Lana Turner & Marilyn Monroe: Magnetic and Disturbing Creations of the Star System

After Lana Turner's first years in the star machine, a personal transformation took place. The lovely young girl became a glamour queen, wise to the world, even cynical. She became the kind of woman whom men most desired, dangerous in a thrilling way, but safe and companionable, too. In Lana Turner the public found what they like best in a movie star: ambivalence, a mysterious mixture of good and bad. Her image was undeniably one of glamour, satin, furs, and diamonds, but it was sitting on a drugstore stool. She was the perfumed boudoir, but also the ice cream parlor. She was glamorous, but also girlish. She was a tigress, but also a kitten. Turner’s childhood was every bit as unstable and deprived as Marilyn Monroe’s, but unlike Monroe, Turner elected not to make it an issue. There was once a myth that you could attend Hollywood High School, get discovered and become a movie star. Lana Turner was the girl who turned that myth into reality. Billy Wilkerson from The Hollywood Reporter, then 47, discovered Lana Turner in early 1937, who had skipped typing class to have a Coke with friends at the nearby Top Hat Malt Shop. That this happened at Schwab's Pharmacy is persistent fiction. 

Wilkerson saw Turner, a self-possessed 16-year-old, and told the cafe manager that he'd like to speak with her. Turner was suspicious, agreeing only reluctantly. A meeting with Turner and her mother was arranged at Wilkerson's office and, just like that, a star was born. By 1938, Lana Turner was making movies with Mervyn LeRoy under a $100-per-week contract ($1,700 today). Mervyn LeRoy actually was a mentor to her: He was a good person, highly respected in the film industry, and he protected and guided the unskilled girl. His decency and experience ensured Lana's future. LeRoy himself directed her early steps through the star machine process. First, her name had to be changed. Turner was okay, but Julia Jean Mildred Frances wasn’t going to cut it on marquees. When LeRoy was lured away from Warner Bros. by Metro-Goldwyn-Mayer in 1938, he asked if he could take Lana Turner with him and Jack Warner told him to go ahead. 

Since MGM couldn’t control Lana Turner or her bad publicity—and since the public obviously ate it up and wanted more of her—the studio just let it happen. The combination of her private life's peccadilloes, and her role as a temptress in The Postman Always Rings Twice pushed Turner over the top. It was now 1946. Lana Turner had been a star since 1941. Whenever the movies wanted to invoke a symbol for their own particular brand of sex appeal, it was Lana Turner’s name that was used. She is mentioned in Cairo (1942), Lucky Jordan (1942), Meet the People (1944), Anchors Aweigh (1945), and even Tom and Jerry cartoons. In Goldwyn’s Wonder Man (1945), a girl on a park bench justifies her looks by saying, “Some people think I look like Lana Turner.” In Without Reservations (1946), directed by her old mentor, Mervyn LeRoy, for RKO, her name is mentioned so often it’s as if she had stock in the picture. (“Lana Turner?” says a character. “That’s a glandular attraction.”) This popularity made Turner a national treasure during World War II. A young GI wrote to his mother that “somehow it is better to be fighting for Lana Turner than it is to be fighting the Greater Reich.” It was a sentiment even the Germans could understand. President Franklin D. Roosevelt invited her to his annual birthday ball, and when she left early to go dancing elsewhere, he was heard to sigh, “I wish I were going along.” 

Magnetic and disturbing, Lan Turner had become a powerful image. An undercurrent of violence and recklessness (which seemed fatally linked to her sex appeal) became more overt. By now MGM realized fully that Lana Turner was not simply a product of their system. She was “Lana,” a name that despite her popularity never caught on as a name for babies. What sensible mother wanted a “Lana” on her hands? Turner was no role model. This was a part of her movie star development that hadn’t been fully envisioned by the studio bosses. Lana Turner had become a household name, which wasn’t itself unusual for a movie star, but she was a household name associated with questionable offscreen behavior, and a complicated personal life. Audiences wrote in to complain about her “morality.” MGM solved this problem by casting her as a villainess. As a change of pace, she played Milady deWinter in a lavish costume drama based on Dumas’s The Three Musketeers (1948). Turner does full justice to the juicy role of a truly evil woman. (“Beware of strange men, dark roads, and lonely places. That woman will destroy you.”) Except for her brief appearance in DuBarry Was a Lady, The Three Musketeers was her first Technicolor film. 

In 1951, Lana Turner was named the most "glamorous woman in the history of international art" and the next year she was excellent in The Bad and the Beautiful. For once, a glamorous movie star is played by one. She understands the role, and she makes it hers. Yet she wasn’t nominated for an Oscar, and MGM refused to reconsider her potential. It was the moment for her—if recognized as the actress she might have become, things could have changed. But no. Despite her success in The Bad and the Beautiful, MGM persisted in its plan to make Turner into a musical comedy star and lighten her image. After the Stompanato trial, not only was Lana Turner’s private life in a mess but her professional life was also up for grabs. Time magazine referred to her as a “wanton,” describing her sex life as a men’s room conversation “everywhere from Sunset Boulevard to Fleet Street.” Her love letters to Johnny Stompanato (pitifully childish) were published in the papers. 

As she aged, the pain of these years was seldom mentioned by her, but near the end of her life, she commented, “Whoever started the idea that we [stars] are public property? We give the public performances, glamour, and a dream. But we are all human beings, and we should have moments that are our own. If I were just an ordinary working girl and someone asked me some of the questions I’ve been asked, I’d say, ‘Get lost, Buster!’ But I just take a deep breath and try to answer. I resent stupid questions, but I can’t do anything about the Lana Turner image. I’ve lived with it too long.” Ironically, about the time she was breaking down on movie screens all over America, she was breaking down in real life. Fascinated movie audiences felt they were experiencing her private anguish, reenacted for their benefit. The last years of Turner’s stardom, from 1957 to 1976, illustrate what is left to a female movie queen who is aging and locked into roles that reflect her own life after the system that built her, nourished her, supported her, and defined her, throws her out—and then itself collapses and disappears. Her offscreen life, or what people thought it was, became the only role she was allowed to play.

She was indeed “bigger than life.” At the end of her life, Lana Turner had figured out and accepted the realities of her goldfish bowl life: “When a small-town girl makes a mistake, her family covers up for her. But me, nobody covers up for me.” She realized that this was a price she had to pay for stardom: “We are unconscious of what Hollywood may do to us. At the same time, it is unfair to blame this on Hollywood.” She was always known to be vulnerable: “Why do people want to hurt me? I can’t understand it.” She kept that softness because she was a kind person basically, but she finally worked out her own private rules to live by: “Never look back is my philosophy. What’s past is past, and I can’t let it destroy me.” She never whined to the press about how tough things were when she was young. It was inevitable that a girl with Turner’s looks wasn’t going to stay poor and unknown. She had to end up jeweled and gowned. She wasn’t found down and out in Bellevue. She didn’t kill herself, and she ended up a wealthy legend.

