Marilyn Monroe: not a blonde stereotype

“Marilyn Monroe has been given many labels, both during her life and after. Probably the two most insulting are that she was a dumb blonde and a victim. She was neither. The characters she played on-screen were often harebrained and made people laugh, but that did not mean that the real-life woman was dumb. She lost some battles and her ending was tragic and devastating, but that does not make her a victim. On the contrary, her determination to fight in such a male-oriented and hostile industry makes her one of the bravest women of her generation. Mental health is a topic that is still frequently dealt with behind closed doors, and the knowledge that Marilyn felt deep despair at times often makes people uncomfortable. Marilyn did have psychological issues, and to look at them can help spread the word about mental health, which is of paramount importance. Knowing that Marilyn suffered too may help those struggling with their own issues, and she would have been terrifically proud of that. The Marilyn Monroe seen in manipulated images, fake stories, and even false quotes is not the person who really existed. The exagerations around her character really have no bearing on the human being at all. By allowing ourselves to see only the legend, we reduce Marilyn to merely a character—someone who has no more bearing on real life than Betty Boop or Mickey Mouse.

Out goes the human being who loved poetry and music, and in comes a character like the ones she played on-screen. The real woman is still out there—she can be found in interviews and photographs that have existed for the past seventy years—and yet some still prefer her fake giggling blonde image. Perhaps the real woman is too much to handle. Maybe she was always too much and the fake version fits a certain mold that people are more accepting of. By humanising Marilyn, we are each given a lesson in empathy, hopefully inviting to see Marilyn in a more sensitive and caring light. For a woman who fought her entire life to be recognised as an intelligent, ambitious actress, the least we can do is understand that while she often played ditzy women on-screen, the opposite was true in real life.” —‘Marilyn Monroe, The Seven Year Itch, and the Birth of an Unlikely Feminist’ (2018) by Michelle Morgan

Amy Greene, now 92, was one of Monroe’s closest friends and confidantes. She was the Cuban model-turned-housewife of Milton Greene, a celebrity photographer who first photographed Monroe in 1953; hit it off with her; and had her as his and Amy’s houseguest at their home in Weston, Connecticut, where they lived with their infant son, for four years (1954-1957) while Monroe, at the height of her fame, took a hiatus from living and working in Hollywood, and eventually returned on her own terms, as the co-chief — with Milton — of her own production company, Marilyn Monroe Productions. Some highlights:

How did Milton and Marilyn first meet? (“It was the week before our wedding [that he was to photograph Marilyn, who had seen and been impressed by his work]. He flew out, and when he walked in she said, ‘But you’re just a boy!’ ‘Cause he looked like he was 12 years old. And then he said, ‘You’re just a girl! Let’s go to work.’ They hit it off right away.”) What was Marilyn’s state of mind at this time? (“At this point Marilyn was such a recluse that no one in the industry really knew her or said, ‘Oh, I saw her at a party,’ ’cause she never went anywhere… Really all she did was eat, sleep, and work… She wasn’t getting the life that she wanted in Los Angeles.”)

What appealed to Marilyn about moving in with them in Connecticut? (“She was excited because she loved the house, she loved our lifestyle… She would take walks in the woods everyday. Nobody bothered her… She felt protected.”) What was it like to share a house with the world’s most beautiful and famous woman? (“She was neat. She wouldn't cook… She was no problem whatsoever… She was a good sport… She was smarter than she looked… She read a lot.”)

Was she ever concerned that Marilyn might tempt her husband? (“I was secure in my marriage and I was secure with her… There’s no way she would shaft me to bang Milton.”) What was the impetus for Marilyn Monroe Productions? (“[The idea of creating an independent production company for Marilyn so that she could break out of her typecasting and make films that she wanted to make was] Milton’s, Lew Wasserman‘s, and Jay Kanter‘s… She loved it. She preened. She said, ‘I’m gonna be the head?!’… Milton owned forty-nine percent, Marilyn owned fifty-one.”)

