in the commissary [the Café de Paris at Twentieth Century-Fox] watching Marilyn walk through the room before she’d ever done anything, maybe a bit part in a picture, and everyone in the commissary would stop and watch her. She had that kind of quality.’2 William (or Billy) Travilla, who designed costumes for several of Marilyn’s films, also remembers the effect she had on other stars.

‘Marilyn would walk in, with greasy hair, greasy face, dark glasses, skinny slacks and a big, puffy sweater,’ he recalls. ‘She wasn’t dirty, but she wanted that look. And the whole place would stop. The whole place was silent. Not a movement.’3 These ghostly voices from the Golden Age of Hollywood have remained silent for more than forty years. I’m listening to their secrets in an unlikely location: a building on the banks of a river in the south of Ireland. The small cottage sits in the grounds of the home of investigative journalist and biographer Anthony Summers, which he shares with his wife, and frequent co-author of a number of non-fiction books, Robbyn Swan.

During the course of the research for his 1985 biography Goddess: The Secret Lives of Marilyn Monroe, Summers interviewed around 650 people, the majority of whom are now dead.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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