Comparing Turner to other female movie legends—Elizabeth Taylor, for instance—it is clear that where Taylor was spoiled and dependent on men, Turner was spoiled and independent of them. Although totally feminine, Lana Turner was one of the first film stars to openly take the male prerogative for herself. She was less a slave to sex than she was its master. Originally, Metro thought Turner might inherit Joan Crawford’s roles. Like Crawford, Turner had behind her the escapist daydreaming of a lonely and poverty-stricken little girl. But she was smarter than everyone thought she was, because she outlived the star system by making her dream image into a real image. In April 1975, the Town Hall in New York invited her to appear on their stage in person to discuss her career in a series called “Legendary Ladies,” featuring Bette Davis, Joan Crawford, and Myrna Loy. No one knew exactly what would happen; nobody thought she was a Davis or Crawford. But the evening was a sellout. She was introduced as “star of screen, radio, television, and stage.” A packed audience quivered in anticipation, and when she walked out onto the stage, dressed all in white, she received a prolonged, thunderous standing ovation. 

Once asked what she would like to be remembered for, Lana Turner said, “I just want to be remembered as a sensitive woman who tried to do her job, that’s all… I would like to think that in some small way I have helped preserve the glamour and the beauty and the mystery of the movie industry.” As her career had rocketed during the early 1940s, Lana Turner was managed by Johnny Hyde, ‘a dear friend for years’ according to Lana's daughter Cheryl Crane. In 1949, Hyde met Marilyn in Palm Springs, and was instantly smitten, taking her on as a client. Lana Turner was a significant influence on the young Marilyn Monroe. In her stunning pictorial biography, Lana: The Memories, the Myths, the Movies, co-written with Cindy De La Hoz (author of Marilyn Monroe: Platinum Fox), Lana’s daughter Cheryl Crane states that her mother ‘thought Marilyn Monroe was a fine actress besides being a fascinating personality’. 

Studios ran strings of types successfully, discarding each one in turn as she lost popularity. Anita Page led to Alice Faye who led to Betty Grable who led to June Haver who led to Sheree North who led to Marilyn Monroe. These women were not cookie cutters—each has her own distinctive quality—but they’re all sexy blondes who can sing and dance. Betty Grable didn’t drop out as Fox’s leading musical blonde until 1955, and June Haver had already succeeded as her official replacement. Haver’s own replacement, Sheree North, was being developed at the same time, but, most important of all, a dark horse, an unexpected blond champion, arrived out of left field and claimed Fox’s publicity machine as her own. Her name was Marilyn Monroe. Marilyn skyrocketed to spectacular fame, and she was one of the last—if not actually the last—truly big female star to be “built up” by the star machine the old-fashioned way. During the years 1951 to 1953, she began to appear in bit parts, and then moved on to big-budget movies and magazine covers.

Allegedly, Marilyn Monroe came out of nowhere, but that “nowhere” was the usual time of development and growth, in her case a four-year apprenticeship in bit parts and walk-ons. In 1950, Marilyn appeared in Right Cross, All About Eve, and The Asphalt Jungle. In Right Cross she’s sitting in the background of a fancy restaurant/bar, playing a girl Dick Powell has just decided to stand up. It was her two small speaking roles in The Asphalt Jungle and All About Eve that caused everyone to notice her. David Thomson adds, “Gossip would not have been slow to provide the means by which she negotiated the executive office.” There is anecdotical evidence of the casting couch during her initial career, due to Marilyn's chronic sense of insecurity. Fox, experienced at grooming successful sexy blond stars, chose to pull Marilyn Monroe out of the ranks and give her everything they had in the buildup, even though some of her directors really didn’t see her as all that unusual. 

Fritz Lang, who directed her in 1952’s Clash by Night, said, “She was a peculiar mixture of shyness and uncertainty—I wouldn’t say ‘star allure’—but she knew exactly her impact on men.” The stories of Barbara Lawrence and Marilyn Monroe illustrate the vagaries of stardom malfunction. Monroe was unique, but she, too, could have gotten lost in the system as her early movies illustrate. The star machine did its work for both women, but Monroe could bring something to her moments that Lawrence, as talented as she was, could not. The audience knew the difference, and once the machine polished up Monroe and set her up as proper bait, the audience bit and Monroe took it from there. But Monroe had no impact on audiences the way Debbie Reynolds in her “Abba Dabba Honeymoon” number in Two Weeks with Love (1950) did. No one went “oooh” or applauded or left the theatre in awe. I saw and heard a lot of audiences during the years 1948 to 1958, and Marilyn Monroe didn’t reach them the way she touched people after her death. Her still photographs had flesh impact in a way her moving image did not. Her movie image was strangely enlivened by her death, made dimensional by offscreen facts. 

Manohla Dargis: "Once, we created gods and goddesses in our image, idealized visions of our most perfect selves. In time, our gods started to descend, mumbling with Method-actor sincerity about how they wanted to join us on Earth. We welcomed them initially, but after a while we grew to resent them and hold them in contempt. We still love them, but we hate them too, because now the mirror image they hold up is irreparably cracked." As the studio system began its slow collapse during the 1950s, it took a while for Hollywood to grasp what was happening. By the end of the 1960s, most moviemakers realized that “movie star” magic was losing credibility. In 1960, the names on the list, in the order of popularity, were Elizabeth Taylor, Rock Hudson, Doris Day, John Wayne, Cary Grant, Sandra Dee, Jerry Lewis, William Holden, Tony Curtis, and Elvis Presley. With the exception of Presley, who became a movie star because he was a rock music phenomenon, every name on the list was developed by the studio system. By 1970, however, the number of great movie star personalities developed by Hollywood’s star machine begins to wane. Paul Newman, John Wayne, and Jack Lemmon are on the list—but the other seven names reflect change: Clint Eastwood, Steve McQueen, Barbra Streisand, Dustin Hoffman and Walter Matthau-two Broadway actors who weren’t traditional handsome leading men-; and Robert Redford, the only new glamour boy in the group. The last two names on the list are Lee Marvin and Elliott Gould. As the old system collapsed, and censorship lessened, films became more and more violent. —"The Star Machine" (2007) by Jeanine Basinger

Marilyn Monroe: The Private Life of a Public Icon

Based on new interviews and research, Marilyn Monroe: The Private Life of a Public Icon (2018) reveals how Marilyn Monroe's childhood contributed to her struggle with bi-polar disorder, and impacted her career and personal life. Marilyn was a complex woman, bewitching and maddening, brilliant yet flawed. Charles Casillo studies Monroe’s life through the context of her times―in the days before feminism. This biography exposes how―in spite of her fractured psyche―Marilyn managed to transform each celebrated love affair and each tragedy into another step in her journey towards immortality. Just a few of Casillo's revelations: *Despite reports of their bitter rivalry, Elizabeth Taylor secretly called Marilyn when she was fired from her last film to offer moral and financial support. *Film of a rumored nude love scene with Clark Gable was said to have been destroyed―but an exclusive interview reveals that it still exists. *A meticulously detailed account of the events of her last day, revealing how a series of miscommunications and misjudgments contributed to her death. Source: www.amazon.com

A collection of rare pictures of Marilyn Monroe has emerged, including this never-before-seen photograph she sent to Arthur Miller along with the caption 'I know when I'm not there for you.' Margaret Barrett, Director of Entertainment Memorabilia, said: 'It's not the classic, sexy movie star look she's known for, she is in a white shirt with a collar, you can't see any skin but her face. She's completely covered up with a regular dress shirt with buttons and long sleeve with subtle make-up and an odd expression. It's the picture of a regular woman - you rarely see Marilyn like that. You see her as the famous movie star. Maybe it's telling of what Arthur wanted, the regular woman on his desk, not the public perception. She wrote a message on the glass frame to Arthur where she knew he would see it. Who knows what that means? Maybe he felt she wasn't there for him, maybe was he that needy, who can guess?' The auction, which will take place in Dallas next week, also features images of Marilyn entertaining the troops during the Korean War. Source: www.dailymail.co.uk