What was the reaction of Marilyn’s second husband, the baseball star Joe DiMaggio, as he watched hundreds of New Yorkers watch Marilyn shoot the famous dress-blowing scene in the 1955 film The Seven-Year Itch? (“I’m standing next to him, and the man is turning white as snow… He said to me, ‘I can’t take it anymore!' I knew he loved her, though.”)

What did she make of Marilyn’s third husband, the playwright Arthur Miller? (“Arthur was a bore… a son-of-a-bitch… a creep. I saw through him the first time I met him.”) Why did Marilyn Monroe Productions ultimately break up? (“Because of Arthur. Not only was he jealous of Milton, but he was jealous of the time that they spent together… Arthur said, ‘It’s either him or me.'”)

What was her relationship with Marilyn like after the split? “We would speak on the telephone and, strangely enough, we met at her hairdressers meetings.”

What was the weird premonition that she had in July 1962 — just a month before Marilyn died — on the night before she and Milton were going out of town? “I was given to a midwife who was kind of a witch… Every once in a while I have these dreams where I can foresee something. This time I woke up and I said to Milton, ‘Call Marilyn… just call her. She needs you.’ He did call her, and they spoke for three hours.”

What did the heiress Alicia Corning Clark say to the Greenes and Marlene Dietrich while drunk at a dinner the night before Marilyn died? (“She said to me, ‘Well, how’s your friend Marilyn?… Then she blurted out, ‘Well, she’s gonna die soon’ I said, ‘Oh, I'll comment it to Milton, he must talk to Marilyn.'”)

What does she think really happened to Marilyn on the night that she died? (“It was a mistake. No doubt in Milton’s mind, no doubt in my mind… That doctor would have been shot at dawn… he gave her all those pills.”) Source: hollywoodreporter.com

As the filming of The Misfits neared its inexorable end during Nevada’s scorching late summer months of 1960, Susan Strasberg noticed Marilyn moving deeper and deeper into depression—not just a melancholy one, but the lament of a deeply wounded psyche. She told him one night about how, during July of 1957, she’d learned that she was pregnant of Arthur Miller. A month later, as she recalled, her doctor told her she’d been diagnosed as having an ectopic pregnancy. “After hearing that, my life went on a roller coaster ride to hell. After losing my little girl, I thought ‘to hell with my career.’ My marriage was collapsing, my life falling apart. Instead of Arthur making a rare appearance in my bed, I preferred to sleep with a bottle of liquor and bottles of pills on my nightstand. I’ve tried other men—Elia Kazan, Dean Martin, Robert Mitchum, Paul Newman.” “Paul Newman, really, how was that?,” Susan asked. “We met at the Actors Studio in New York. It was just deep necking, he looked a bit intimidated, to be honest,” Marilyn giggled. “I think he's not the flirty type. His last affair, as Arthur Penn told me, was with Lita Milan while they were shooting The Left Handed Gun, shortly before he married Joanne.” 

Paul Newman likened Lee Strasberg’s infatuation with Marilyn to Professor Unrath (Emil Jannings), who was fascinated by the charms of Marlene Dietrich (Lola) in Josef von Sternberg’s The Blue Angel. Strasberg had almost nothing to say about his private life with Marilyn, but he issued high praise for her potential as an actress. “When I finally got around to seeing her films, I was not impressed. But when I met her, I saw that what she looked like was not what she really was, and what was going on inside her was not what you saw on the outside, and that always meant there was something to work with. In Marilyn’s case, the results have been phenomenal. It was almost as if she had been waiting for a button to be pushed which would open a door to a treasure of gold and jewels.” Although she received praise from the Strasbergs and fellow actors who included Kim Stanley, Marilyn lamented, “I was bad, very bad. I could just feel it.” 

