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I remember taking some of Donald Spoto's film theory classes at The New School in the late eighties. He had written a nice book on one of my favorite film directors, Alfred Hitchcock, and I enjoyed the class discussions and being exposed to some great films I might never have gone to see on my own, like The Battle of Algiers and The Loneliness of the Long Distance Runner. He has written many celebrity biographies over the years, including books on Laurence Olivier, Ingrid Bergman, James Dean, Elizabeth Taylor, Grace Kelly, and Marlene Dietrich. His book on Marilyn Monroe is considered one of the most definitive biographies of the star. The facts of her life and death seem to be elusive (or even fabricated) to most who write about her, so I had high hopes for Spoto.
For the most part, Marilyn Monroe: The Biography, doesn't disappoint. If it does nothing else, Spoto's meticulous research does seem to debunk once and for all the highly unlikely claims of Robert Slatzer, who has told anyone and everyone who would listen about his three-day "marriage" to the star. Spoto points out how other biographers, like Anthony Summers have used Slatzer as a credible source and have allowed the cult of mis-information about Marilyn to snowball. Spoto also identifies Marilyn's "friend" Jeanne Carmen as a fraud, another person who has trumpeted her "close relationship" to the star, only after Marilyn's death, to her own financial benefit. But the most interesting and useful of Spoto's discoveries is that Marilyn may have had a one-time fling with President John F. Kennedy, as did many, many other Hollywood starlets, but that she never had an affair or any other sort of intimate relationship with his brother, Robert Kennedy. If the "Kennedy conspiracy" is subtracted from Marilyn's life and death, her story is not only very different, but much more believable.
"Beginning in 1955, a formidable file on Marilyn Monroe also began to accumulate in Washington – records of which she was never aware. They comprise a ludicrous waste of paper."
Spoto believes that if there is anyone to "blame" for Marilyn's death it is the highly unethical behavior of her psychiatrist Ralph Greenson, and her housekeeper, Eunice Murray, who Greenson had Marilyn hire shortly after she moved back to Los Angeles from New York. They do seem to have worked as a team, with Murray keeping tabs on the star and reporting back to the doctor. Marilyn was seeing Greenson almost daily at this point in her life, so the extra spying seems completely over-the-top, but Spoto makes a great case for Greenson's desire to "possess" his most famous patient, and highlights his extremely unprofessional behavior throughout his career. While he doesn't go so far as to accuse them of murder, he comes awfully close, suggesting that Murray (a person with no medical training) may have administered barbiturates to the already drugged-up star on Greenson's orders, and that the dose was what put her over the edge.
I have to admit that I don't completely buy Spoto's reconstruction of Marilyn's last days. He claims that she and Joe DiMaggio were planning to remarry on August 8 and she was excited and happy about it. There are receipts for a special dress and hair appointments and catering arrangements that help back up this idea. But he offers no reason for why, paradoxically, two days before her supposedly planned nuptials, she became suddenly upset enough to start the whole alcohol/pill/depression cycle again. He suggests her plummeting mood on the day of her death may be connected to her regular daily session with Greenson — he claims that she tried to fire the doctor that day. Maybe. She started drinking and popping pills and called Joe DiMaggio's son, Joe Jr., twice that day, and did finally get through to him in the evening (he later said they had a pleasant conversation), but there are no records of her trying to contact Joe at all. Wouldn't she have called her fiancé at least once, if she had been so disturbed, either by her meeting with Greenson or by something else?
Hollywood reporter Sidney Skolsky, a hypochondriac who worked out of the famous Schwabs drugstore (where he had easy access to sampling their products), befriended Marilyn. Once before an audition he "gave her three sleeping tablets so that the anxiety of preparing would not exhaust her before the test."... Joe called Marilyn and Sidney Skolsky "pill-pals, not pen-pals."
"Barbiturates to sleep, amphetamines to stay awake, narcotics to relax – in Hollywood, these were as plentiful as agents, and could easily be obtained through the studio front office."
"[Her internist, Dr. Hyman] Engleberg visited Marilyn at home every day but six during July; except for the fourth, the sixth through the ninth and the 16th, she received injections – liver and vitamin shots, she said. But these transformed her mood and energy with alarming rapidity."