Marilyn Monroe’s struggle was to reconcile her two identities: Norma Jean, the apple-cheeked girl next door, and Marilyn Monroe, the droopy-eyed Aphrodite. Marilyn: Intimate Exposures (2011) by Susan Bernard, is a stunning collection of images that track Norma Jean’s transformation into Marilyn. In early, rarely seen glamour photographs by Bruno Bernard, you see a 20-year-old Norma Jean with an eager smile and wide eyes, doing pin-up poses with a very un-pinup expression. Bernard’s photos were used as the covers of the pre-teen pulp series “Teenage Diary Secrets” and Laff magazine (a mix between Mad magazine and Playboy), as well as in print advertisements for pharmaceutical companies. Later Bernard photographed her on movie sets, snapping the immortal subway-grate photo from The Seven Year Itch. Voluptuous and soft-voiced, the Marilyn we know exemplified 1950s femininity. Yet she mocked it with her wiggling walk, jiggling breasts, and puckered mouth. There were many Marilyns, not just one. “Marilyn Monroe,” her most famous alter ego, was one among many. As a pin-up model early in her career she posed for her era’s most famous pin-up photo—a nude that became the centerfold for the first issue of Playboy in December 1953. By mid-career she created a new glamour look that combined the allure of the pin-up with the aloof, mature sensuality of a glamour star. —"Marilyn: The Passion and the Paradox" (2012) by Lois Banner

In 1954 and 1955, the number one identified health problem in the United States was ‘emotional disease.’ In 1954, 150,000 adults entered mental hospitals and 700,000 mental patients received hospital care (in comparison, physical disorders accounted for only 600,000 patients). That same year, over a billion dollars was spent for the care of people diagnosed as mentally ill. In 1955, the year minor tranquillizers first became available outside of hospitals, 75 per cent of patients were being treated in hospital settings, over half a million people, compared to 150,000 in 1980. And although the wide availability of tranquillizers meant that hospital stays decreased by the late 1950s, there were still over a quarter of a million people employed in the industry, and hospitals continued into the late 1950s to report staff shortages. Over half of the patients in these hospitals were women, the majority married. —"Small Screen, Big Ideas" (2002) by Janet Thumim

As Robert D Putnam identified in his seminal essay, Bowling Alone, lower participation rates in organisations such as unions had reduced person to person contacts and civil interaction. World War II occasioned a massive outpouring of patriotism and collective solidarity. At war’s end those energies were redirected into community life. The two decades following 1945 witnessed one of the most vital periods of community involvement in American history. By the late 1950s, however, this burst of community involvement began to tail off. The Clinton-era was a period of financial deregulation, including the repeal of the Glass-Steagall Act, the landmark reform passed during the Depression, as well as legislation exempting credit default swaps from regulation. Economically, this period saw the continuation of what's been called the "Great Divergence" which produced stark inequalities in wealth and income. Between 1979 and 2007, household income in the top 1% grew by 275% compared to just 18% growth in the bottom fifth of households. Disruptive technologies changed the workplace and upended the labour market. Between 1990 and 2007, automation and globalisation killed off up to 670,000 US manufacturing jobs alone. The internet and social media, trumpeted initially as the ultimate tool for bringing people together, actually became a forum for cynicism, division and various outlandish conspiracy theories. America became more atomised. The opioid crisis can be traced back to the early 1990s with the over-prescription of powerful painkillers. 

Between 1991 and 2011, painkiller prescriptions tripled. Rather than the compulsive togetherness ascribed to the classic suburbs of the 1950s, when ethnographer M. P. Baumgartner lived in a suburban New Jersey community in the 1980s, she found a culture of atomized isolation and “moral minimalism.” Far from seeking small-town connectedness, suburbanites kept to themselves, asking little of their neighbors and expecting little in return. “The suburb is the last word in privatization, perhaps even its lethal consummation,” argue urbanist architects Andres Duany and Elizabeth Plater-Zyberk, “and it spells the end of authentic civic life.” As sociologist Robert Sampson states: “Lack of social capital is one of the primary features of socially disorganized communities.” The best evidence available on changing levels of neighborhood connectedness suggests that most Americans are less embedded in their neighborhood than they were a generation ago. Indeed, the decline in neighborhood social capital—community monitoring, socializing, mentoring, and organizing—is one important feature of the inner-city crisis, in addition to purely economic factors. Elijah Anderson, an urban ethnographer who studied the inner-city of Philadelphia, has documented a steady erosion in the “moral cohesion” of low-income neighborhoods. —"Bowling Alone: The Collapse and Revival of American Community" (2001) by Robert D. Putnam

Jerry Lewis' Legacy, Intellectual Humility

Men might want to ditch the pickup lines and polish their punchlines in their quest to attract women, new research at the University of Kansas suggests. Jeffrey Hall, associate professor of communication studies, found that when two strangers meet, the more times a man tries to be funny and the more a woman laughs at those attempts, the more likely it is for the woman to be interested in dating. Those findings were among the discoveries Hall made in his search for a link between humor and intelligence. For the past decade, research has debated whether women appreciate men’s humor, which is often cited as one of the most valued traits in a partner, because it allows them to suss out the smarts of potential mates. In the article “Sexual Selection and Humor in Courtship: A Case for Warmth and Extroversion,” Hall said “If you meet someone who you can laugh with, it might mean your future relationship is going to be fun and filled with good cheer.” When men make jokes and women laugh, they may be performing a script in courtship. Men acting like jokers and women laughing along may be part of it, too. “The script is powerful and it is enduring,” Hall said. The results suggest the more times a man tried to be funny and the more times a woman laughed at his jokes, the more likely she was romantically interested. The reverse was not true for women who attempted humor. Source: news.ku.edu

The way your brain functions changes when you fall in love, and not just when you're with or thinking about your sweetheart. Your brain changes again if that love comes to an end—but doesn't go back to the way it was before you ever fell in love. It's a spectacular confirmation of what many of us probably would have guessed, based on how subjectively intense love can be. “Our findings suggest that people who value virtuous motives may be able to reason wisely for themselves, and overcome personal biases observed in previous research,” explains psychological scientist Alex Huynh of the University of Waterloo. “To our knowledge, this is the first research that empirically ties this conceptualization of virtue with wisdom, a connection that philosophers have been making for over two millennia,” says Huynh. “These findings open up new avenues for future research to investigate how to increase a person’s level of wisdom. This is in part due to their ability to recognize that their perspectives may not be enough to fully understand a situation, a concept referred to as intellectual humility.” Source: www.psychologicalscience.org

Jerry Lewis's son Anthony got left out of the will, so he is saying he got whipped twice as a kid, and now he is saying that’s abuse. Years ago he was boasting that he was the only son that never got whipped for bad behavior. So which is it? Jerry Lewis also found out that ex-wife Patti was about to get thrown out of her nursing facility because Anthony was pocketing the money himself, and got really pissed off at him. Jerry then had Patti moved closer to him in another asylum in Las Vegas. This is what Anthony originally said in his mother's book about his father, a whole different picture than what he paints now: "My father was always the strongest person in my life growing up. He was the ultimate role model, the consummate disciplinarian... Sure my father became angry at times. When properly provoked, anyone will. But he was never wild or uncontrollable. Even in the depths of his percodan addiction, he never made insane gestures or spoke abusively.... The act of children making money by defaming their parents should only be classified as mercenary opportunism. God forbid show people should be human.” 