However, Strasberg praised Marilyn for her “extraordinary and inviolate sensitivity. This sensitive core should have been killed by all that had happened to her in adolescence, or so I’ve heard.” In his public pronouncements about Marilyn, Strasberg became superlative: “She was engulfed in a mystic-like flame, like when you see Jesus at The Last Supper, and there’s a halo around him. There was this great white light surrounding Marilyn.” So far as it is known, Strasberg was the only person who ever compared Marilyn to Jesus Christ. Paula Strasberg agreed to become Marilyn’s new acting coach at a salary of $1,500 a week, which later rose to $3,000 a week on the set of The Misfits. Arthur Miller detested both Lee and Paula Strasberg. He said, “Without Paula, Marilyn felt lost. In effect, Paula was Marilyn’s mother all over again. A fantasy mother who would confirm everything Marilyn wished to hear.” In 1953, Frank Sinatra had taken Marilyn to see a performance of the Broadway play, Picnic, on an evening when a young Paul Newman was filling in for its star, Ralph Meeker. 

While she was observing Paul Newman and Janice Rule, Marilyn felt intrigued with playing the female lead in the film version that was in development stages at the time. On Broadway, the role was interpreted by Janice Rule. After the performance, over dinner that night, Sinatra applauded the idea of pairing Paul Newman with Marilyn as co-stars in Picnic’s film spinoff. “You guys would be terrific,” Sinatra claimed. He was possibly spot-on accurate in his assessment. Monroe-Newman would have been dynamite onscreen, no doubt. But eventually the Hollywood version of William Inge’s Pulitzer Prize-winning play reached the screen with a different cast, the roles eventually awarded to William Holden and Kim Novak. 

Marilyn Monroe: "I think I had many problems as the next starlet keeping the Hollywood wolves from my door. These wolves just could not understand me. They would tell me ‘but Marilyn, you’re not playing the game the way you should. Be smart. You’ll never get anywhere in this business acting the way you do.’ My answer to them would be ‘the only acting I’ll do is for the camera.’ I was determined no one was going to use me - even if he could help my career. I’ve never gone out with a man I didn’t want to. No one, not even the studio, could force me to date someone. The one thing I hate more than anything else is being used. I’ve always worked hard for the sake of someday becoming a talented actress. I knew I would make it someday if I only kept at it and worked hard without lowering my principles and pride in myself.” According to her gynecologist, Leon Khron: “The rumors of her multiple abortions are ridiculous. She never had even one. Later there were two miscarriages and an ectopic pregnancy requiring emergency termination, but no abortion.”  –Sources: "Joe and Marilyn: Legends in Love" (2014) by David Heyman and "Mimosa: Memories of Marilyn & the Making of The Misfits" (2021) by Ralph Roberts

In 1961, Jonas Mekas perceived something significant in Marilyn’s performance as Roslyn in The Misfits: he christened her Marilyn Monroe, the Saint of the Nevada Desert. "She still remains there," Mekas wrote, "She haunts you, you’ll not forget her. It is Marilyn that is the film. A woman that has known love, has known life, has known men, has been betrayed, but has retained her dream of man and love and life. Is Marilyn playing herself or creating a part? Maybe she is even talking her own thoughts, her own life? There is such a truth in her little details, in her reactions to cruelty, to false manliness, nature, life, death—that is overpowering, that makes her one of the most tragic and contemporary characters of modern cinema, and another contribution to The Woman as a Modern Hero." In 1998, Dennis Schwartz saw the movie as "an attempt to debunk the Western myth of rugged individualism, by showing how vulnerable the cowboys are and how they try to mask their feelings by acting tough." Emanuel Levy, in 2011, suggested that the movie is a deconstruction of the cowboy myth, both real and reel, and presents them as degraded men who now drive a pick up and ride horses without saddles and also perceives a persistent Miller theme, the degradation of the American Dream. 