The last few days of Marilyn's life aside, which we are unlikely to ever fully know all the facts of, Spoto does paint a wonderful portrait of Norma Jeane and how she became Marilyn Monroe. Her great ambition, her constant struggles with health, and the huge difference between how she looked and how she felt inside, are meticulously and chronologically presented. He isn't afraid to show her weaknesses and bad decisions, but he is also eager to show the screen goddess in a flattering light when he can, and has the facts to back up his debunking of old rumors — such as Marilyn's family didn't have a history of insanity as has been endlessly reported. Her grandfather died from a brain infection and her grandmother "of heart disease, which caused impaired mentation due to insufficient oxygenation of the brain." Marilyn's mother Gladys did fear genetic mental disease, especially after she had heard that her own grandfather committed suicide. Spoto points out that his death was related to his ongoing bad health and imminent eviction, not mental illness, Gladys was never aware of those facts. Gladys certainly suffered from anxiety and depression, but there was no Prozac for Marilyn's mother in 1935, so she chose to opt out of life and spent most of her life in sanatoriums.
He charts her uneven childhood. She lived in many foster homes — but not as many as usually reported, and most of her foster parents were friends of Gladys, not unknown to her. She was in the Los Angeles orphange for two years. Maybe because of this bounced-around upbringing, always having to please a new set of adults, Marilyn throughout her life would seek out a patron of some sort, usually a family, like the Strasbergs, or an older man, like agent Johnny Hyde. But even with powerful people on her team she still had to work hard to get noticed, to get a decent part in a picture.
Cinematographer Leon Shamroy: "This girl had something I hadn't seen since silent pictures.… She got sex on a piece of film like Jean Harlow. Every frame of the test radiated sex.… She was creating effects visually. She was showing us she could sell emotions in pictures."
Actor George Sanders: "She showed an interest in intellectual subjects which was, to say the least, disconcerting. And in her presence it is hard to concentrate. … She so obviously needed to be a star …"
Marilyn, about this time in her life, "... I didn't have any friends. I had teachers and people l could look up to — nobody I could look over at. I always felt I was a nobody, and the only way for me to be somebody was to be — well, somebody else. Which is probably why I wanted to act."
Spoto has a very different take on Marilyn's sexual history than most of the other lurid biographies of the star. The author claims that rumors of multiple abortions are ridiculous. She never had even one. "Later there were two miscarriages and an ectopic pregnancy requiring emergency termination, but no abortion." Marilyn had lifelong struggles with endometriosis (for which she had multiple operations to try and ease the symptoms) and uterine bleeding which would cause her great pain. She, the great goddess of sex, was most likely unable to bring a pregnancy to term because of her physical problems, one of her life's great disappointments.
Spoto uses quotes from many people in Marilyn's life to document how she was able to turn on and off her "Marilyn" persona at will — when she had the need to feel glamorous, to be recognized. He uses these instances to support his underlying theory of her internal conflict of identity, of her never really reconciling her two (or more) selves. This Norma Jeane vs. Marilyn idea is hardly new. But what Spoto doesn't acknowledge, probably because he has never personally experienced it, is that this sort of conflict exists in most women. Marilyn was an extreme case, surely, but most women have to deal with their public and private faces daily. Women are judged primarily visually. We are bombarded with cosmetics and media images that we are expected to at least attempt to aspire to. Men are judged by what they do, first, before how they look. For Marilyn, both how she looked and how her work was perceived, was incredibly important to her and to everyone in her orbit.
The best part of Marilyn Monroe: The Bigraphy is Spoto's detailed recounting of just how hard Marilyn worked to become Marilyn. Once she became a star, we all know that things got even tougher for her, but Marilyn stayed strong and did things that no one would have ever expected of her — she started her own production company, married and divorced two very different American icons, worked hard to be taken seriously as an actress. Her death is tragic, and others certainly had a hand in helping her find the crutches that eventually killed her. But however she died, what really resonates from Spoto's book was how she lived — always questing, reaching, trying to improve herself, trying to grow. That's a new and valuable image of Marilyn.
Images from: Dr. Macro's High Quality Movie Scans
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