Jerry Lewis was one unequivocal token of American exceptionalism at its finest. I remember a story that Penn Jillette told about meeting Lewis for the first time. Jillette was pontificating to some fellow comedians at an event that Lewis would be appearing at that he never understood why Lewis was worshiped, especially since he hadn't done anything "good" since The Nutty Professor era. Lewis then appeared before him and Jillette wept as if before Christ, and poured his heart out to him, extolling his genius and thanking him for the joy Lewis brought into his life. Jillette's experience really personifies the struggle a lot of us have with Jerry Lewis. Here is a man who revolutionized comedy and became an overnight sensation, playing to shrieking crowds the likes of which wouldn't be seen until The Beatles. Yet, at a certain point, Lewis aged and became a mythical figure who hadn't been involved in a smash project in decades. He was remembered as a clown, whose circus tent had deflated many moons ago. His often disastrous interviews earned him an ire in the critical world.

Yet, after his death, there were many who disparaged Lewis during his life that praised him as a genius after his death. Technical filmmakers bowed to advancements to film because, after all, he practically invented the system known as "Video Play-Back." Prior to the revolutionary tool, the daily "rushes" of that day's filming would be a mystery until they were developed and show on a screen. Lewis invented the system where the scene could be instantly played back and fixed while the cast was still in make-up and costumes. The Total Film-Maker was practically a bible to legendary directors such as Steven Spielberg and George Lucas. Lewis was also a champion of The Character Actor and the genius misfit. In an interview in 1996, Kathleen Freeman talked about working with Lewis as "something quite magical in life to have a friendship with Jerry built on unbelievable respect and appreciation."

Do we see him as The Clown or The Human being? Lewis was once called "The Human Care Package", since he'd donate clothes and assorted goods to many of his collaborators. He's believed to have handed over 400s suits. In his heyday, Lewis would spend as much as $35000 on Christmas gifts. Do we judge him for his faults or extol him for the joy he brought to millions? My verdict is that the legacy of the man will be a personal Legacy. He will mean to you what he meant to you, despite the protestation of others. It's really all lesson in self-actualization when we can stick to our tastes, even when the world is disparaging the object of our affection ad nauseum. Knowing what makes you laugh, above all, is the eternal indicator of a well-rounded human being. We are at our most vulnerable when we laugh and, to true open yourself up to laughter, is a phenomenon that unsettles even the most stentorian of souls.

Jerry Lewis, to millions, was the epitome of laughter, joy, and pure silly fun. "Laughter is healing, it's a spiritual feeling," Jerry Lewis affirmed. In the end, the words of the man himself speak better than any further pontificating: “A lot of people resent that I’ve been in someone’s life for 50 years. Why shouldn’t people have an affection for me and what I’ve done? Didn’t I have to be genuine for them to buy into what I did? There are children who grow up today who will not have that. With whom will they have it? Name an example for me.” Source: www.chicagonow.com

Jerry Lewis learned some painful lessons since breaking with Dean Martin. Here was a likeable refugee from the tough vaudeville-nightclub circuit who became wealthy and famous before he was 30. With his handsome singing partner, Dean Martin, he had a lifetime guarantee to glory. 'I loved Dean almost as much as my family,' said Lewis. Some insiders said their wives (Patti Palmer and Jeanne Martin) clashed. This attitude, more than occasional jealousies and rifts, led to their break-up. After breaking with Martin, Lewis plunged into the most nerve-shattering, career-wrecking of Hollywood ventures – producing and directing his own films. Lewis’ day begins at 7 a.m. His first production was “The Delicate Delinquent” (1957), developing an idea for a chest of drawers that fell apart when slammed and then reassembled itself. “It’s cost $3,750,” the prop man added. 

It’s a tribute to Jerry’s strong family loyalty that his consuming ambition is never at the expense of his wife, Patti, and their boys. The Lewis’ vacations are always family vacations, and Jerry’s business trips are arranged to keep him away from home as little as possible. Jerry was at the Paramount Theater in New York when Ronnie broke his leg. The comedian flew back to Hollywod after his last show, spent four hours at his son’s bedside, then returned East without missing a performance. During an appearance at Chicago’s Chez Paree, Patti phoned Jerry to tell him the children were lonesome. Jerry promptly made arrangements for a police escort to Midway Airport after his last show and a car standing by at Los Angeles International Airport to meet his flight. He had only an hour and a half to talk and joke with his family before returning to Chicago, but it was worth it. 

“Loneliness” is a terrifying word in Jerry Lewis’ world. He remembers his own childhood in Newark, N.J., as one haunted by feelings of desolation. His parents were vaudevillians who had to accept billings far from home. At 8, Jerry was cooking his own meals, keeping house, and spending endless hours in the dark in an empty apartment where each creak magnified to dreadful proportions. His closest companion was his grandmother, who lived nearby. She died when Jerry was 14 and the world closed in tighter. Childhood loneliness, as an Hollywood do-it-yourself psychoanalyst will tell you, is the deep-seated answer to “What makes Jerry run?” Jerry needed success and admiration to protect him from memories of being small and alone. 

Even so, none of these achievements is likely to help Jerry as much as his marriage and family have. Patti Calonico and Jerry Lewis met in a downtown Detroit theater where he was doing pantomimes to records and she was singing with Ted Fio Rito’s band. Love came to Jerry, then only 18. The best he could manage in the way of introductions was to smear a lipstick message on her dressing-room mirror, “How about a date tonight?” The approach was unorthodox but successful. He followed it up by leaving a pair of baby shoes on her dresser with a pink and blue note asking, “How about filling these?” And so they were married. Patti was five years older but that was just as well because she often had to be mother and sister, too. —"What Makes Jerry Run" (1957) by Peer J. Oppenheimer for Family Weekly magazine

I had always thought Jerry Lewis was a great entertainer, never dreaming I would meet him. I thought he was one of the greatest comedians in the world. So I decided to shop for a new dress at the shop in the Flamingo, and then I went to the Colonial Motel on the Strip. My gay hairdresser, Jim,  bleached my hair champagne beige and styled it in a bouffant—a stunning fashion statement. He gave me new eyelashes so I’d look like a showgirl. After looking in the mirror I could see that I looked a whole lot more sophisticated and mature than a girl of only nineteen. Afterwards I went to my apartment, took a shower and slid into my sexy Mr. Blackwell design evening dress. The front of the dress was see-through from the inch choker-neckline to my waist. Delicate black crossed-lace held the front of the dress together, slightly exposing the inside of my voluptuous breasts. I splashed on my hundred-dollar Davinci perfume, popped an Ambar #3 in my mouth and drove my Thunderbird convertible to the Flamingo. I looked around to see everyone staring at me in my six-inch heals. I walked like a model, one foot in front of the other, sashaying my hips and arms like I owned the place. In the lounge we drank together. There were crowds of tourists and gamblers, and every once in a while someone interrupted to ask for an autograph. When we got to his suite, we had cocktails and he ordered a tray of hors d’oeuvres. The tray was loaded with shrimp, crab legs and the finest cheese. 