In August of 2012 writing for his “Agony & Ecstasy” blog, Tim Brayton opined that The Misfits is about: the universality of suffering and death, and how terribly things can go for those who insist on clinging to optimism and innocence in the face of such a universe. Christopher Lloyd, in 2013, offered this opinion: "America is forced to pull the shroud over the ideal of a land of limitless opportunity. And in the end, that’s what “The Misfits” is about: The death of the cowboy." Casey Broadwater, in his review of The Misfits for “Blu-ray.com” offered the following: "Miller’s script is emotionally perceptive and subtle in a way that few Hollywood films are, and his literary background comes through in dialogue that’s frequently “elevated,” that is, more poetic at times than the language your average cowboy drifter would actually use. This is common in literature and on the stage, but it’s never been as readily accepted in film. Still, this gives the otherwise naturalistic movie a kind of mythic, Faulknerian quality―it feels larger than life, more laden with meaning. The real problem with the script, and the film as a whole, is that the storytelling seems disjointed in places, as if unfinished." Source: marilynfromthe22ndrow.com

The Last Movie Stars: A Homage to Paul Newman and Joanne Woodward

This summer HBO Max broadcasted The Last Movie Stars, a six-part documentary series about Paul Newman and Joanne Woodward, disclosing for the first time several transcripts of interviews with Newman and Woodward by screenwriter Stewart Stern (Rebel Without a Cause, and Rachel, Rachel). Although Newman destroyed most of the recording tapes, Ethan Hawke gathered an insightful collage of narrative fragments who shed new light on the legendary couple's story. Some revelations—like their clashes of egos and Newman's heavy drinking—show us how their marriage was a story of intense romance, intense conflict, and serene strength. In 1953, in a Broadway production of Picnic, Newman and Woodward fell in love with each other, despite Newman being married to Jackie Witte, mother of his three first kids. Painfully honest, Woodward admitted to Stern: "I'm not a natural mother. I hope the children understand that though each and every one of them were adored, if I had it to do all over again, I might not have had children. Actors don't make good parents." 

Paul Newman was convinced that Joanne Woodward was the catalyst for "giving birth to a sexual being," since their association gave Paul Newman more confidence as an actor and sex-symbol: "Newman as sexual object was invented." After Newman's divorce from his first wife, he marrried Joanne Woodward on January 29, 1958, and they were together until his death in 2008. Woodward, now 92, has retreated from the public eye due to Alzheimer's.

A new book featuring these lost transcripts from Newman and Woodward will be published by Knopf on October 18, 2022: Paul Newman: The Extraordinary Life of an Ordinary Man—and two daughters of the celebrated couple (Melissa and Clea Newman) have contributed to the project with a foreword and an afterword, respectively. This memoir will offer us new perspectives of Newman and Woodward, both beloved movie stars who also became philanthropic powerhouses. Edited by David Rosenthal, this book promises to focus on Newman's stream of thought about his career and relationship with Woodward—his dependence on her, the way she shaped him intellectually, emotionally and sexually. 

When Woodward was asked by Stern about the key of her successful pairing with Newman, she tried to convey their dual complexity: "I was enamoured of him. I was in lust with him. I think we saw two entirely different images of each other. He thought I was very much in control, crazed but creative; none of which I felt about myself. And I thought of him as being heroic, smart, intelligent and handsome. None of which he thought about himself." The Last Movie Stars is also a quite comprehensive study of Newman and Woodward's film trajectory, and how some real life experiences oddly were conflated with their film versions, like in The Long Hot Summer, A New Kind of Love, Cool Hand Luke, Winning, or Mr. & Mrs. Bridge. 

As Newman said once: "Acting is a question of absorbing other people's personalities and adding some of your own experience. Joanne believes my character in a film we did together, Mr. and Mrs. Bridge comes closest to who I really am. I personally don’t think there’s one character who comes close." Shawn Levy (author of a previous biography in 2009: Paul Newman: A Life) wrote: "Paul Newman had an intense discipline that demanded he earned, through sheer perseverance, a place alongside the Method gods Marlon Brando, Montgomery Clift, and James Dean. He was ultimately the one true superstar to emerge from the original Actors Studio generation, the most popular Stanislavskyan actor in American screen history."