He was so romantic as we sipped champagne. We went to dinner at the Candlelight Room in the Flamingo Hotel, where he was appearing. It was the first gourmet restaurant opened in Las Vegas.  I wished Jerry wasn’t attached because I felt attracted to him. We had drinks and Jerry took me to his car, a Lincoln. We went for a drive toward downtown and he showed me the recording equipment he had installed in his car. Jerry practiced many of his routines using that tape recorder and played them back while he was driving. Jerry invited me to his show that night. I accepted and really enjoyed it. He saw me in the crowd and looked right down at me. He directed some of the lines and antics in his routine straight at me. He was one of the nicest men I’d ever met. Jerry just liked me. He felt comfortable with me. I knew that being a celebrity on the road could be hard and lonely. I think guys like Jerry thought of me as a breath of fresh air because I saw them as the people they were, and I was down-to-earth with them. 

Harry James owned the Harry James Orchestra during the Big Swing Era. He had hired Frank Sinatra in 1939, giving him his first gig as a vocalist with a known band. Harry told me about his ex-wife, Betty Grable, an international sex symbol. He said she was a nymphomaniac, never sexually satisfied. He said he couldn’t handle her infidelities—she had to have sex with other men to get enough—which led to their divorce. But I never did hear her side of the story. In the 1960s the casinos never allowed girls off the streets inside. If they tried to enter, the vice cops were called and escorted them out or arrested them for vagrancy. But a few of my new friends—Annette, Audrey and Laurie—and myself, who were the new girls, were allowed through the casino doors. We were the queen bees of Vegas—elegant, charming, witty, seemingly carefree, beautiful, and fun. One evening in June, I went to the Regency Lounge at the Sands and I met Harry Goodheart, the Sands casino manager. He was a friendly guy in his early fifties and he always listened to my problems, offering advice and support. He never judged me and I looked forward to seeing him every time I went into the Sands. He also became another big connection; I trusted his judgment and knew he wouldn’t set me up with anyone who wasn’t in good standing with the casino. Annette was one of the elite hustlers in Vegas that I’d met through Jonesy, the pit boss from the Sahara. Annette was an attractive brunette and had worked Vegas for six years. 

The lights went down and the Rat Pack came out on the stage to sing. Just before the end of the first song, the audience turned to the back of the room. I turned too and saw Marilyn Monroe standing in the doorway in a long white gown decorated with flashy beads. The very large Nick Kelly escorted Marilyn down the aisle to our table. She sat in a chair next to me with all eyes upon her. The Rat Pack seemed stunned but continued to sing. When they finished, Frank introduced Marilyn. I thought she was beautiful, though a little fuller in the hips than I had imagined. Marilyn shook my hand as Jilly Rizzo introduced her to me. She said, “Pleased to meet you, Janie,” in her wispy voice. After the show, Marilyn stayed a few minutes to talk with Frank.  One afternoon in February of 1962, George, Frank’s valet, called and told me to come down to the Regency Lounge at the Sands because Frank was back in town. I dressed in my beautiful Ship ‘n Shore designer dress and rushed to meet him. Frank was happy to see me, standing up and giving me a kiss on the cheek. Sammy and Annette were sitting with him at the table and it seemed like the continuation of a party that had never ended. Getting out of the shower, I heard a TV newsman say that President Kennedy had been shot. It was November 22, 1963. I watched for about an hour until there was a newsflash that the president had died from a gunshot wound to the head. This seemed to me the saddest thing that had ever happened in America. 

When I went to the Thunderbird Hotel, the waiters at the seafood bar said the hotel was draping all its gambling tables and slot machines in black to mourn the president. The city was going to turn off all the lights, including those on the Strip, for a long moment that night. That evening the lights did go off, and there was total darkness in Las Vegas. It was eerie. Nothing moved. All the people bowed their heads in prayer. Frank Sinatra complained about the press constantly hounding him about his connections with the mob. The only reason he knew any of the mob was because he used to serve coffee and sing for them as a kid. He told me he was tired of the media’s rumors and false stories. I could tell it was taking a toll on him. He’d worked hard to get where he was and he expected others to follow orders and respectfully do their jobs. I leaned over and whispered, “Frank, let’s get the hell out of this joint and go up to your room and play house. That’ll calm you down.” “This broad has the right idea,” he said, grabbing my arm and pulling me from the chair. Over to his suite we went. I took him to the bedroom, hoping to settle him down. He never wanted to stop but once I got him to relax, he curled up in my arms and went to sleep. —"Rat Pack Party Girl" (2017) by Jane McCormick

Marilyn Monroe (Intimacy-Desire Paradox), Jerry Lewis (Funny Bones), The Kennedy Years

Algorithms conceived by cutting-edge computers still fail to predict romantic attraction. While such algorithms have been able to accurately predict the weather, University of Utah researchers found poor results when it came to predicting desire. A new study finds artificial intelligence simply can’t predict attraction between two people. “We found we cannot anticipate how much individuals will uniquely desire each other in a speed-dating context with any meaningful level of accuracy,” says study lead author Samantha Joel in a press release. “I thought that out of more than 100 predictors, we would be able to predict at least some portion of the variance. I didn’t expect we would find zero.” “It may be that we never figure it out, that it is a property we can never get at because it is simply not predictable,” says co-author Paul Eastwick of the University of California. “Romantic desire may well be more like an earthquake, involving a dynamic and chaos-like process, than a chemical reaction involving the right combination of traits and preferences.” Another different research shows that "partners who are responsive to each other outside the bedroom are able to maintain their sexual desire," says Gurit Birnbaum, psychology professor at the Interdisciplinary Center: "Responsiveness--which is a type of intimacy--is so important in a relationship because it signals that one is really concerned with the welfare of the other." Responsive partners are willing to show understanding at a deep level. They make the relationship feel special which is, at least in Western societies, what people seek from their romantic relationships. In a study published in the Journal of Personality and Social Psychology, Birnbaum and coauthor Harry Reis, professor of psychology at the University of Rochester, report the "intimacy-desire paradox" lies in the contradiction between intimate and familiar relationships that many people strive for. "Sexual desire thrives on increasing intimacy and being responsive is one of the best ways to instill this elusive sensation over time; better than any pyrotechnic sex," Birnbaum says. Source: journals.sagepub.com

The staircase scene in Frank Tashlin’s sex-swap farcical updating of the Cinderella fairy tale Cinderfella (1960) resulted in Jerry Lewis having a heart attack. The stair scene was shot with one take of Jerry Lewis going down the stairs and one take going up. He ran up the stairs  (63 steps) in less than nine seconds and collapsed at the top. He was taken to the hospital and spent four days in an oxygen tent with his second cardiac event. This delayed filming for two weeks. On the evening of the ball, Fella (Jerry Lewis) is turned into a handsome prince and sent to the ball in a limousine. The great big band leader Count Basie is playing at the ball when Fella makes his grand entrance. The young man quickly gains the attention of the Princess (Anna Maria Alberghetti). The night is cut short when midnight strikes and Fella flees, losing his shoe along the way. The rest of the film plays out just like the classic fairytale! Jerry Lewis is priceless when it comes to engineering clever, complex, high-energy sight gags. A testament to his versatility here is mimicking the musicians as he listens to a song on the radio in the kitchen. Source: www.roguecinema.com

By the time I was sixteen, I was a high-school dropout and I worked the Catskill resorts as a busboy and a tummler—the guy who makes faces and gets the guests in a good mood for the real entertainment. That’s what I wanted to be, the real entertainment. But what was I going to do? I always saw the humor in things, the joke possibilities. At the same time, I didn’t have the confidence to stand on a stage and talk. One night, at a New Jersey resort where my parents were doing their act, a friend of mine, Lonnie Brown—the daughter of resort hotelkeepers Charlie and Lillian Brown—was listening to a record by an English singer named Cyril Smith, trying to learn those classy English intonations. I had a crush on Lonnie and, attempting to impress her, I started to clown around, mouthing along to the music. Lonnie broke up, and that was music to my ears. An act was born. I hit on a genius solution—or what seemed at the time like a genius solution. After a couple of hard years on the road, playing burlesque houses where the guys with newspapers on their laps would boo me off the stage, I became a showbiz veteran (still in my teens) with an act called “Jerry Lewis—Satirical Impressions in Pantomimicry.” I’d do Sinatra singing “All or Nothing at All.” I knew where every scratch and skip was on every record, and when they came up, I’d do my shtick to them. I had gotten better at contorting my skinny body in ways that I knew worked comedically. I practiced making faces in front of a mirror till I cracked myself up. God had given me something I always felt: funny bones. 