Nominated eight times for Academy Awards, Newman won only once, for Scorsese's "The Color of Money" (1986), in which he reprised his iconic role of "Fast" Eddie Felson in "The Hustler" (1961) directed by Robert Rossen. Rossen explained: "Fast Eddie wants to become a great pool player, but the film is really about the obstacles he encounters in attempting to fulfill himself as a human being. Eddie needs to win before everything else; that is his tragedy." In 1966, Cahiers du Cinéma's film critic Jacques Bontemps wrote about The Hustler: "in a universe dulled with leveling, the one who wins is not the one who concerns himself with the beauty of the gesture, but he for whom everything poses itself in terms of efficacy of return. Compromise and resignation are required.” As Claude Ollier had perceptively written, what gives The Hustler its staying power, is that “one has the constant impression that a sense of indecision hovers permanently, and the final explanations are not enough to dispel it.” 

Pauline Kael noted: "George C. Scott in The Hustler suggests a personification of the power of money. And there's a tortured, crippled girl (Piper Laurie) who speaks the truth: she's a female practitioner of the Socratic method who is continually drinking her hemlock." Roger Ebert wrote that The Hustler "is one of the few American movies in which the hero wins by surrendering, by accepting reality instead of his dreams." Alan Casty analyzes The Hustler in Robert Rossen: The Films and Politics of a Blacklisted Idealist (2013): "In Rossen’s parable of the artist in Hollywood, all are hustlers. The more one hustles and strives, the more he betrays his ideals and dreams. And the more he strives, the more he ends up placing himself in the hands of the moguls whose drive for power rises from an ego that is paradoxically both strong and uncertain. Pool is Eddie’s craft, what he does best; yet, until the very last game, it reveals the most destructive drives within him. His redemption comes not only from what he has won for Sarah, but what he is willing to lose for her. He gives up all that he has left to love. He has paid his debt—by winning and losing."

During the 1970s, Paul Newman called WUSA (1970): "the most significant film I've ever made and the best." Newman had fought Paramount Pictures, accusing the studio's executives of cowardice: “There aren’t many smart people who have power,” he declared to the studio’s vice president Peter Bart, “and you have to use your power to advance truth. What’s money and power worth if you don’t do that?” In WUSA, Paul Newman plays Rheinhardt, an alcoholic failed musician who is hired by a right-wing station. Rheinhardt finds his ideological detachment challenged by his lover Geraldine (Joanne Woodward), and by Rainey (Anthony Perkins) who is an idealist fighting against WUSA's sinister agenda. Based on Robert Stone's novel A Hall of Mirrors (1967), WUSA was the biggest commercial flop of Newman and Woodward's careers. The film was partially censored by the studio, due to its stance against the Vietnam War. 

In Conversations with American Writers (1986) by Charles Ruas, Robert Stone proffers in Rheinhardt only a moribund perversion of the American myths of individualism and innocence, co-opted by corrupt institutional forces. Stone explains to Ruas: “The affectless person is a person that fascinates me. Because of the general rootlessness and transience of American life, that character is, to some degree, celebrated. That character is a contributor to the American experience. Not only have we the Frontiersman and the Puritan and the Outlaw, but we have the Sociopath as a major cultural type, and there is a certain reverence for him in American society. I think what I was trying to do in A Hall of Mirrors was to recognize the importance of the emotionally crippled individual in American life.” 

Ruas adds: "The [right-wing] Restoration Rally thus functions not as a means of revivifying traditional American ideals, but of accelerating a serial process of simulation in which technology facilitates the absorption of the individual into the mass. Preparing himself to speak before the crowd, Rheinhardt momentarily imagines himself conducting an orchestra that might produce redemptive art. Stone elaborates on the impossibility of regenerative violence. Rheinhardt’s peculiar boast is that he can adapt to the cultural coldness. The rhetoric of natural evolution is splendidly ironic for its simulative forms, rather than authentic human ones." As an epilogue that we don't see in WUSA, in the last pages of A Hall of Mirrors Reinhardt's conscience arises due to having his heart broken over Geraldine's death. This twist might indicate that Reinhardt will end up losing his self-defense mechanism and, like Rainey and Geraldine, he'll perish as another victim of an unredeemable system. His affection for Geraldine allows Reinhardt to reclaim back his sense of humanity.