Maybe Patti and I stayed together as long as we did (thirty-six years) because she called me on the carpet when I was indiscreet. She'd let me know that I’d face temptations on the road and, being a man, I’d give in to them. I had plenty of strengths, but even the strongest men will get their heads turned around. There was never any stopping my partner Dean, and there was no stopping women once they’d set eyes on him! Imagine—just months before Dean and I played the Copa and Slapsy Maxie’s, I was lucky to have fifty bucks to my name. Now I was walking down Fifth Avenue with three grand in hundred-dollar bills in my pocket and I got Gloria DeHaven on my arm. It was fantasyland... I said to Dean it was over, we would’ve only another couple of years and then we would’ve been knocked out of the ring like Joe Louis. 

I get pleasure from giving to those I love. That’s my pleasure. But I’m perceptive enough to realize that there are those who have felt oppressed by my generosity. It’s not always easy to get when you can’t give back to the same degree. Dean always used to take me to task for what he called 'flag-waving.' That could mean any number of things. It could mean giving money to the needy. We would walk down the street together, and I literally couldn’t pass a man with his hat out. If we walked back the same way and the same guy was still there, I’d hit him again. Dean would say, “That fucker can get a job! What the fuck are you givin’ him money for?” At the same time, I think he was happy to see me do what he couldn’t, even when he wanted to. Flag-waving was showing your colors emotionally. It was the exact opposite of everything Dean Martin had been taught to feel and to show. I knew I could sometimes be a bit much for him. I’d always worn my emotions on my sleeve, but as our career skyrocketed, the sleeve became a size extra large. I was constantly rewarded for showing my emotions. Did I feel bad that Dean was overshadowed? Sure I did. And so the more I got, the more I tried to give to Dean. But I recognize—now, fifty years later—that being at the receiving end of outrageous generosity isn’t the easiest thing in the world. —"Dean & Me" (2005) by Jerry Lewis

Although he had evolved, that other Jerry (the man-child) had stayed still and precious inside him. That Jerry meant "immortality," Lewis said. "He's forever. I have always said that I cannot allow the child within me to die. It's kept me alive." When his daughter Danielle came into the room, he bent down, and belted out: "Child! Beautiful baby. Come to Dad." It was this baby, he said, that had provided the essential balance in his life. After six sons, she was the miracle baby. He cried as he said: "She gives me a B-12 shot when she looks at me. She gives me worth, value. And now I'm frightened to death that I only have so much time. And I think, why didn't I do this when I could have had a long time with her." —"At Home with Jerry Lewis" (1993) by Craig Wolff

As The Women’s Room (1977) by feminist author Marilyn French makes clear, sex was seen as one of the most important things in life in fifties America. Certain publishing events suggest this: the two Kinsey reports (on men, 1948; on women, 1953), the first issues of Confidential magazine in 1951 and Playboy in 1953; best-selling novels such as From Here To Eternity 1951, A House is Not a Home 1953, Not As a Stranger 1955, Peyton Place 1956, Strangers When We Meet 1953, A Summer Place 1958, The Chapman Report 1960, etc. The Women's Room encompasses many ideas central to the Second-Wave Feminism movement that emerged in the 1960s.

Marilyn Monroe's lengthy beauty ritual was not about the makeup per se, said George Masters, Marilyn's make up assistant in 1962, but about getting into the mood to be "Marilyn" in public, and took time to "woo the sensual persona into being." When "Marilyn" suddenly appeared as he put on her lipstick or adjusted her dress, it was an incredible metamorphosis. Many years after her death, Masters said he still got goosebumps thinking about it. No stranger to Hollywood, John F. Kennedy had always been captivated by Marilyn Monroe. In October 1954, while undergoing spinal surgery in a New York hospital, visitors to his room were treated to a poster of Marilyn hung over his bed. The poster featured Marilyn in a tight white blouse and blue shorts, her legs spread wide apart. JFK and Marilyn were both charismatic and complex. Marilyn was particularly complicated and spent her entire life looking for a missing person: herself. The most constant male figure in Marilyn’s life had been Joe DiMaggio. Because he possessed a strong center and because he loved her, DiMaggio could cope with Marilyn’s frailties. But he just couldn’t cope with the movie racket or the Hollywood celebrity scene, which meant that they couldn’t be husband and wife. In 1967, five years after Monroe’s death, Arthur Miller confessed: “Marilyn’s addiction to pills and drugs ultimately defeated me.  If there was any key to her despair, I never found it.”

Comedian Joey Bishop, a sometime member of Sinatra’s Rat Pack, saw Marilyn at Frank Sinatra’s house in early June 1961. “I’d gone over there for our weekly poker game,” said Bishop. “Dean Martin, Sammy Davis Jr., and two other guys were there, and in the middle of the game, this tiny white puffball of a puppy waddled into the room. ‘New dog?’ Dino asked, and Sinatra said, ‘It’s Marilyn Monroe’s dog. She named it Maf, as in Mafia.’ And then Marilyn came into the room, evidently looking for the dog. And the thing is, she was completely nude except for a pair of emerald earrings that Sinatra had given her. We froze, and she stopped dead in her tracks. I could tell that Sinatra wasn’t too pleased about her not wearing any clothes. I’d heard she’d just recently undergone some minor gynecological surgery at Cedars of Lebanon, but she’d seemingly recuperated because she looked pretty damn good. After saying hello to everyone, she gathered up the mutt and went back into Sinatra’s bedroom. Marilyn was perhaps a bit afraid of losing her great sex appeal, and I couldn’t help but think that being with Sinatra confirmed for her that she still had it—in spades. I’d seen her with Sinatra at his home in Palm Springs and at the Palm Springs Racquet Club. Another place Sinatra brought Marilyn was the Cal-Neva Lodge at Lake Tahoe. But I can also tell you that the most important man in Marilyn’s life was Joe DiMaggio. His love for her knew no limits. And though their marriage ended in divorce, she loved him as well.” —"Joe and Marilyn" (2014) by C. David Heymann

"At first I was hesitant to go into modeling because I didn’t think I was pretty enough. But they kept bugging me until my boredom finally enticed me to go see an agent that had been recommended to me. Her name was Pat Allen and she turned out to be a great lady. She raved on about how beautiful I was and signed me up on the spot. She soon became a wonderful friend and a trusted confidante. I posed for numerous magazine covers and ads and quickly received a lot of attention from the New York Press. Famous journalists such as Walter Winchell, Earl Wilson, Dorothy Kilgallen, Hyman Goldberg, Hal Boyle and Carl Gaston were soon keeping tabs on me and writing about my latest escapades in the press. I’ll never forget the first time I met Marilyn Monroe. It was at a bar near the Actors Studio in New York City. She was dressed up in her usual disguise of black wig, scarf, and dark sunglasses. The early 1950’s was a great time to be living in America. I don’t think that era will ever be captured again. I was wearing my body hugging Lana Turner sweater, tight slacks and a light fur coat. I loved the way the fur was caressing my body. It made me feel all warm and cozy. A fur coat had been my dream since childhood so with my first paycheck from modeling, I bought one."