The Hustler and WUSA share the anti-hero/misfit and the fallen woman archetypes, besides the romantic notion of being faithful to your principles. In real life, on their fiftieth wedding anniversary, Paul Newman asserted: “Joanne, being married to you has been the joy of my life.” As well as in those films, Newman found a saviour in his wife and muse, Joanne Woodward. Reflecting on his tumultuous life and career, Paul Newman said: “I’d like to be remembered as a guy who tried to be a part of his times, tried to help people communicate with one another, tried to find some decency in his own life, and tried to extend himself as a human being.” 

In the coda of The Last Movie Stars, Tennesse Williams (author of Sweet Bird of Youth, The Glass Menagerie, Cat on a Hot Tin Roof) is quoted: "The world is violent and mercurial. It will have its way with you. We are saved only by love. We live in a perpetually burning building, and what we must save from it, all the time, is love." Article published previously as The Last Movie Stars: A Homage to Paul Newman and Joanne Woodward on Blogcritics.

Subversive Narratives: Taxi Driver, Joe, WUSA

Although Classical Hollywood had already been dealt a series of death-blows, it might have taken a much longer time dying had it not been for the major eruptions in American culture from the mid-sixties and into the 1970s. Overwhelmingly, the echoes of Vietnam, and subsequently Watergate, were part of the growing force and cogency of radical protest movements—black militancy, feminism, gay liberation. There are two keys to understanding the development of the Hollywood cinema in the seventies: the impingement of Vietnam on the national consciousness, and the astonishing evolution of the horror film genre. The obvious monstrousness of the Vietnam war definitively undermined the credibility of “the system”. Popular protest became common, the essential precondition to a valid revolution. The questioning of authority spread to a questioning of the entire social structure that validated it, and ultimately social institutions, the family, the symbolic figure of the father as superego. The possibility suddenly opened up that the whole world might have to be recreated. Yet this generalized crisis in ideological confidence never begat a revolution. Society appeared to be in a state of advanced disintegration, yet there was no serious possibility of the emergence of a coherent alternative. 

Central to the incoherence of Taxi Driver (1976) is its director Martin Scorsese, with his Catholic Italian background, his fascination with the Hollywood tradition, and his comparatively open responsiveness to contemporary issues. Travis (De Niro) becomes obsessed with the mission of washing the scum from the streets—the scum being both literal and human flotsam. The outcome of this obsession is his violent final release and the rescue of Iris in order to send her back to her parents, the act that establishes Travis as a hero in the eyes of society and the popular press. We see the big city is pure filth, Betsy as the angel of true love is an illusion; so what is left? During one of Travis’ conversation with Iris, he asks her if there is any place she wants to go to escape the squalor of her current existence. She replies tentatively that she has heard about “a commune in Vermont.” But Travis dismisses it immediately: he once saw a picture of a commune in a magazine and it “didn’t look clean.” 

Travis’ behavior is presented as increasingly pathological and antisocial, with his new ambitions he's become more  insane (among his plans, an assassination of a politician). Yet the film can neither clearly reject him (Travis remains, somehow, The Film Hero). I don't think anyone doubts that Travis’ finger-to-forehead gesture of mock suicide is ironically made, yet the irony seems curiously unfocused, and its aim is uncertain. The effect for the viewer is of a kind of paralysis. Being unable to achieve any clear, definitive statement about the hero, the film retreats into enigma. Travis becomes a public hero (ironic), feels satisfaction at what he has done for Iris and her parents, and reaches some personal serenity and satisfaction with himself. The spectator can think either that the hero will continue to cleanse the city of its filth, and he will explode again with another bloodbath. There is another alternative, which comes closest to rendering the action and narrative intelligible—the notion that Travis, while drowning in an obviously beyond-help society, has achieved through his massacre some kind of personal grace or redemption, and that is really all that matters, since civilization is demonstrably unredeemable.