"As I strolled up 5th Avenue towards my acting class, I once again was amazed by the energy and vibrancy of New York City. In just a few short years I had gone from being a little country girl from the hills of Arkansas to being a famous model, a trick shot golf artist and an actress. I had appeared on Broadway, been featured on the covers of numerous magazines and played golf with the likes of Bob Hope, President Eisenhower and the Duke of Windsor. I thought I’d done pretty much everything there was to do. Little did I know, I was about to engage in the biggest thrill of my life: Meeting and becoming friends with Marilyn Monroe. She thought I was crazy for turning down a lot of the offers that I got. She told me many times, “Jeanne, you have to take anything that comes your way in the beginning. You have to keep your name and face out there or else the public will forget you.” I knew she was right but I was lazy and scared most of the time. Marilyn used to call me at all hours of the night because she had problems sleeping. I had the same problem. She felt she could relate to me as I had been married to a hot tempered Italian as well. After Marilyn broke up with Arthur Miller she moved back to Hollywood. That was our wild period together. We engaged in such outrageous and audacious behavior that it still shocks me when I think back on it." —"My Wild, Wild Life as a New York Pin Up Queen" (2006) by Jeanne Carmen & Brandon James

John F. Kennedy was confident that Americans—“whose basic good sense has always prevailed”—would reject those “counsels of fear and suspicion.” Theodore Sorensen (adviser and speechwriter for President John F. Kennedy) was weighted down with the melancholy burden of history. He knows that John F. Kennedy lived for a purpose; he just can’t bring himself to believe he died for one. “It’s terribly painful. If I can know that my friend of eleven years died as a martyr to a cause, that there was some reason, some purpose why he was killed then I think the whole world would feel better.” Sorensen makes it known when the subject arises in conversation that it is still too painful for him. President Kennedy had instructed the CIA to immediately stop all raids against Cuba, to make sure that no flying sparks from the agency’s secret operations set off a nuclear conflagration. But, once again, the agency asserted its right to determine its own Cuba policy, independent of the president’s will. In defiance of Kennedy’s order, Bill Harvey mobilized sixty commandos—“every single team and asset that we could scrape together”—and dropped them into Cuba, in anticipation of the U.S. invasion that the CIA hoped was soon to follow. The 1962 Havana conference, observed Sorensen, “brought to my mind and Arthur’s and Bob McNamara’s as never before, how close the world came to stumbling into a nuclear exchange that would have escalated very quickly on both sides to a nuclear holocaust that would have left both countries in ruins, and soon most of the world as well.” The Kennedy brothers, Sorensen continued, “were certain that no nuclear warheads were in Cuba at the time. They were wrong.” If Kennedy had bowed to their pressure, Sorensen grimly concluded, the world would have been reduced to smoking rubble. —"The Hidden Story of the Kennedy Years" (2007) by David Talbot

Marilyn Monroe (The Last Days), Frank Sinatra & the Jack Pack, Rat Pack Party Girl

Alice McIntyre of Esquire magazine described Marilyn as “astonishingly beautiful. Like nothing human you have ever seen or dreamed!” Photographer Henri Cartier-Bresson saw her radiant beauty as “a certain myth of what we call in France la femme eternelle.” Marilyn told Lena Pepitone that Dr. Greenson had made her realize that her marriage to Miller was the cause of many of her problems. “In trying to win his [Miller’s] respect, she had become obsessed with the ‘serious dramatic actress’ goal. This was false, it wasn’t her. She should continue her acting lessons, and gradually improve her skills, but the movies she should concentrate on now were those that came most naturally to her—comedies, musicals, ‘fun’ movies.” Greenson had told her, “Above all, she had to be herself.” “Whoever that is,” Marilyn added with a giggle and a slightly puzzled look. 

Speaking at her funeral, her mentor Lee Strasberg, the Artistic Director of the Actors Studio, lamented that “the public who loved her did not have the opportunity to see her as we did, in many of the roles that foreshadowed what she would have become.” In his opinion, Marilyn’s true destiny pegged her to become “one of the finest American stage actresses of all time.” On Sunday, February 5, 1960, Marilyn was driven to New York Hospital-Cornell Medical Center, where she was admitted under the name of “Faye Miller.” Expecting to be consigned to a conventional hospital room, she was escorted to the Payne Whitney psychiatric ward, where she was locked in a padded cell reserved for the most critically disturbed patients. For Marilyn, it was Kafkaesque. It was the true nightmare that had often precipitated her night terrors—the repetitive nightmare of her childhood that she had once related to photographer David Conover: “I’m screaming, ‘I’m not crazy!’ They put me in a bare room with bars on the windows and they go out and lock the iron door, leaving me in a strait jacket. ‘I don’t belong here!’” But the nightmare was real. The fear that she would end up like her mother was suddenly coming true. Becoming hysterical, she pounded on the locked steel door. Throwing a chair across the room, she smashed the small window on her locked door.

Hollywood had changed considerably since Marilyn Monroe had last lived there as one of its celebrated residents. She returned as a displaced person at a time when the studio star system was a thing of the past and the industry was in disarray. Many of the great screenwriters had done their last fade-out, tycoons heads were rolling, and the cinema was being captured from the Hollywood ruling class by Wall Street tyros. More and more of the business was being commissioned by agents with new faces. “If Louis B. Mayer was alive today to see what's happening to Hollywood, his head turn over in his grave,” said Sam Goldwyn. In the spring of 1961, when Marilyn returned to the rolling hills of Fox, it looked the same, but the studio would never return to the glory days when Norma Jeane first tripped into the 20th Century-Fox lobby. When Marilyn arrived, Frank Sinatra was in Hawaii, and she briefly stayed as a guest in his ring-a-ding-ding Coldwater Canyon pad before taking her back to the familiar surroundings of the apartment building at 882 North Doheny Drive. 

Visitors to the modern white-on-white triplex apartment building at the corner of Doheny Drive and Cynthia Street perceived it as a place of transition. Ralph Roberts and Susan Strasberg described Marilyn's apartment as resembling a hotel room, with modern, utilitarian furnishings and no personal touches, no photographs, no awards, just a few books, suitcases, and clothes. It was well known within the Sinatra crowd that the apartment was managed by Sinatra's accountant, Harry Ziegler, and for years it was a way station for Sinatra's pals, girlfriends, and business associates. Angie Dickinson and Betsy Duncan had been residents along with actor Brad Dexter, who had once saved Sinatra from drowning. When Marilyn returned in 1961, Sinatra's secretary, Gloria Lovell, was living in one of the Doheny units and Jeanne Carmen, one of Sinatra's preferred blondes, was living in the other. 