Joe (1970) takes place over several days in New York City and focuses on the unlikely relationship that develops between two middle-age men: Joe Curran (Peter Boyle), a bitter tool-and-dye maker, and Bill Compton (Dennis Patrick), a wealthy advertising executive. While they have nothing in common socially or personally, they share a deep resentment toward hippie youth culture and the radical shifts in the American society. Joe is ranting and raving about “niggers,” “fags,” and “hippies,” grousing about his perceived disenfranchisement and an unfair system that coddles the lazy and punishes honest workers like himself. There is always the suggestion that Bill is just trying to stay on Joe’s good side out of concern that Joe might turn him in to the police, but the film also wants us to believe that these two men forge a real connection, one that feeds off their collective anger. 

Of course, that anger, to some extent, derives from jealousy, and when they have the opportunity late in the film to participate in an orgy with a group of hippies, their hesitation is minimal. They see the youth generation as cultural rot, but rot they want a part of, yet they can’t really share. At its best, Joe captures with raw, direct power the intensity of cultural animosity—one might say loathing—that was gripping the nation at the time, and in some ways it was prophetic; it was made just before the Kent State shooting and the subsequent Hard Hat Riot in New York City, both events that Joe Curran would have endorsed. The script merges zeitgeist-defining cultural awareness with a streak of vigilantism that is at times critical and at other times dangerously regressive. It’s hard to get a read on what the film’s ideological positioning is, which is compounded by Wexler’s choice of a contrived scenario about the violence of the generation gap.

Peter Boyle embodies the embittered Joe with a unique mix of angry bluster, coldness, foolish naivete, and dangerously coiled rage. He is simulatenousyl pathetic and scary, yet there is something relatable about him, even as he blurts out his generally misanthropic view of the world. In an interview with The New York Times, Boyle expressed his dismay that certain audiences misread the film and even cheered Joe’s violence (he contended that Joe was a clear anti-violence cry against U.S. involvement in Vietnam). The film seems to condemn Joe’s regressive social attitudes and love of violence, yet the objects of his derision are largely deserving, as most of the hippies portrayed in the film are criminals and frauds who betray any sense of progressive values or morality (it is clearly a post-Manson hippie world).

One of the great joys of Stuart Rosenberg’s WUSA (1970) is the way it evokes the New Orleans that was still visible but disappearing even in the 1980s—the Canal Street department stores, the French Quarter dives, the jazz clubs, the bars with wood paneling. If that New Orleans resembled anything, it resembled the blue collar city that disappeared when the dot com boom remade San Francisco in the early 1990s. The YMCA building on Saint Charles Avenue was long gone, as was the Hummingbird Grill, an all-night diner on the ground floor of a residential hotel where ex-cons worked the grill, and the waitresses brought you a thermos when you ordered coffee. Oddly, WUSA can’t seem to make up its mind whether it wants to glorify or condemn Reinhardt’s moral apathy. In fact, apart from fringe elements on both sides of the political spectrum, moral apathy seems to be the defining characteristic of just about everybody in the movie. As in Yeats’s poem, in WUSA, only the worst are full of “passionate intensity.”

Reinhardt finds work as a disc jockey on WUSA; though he identifies as “liberal,” he doesn’t mind reading news with an openly conservative spin. In short order, Reinhardt and Geraldine (Joanne Woodward) move into an apartment in the French Quarter, meeting a group of disaffected hippies and Rainey (Anthony Perkins), a liberal southerner (also a judge’s son) who after a stint in Venezuela with the Peace Corps, has come home and started collecting data on New Orleans welfare recipients for some vague municipal entity. Rainey excoriates Reinhardt for working for WUSA, which pushes Reinhardt to a state of self-delusion. In the film, Newman turns in such a charismatic performance, it’s kind of a contradiction, since the apathy he makes so appealing runs contrary to what would seem to be the movie’s left-leaning political message. When he’s not with Geraldine or working at the radio station, Reinhardt spends most of his time drinking and getting high with the hippies downstairs, who seem as unfazed as him. Along with Reinhardt, they sneer openly at Rainey, the only idealist. 