According to Brad Dexter, Jeanne Carmen had known Sinatra and Johnny Rosselli for a number of years. Dexter, who first met Marilyn when he played a role in The Asphalt Jungle, recalled seeing Marilyn and Jeanne Carmen together at the apartment on several occasions. They were friends, as Dexter recently stated. He'd usually see them at Pucini's with Frank, and sometimes at Palm Springs. Frank stayed in Marilyn's apartment for a while after she moved out, and Jeanne was still there in 1964. Marilyn and Jeanne Carmen had been acquainted since the early fifties. Carmen, like Marilyn, had started her career as a model and cover girl for girlie magazines, and she occasionally was cast in B movies, like The Monster from Piedras Blancas for Republic in 1959. Jeanne Carmen was a night person, and when Marilyn couldn't sleep and Carmen wasn't busy they'd while away the night talking and drinking. They often talked about drugs, sex and men. 

Arthur Miller wrote of Marilyn’s double-edged vulnerability in an unpublished play in which the character modeled on Marilyn has a purgatorial effect on the men who had loved her. "With her open sexuality, childlike and sublimely free of ties and expectations in a life she half senses is doomed, she moves instinctively to break the hold of respectability on the men until each in his different way meets the tragedy in which she has unwittingly entangled him—one retreats to a destructive marriage in fear of losing his social standing; another abandons his family for her, only to be abandoned in turn when her interests change. Like a blind, godlike force, with all its creative cruelty, her sexuality comes to seem the only truthful connection with some ultimate nature that is life-giving and authentic. But her liberating promise is finally illusionary." Miller stated that the play remained unfinished because he couldn’t accept the nihilistic spiritual catastrophe that persisted in its foretelling: “That is, I believed it as a writer but could not confess it as a man. I could not know that in the coming years, I would live out much of its prophecy myself.”

The dry desert winds had warmed the L.A. basin and by 9 A.M., August 4, 1962, it was already eighty degrees. Jeanne Carmen related that Marilyn woke her at 6 A.M. to tell her about strange calls she had received during the night. Marilyn had been up most of the night. “Marilyn sounded nervous and exhausted,” Carmen stated. “She begged me to come over and keep her company.” Marilyn needed to talk to Carmen about things she couldn’t say over the phone. But Carmen wasn’t fully awake or aware of the anxieties she sensed in Marilyn’s voice. She remembered Marilyn saying, “Bring over a bag of pills,” and thought Marilyn was referring to “uppers” to help her through the day after a bad night. Jeanne Carmen told Marilyn she didn’t have time to come over that day because it was her birthday, and she had a series of engagements. They planned to see each other on Sunday. Carmen said that Marilyn called her close to nine o’clock that evening. It was Marilyn’s third call that day. “Are you sure you can’t come over?” Marilyn inquired. Jeanne Carmen again declined, saying she was tired, although she regretted not having responded to her.  —"The Last Days of Marilyn Monroe" (2012) by Donald H. Wolfe 

Evelyn Lincoln, JFK’s longtime secretary, stated in an interview that she had overheard a discussion between Lyndon B. Johnson and Bobby Kennedy while she was going in and out of the room at the Biltmore, on July 13, 1960. She recalled that Johnson had claimed to have information about Jack’s womanizing, which had been supplied by Hoover, and used this “as a card, so to speak.” That evening the Lawfords threw a victory party at their Santa Monica home, with Frank Sinatra and the celebrity supporters and another addition, Marilyn Monroe, all raising their champagne glasses to the victorious candidate. The New Frontier, with ideals and aspirations from the eradication of poverty to exploring the galaxy, provided a potent and dramatic battle cry for the Democratic presidential candidate who had, for the moment, swept away the obstacles of his youth and religion.

There was another side to the image that the victorious candidate had portrayed, that of a of a modern, handsome, young statesman whose intellect did not prevent him from having the common touch, all of which added to the public allure and popularity of Jack Kennedy. Detective Fred Otash was sifting through the garbage of New York life in an effort to find something, anything, to stick, as an FBI file dated July 26, 1960 shows. A nameless Hollywood party girl told agents that Otash had contacted her earlier in the month looking for information about her participation in sex parties involving Kennedy, Lawford, and Sinatra. She told him that she had no knowledge of such activities. Agents following this up met Otash in his office on July 11. He told them that somebody was making attempts to spy on Kennedy’s hotel room but inferred that Confidential was looking for dirt on the senator for use in articles before the November election. The call girl told the agents that Otash wanted to set up Kennedy by putting a wire on her and that she had refused. The FBI would later hear one of their own wiretapped subjects discussing the senator’s sexual exploits. Meanwhile, after the convention, Jack Kennedy had little time to indulge in any such exploits, but he traveled to Las Vegas to party with Sinatra. In September, however, he faced into two months of a punishing schedule of campaigning, with an average of four hours’ sleep, and an ongoing round of breakfast and lunch meetings, press conferences and campaign speeches. —"Sinatra and the Pack Jack: The Extraordinary Friendship between Frank Sinatra and John F. Kennedy" (2016) by Michael Sheridan & David Harvey

Frank Sinatra kept looking at me out of the corner of his eye. When I looked at him, he winked and flirted with me. “You are such a pretty girl. Where are you from?” “Fullerton, California. I’m just a hometown girl.” “Well, I’ll bet your hometown misses you,” he said, laughing. After a while I began to feel more comfortable. These men were just ordinary people, but happened to be famous and wealthy. I believed Frank and the boys would take good care of me and pay me well. I began to relax. The 'party girl' was back. Frank did two shows a night, the second starting at midnight. Later, Frank took me by the hand and led me to the bed. “You don’t look like you’re feeling too good honey. Why don’t you come on over here and cuddle up with me?” I climbed in and lay on my side. Frank curled up beside me, spoon fashion, his arm around me, his hand holding my breast. In a few minutes he was sound asleep. Late in the morning, Frank awoke turned on again. Frank was gentle as we made love, and after about ten minutes, he was satisfied. Frank lay back on the pillows with a big smile on his face and dozed off while I dressed. Then he got up and put on a robe. He walked me to the door, kissed me on the cheek, then put one arm around me and with the other hand he slipped a wad of bills into my bra. “After the show, meet me in the Regency Lounge,” he said. “I want to see you again.” I pulled out the wad of bills and counted my earnings.

Frank was generous; I made a lot of money with him and I didn’t have to go out looking for tricks. He raved on about how he was helping Kennedy get elected in November, and that he was building a heliport at his home in Palm Springs and a special room where Kennedy could stay. One morning Frank Sinatra and I were having coffee in his suite at the Sands and he ranted that he was done with Peter Lawford. Peter had lied about President Kennedy staying at Frank’s house in Palm Springs. After he settled down he said, “I care for you a lot, Janie. I think you have a lot of class. You know, class is born in you, and not many people have that. And some people who you think have it don’t have it at all.” I didn’t say a word but I could see his disappointment as he paced the floor. He was upset about Marilyn Monroe’s death on August 5, 1962, but he kept it inside. “Janie, you always make me feel better, and you make me laugh when you do your sexy dancing.” I felt sorry for Frank. He led a life of glitz and glamour, but it was still a hard life to lead. That’s why I always tried to be available to him, even on the nights when he only wanted to cuddle. My relationship with him remained solid for the nine years I lived there. Frank always found a way to get a hold of me. Sometimes he was in town for a two-week gig at the Sands, and I was at his side whenever he wanted. I never slept with Sammy—white chicks didn’t go to bed with black guys in the early 1960s, and I didn’t think of him that way. We were friends. Sammy was easy to like. That first experience with the Rat Pack prepared me with the many show-business personalities I would meet in the future. —"Rat Pack Party Girl" (2017) by Jane McCormick