In the novel, all three protagonists, Reinhardt, Geraldine and Rainey are self-destructive. In their film version, Paul Newman’s charisma, his on-screen chemistry with Joanne Woodward, and Anthony Perkins' obsessive personality, all cause the film to express a worldview much closer to Reinhardt’s ultra-individualism than it is to Rainey’s sincere, if somewhat patronizing liberalism—which is a problem, since the movie clearly wants us to sympathize with Rainey’s convictions. If this constitutes one of WUSA’s chief failures, nevertheless, it also makes the movie suggestive of the contradictory philosophical underpinnings of American counterculture, and maybe one of the reasons for becoming the biggest flop of Paul Newman’s career.

Over Neil Diamond's song Glory Road in a montage, Reinhardt walks through a derelict graveyard, grieving Geraldine while trying to find her tomb. In the movie’s final scene, ruefully, Reinhardt tells the hippie guru that he is “a survivor.” Then he flings his jacket over his shoulder and walks out the door, presumably to board yet another Greyhound for a different city. WUSA captures much that was (and is) wrong with American counterculture, which suffers from deeply conflicted philosophical underpinnings, not least the conflict between the individualism at all costs of Reinhardt and the communalism inherent in any leftist critique. Consider the hippies living below Reinhardt, who openly have mocked Rainey for not being “cool.” By all appearances, they’re card carrying members of the American counterculture of the time, and yet throughout the film, they behave so inconsistently. Granted, we realize Rainey is disturbed enough to resort to violence. And yet while the film’s hippies mock Rainey’s idealism, they seem untroubled by Reinhardt’s opportunism. Does this make them opportunists, or worse, radical capitalists? 

If anything, the movie posits a world where everybody’s on the grift, from Reinhart’s preacher friend (a conman from New York) to the African-Americans who are dependent on welfare. In point of fact, the WUSA conservatives have it right; in both the film and the novel, most of the welfare recipients Rainey interviews are collecting benefits fraudulently, a fact that only serves to justify Reinhardt’s moral apathy. In WUSA, the closest Reinhardt comes to a change of heart is a speech condemning the Vietnam War at the film’s climax. “When our boys drop a napalm bomb on a cluster of gibbering slants, it’s a bomb with a heart.” As a parody of Newspeak, Reinhardt continues, while the rally turns into a riot. “And inside the heart of that bomb, mysteriously but truly present, is a fat little old lady on the way to the World’s Fair, and that lady is as innocent as she is motherly.” And yet by the time Reinhardt’s lecturing us from the podium, the film’s one committed leftist, Rainey, is being beaten to death by an angry mob.

In one scene, Reinhardt and Geraldine take a night swim in Lake Pontchartrain. After they get out of the water, Reinhardt accuses Geraldine of being a “man-killer” for luring him into the lake. Is he really so paranoid? Among other things, in WUSA, we observe the uneasy relationship countercultural values have with traditional American ideas about maleness, and with the American mythology of the outsider as both hero and anti-hero, at odds with most leftist ideology. In A Culture of Narcissism: American Life in an Age of Diminishing Expectations (1991) Christopher Lasch argues that much of what passes for counterculture is countercultural in appearance only, since it actually apes the values of the mainstream culture; as an example, Lasch cites 1960s countercultural icon Jim Morrison, frontman of the commercial rock band The Doors. In WUSA, won over by the star’ charisma, we might forget Reinhardt’s apathy, and the film would seem to contradict itself. Nevertheless, in part because Newman embodies such a glaring contradiction, the film tells us a great deal about the contradictory forces shaping American culture both before and since it was made. —Hollywood from Vietnam to Reagan and Beyond: A Revised and Expanded Edition (2003) by Robin Wood

Marlowe (2022) starring Liam Neeson

Open Road Films has acquired North American rights to Marlowe, a noir crime thriller that stars Liam Neeson atop an ensemble that includes Diane Kruger, Jessica Lange, Danny Huston, Alan Cumming, Adewale Akinnuoye-Agbaje, Ian Hart, Colm Meaney, Daniela Melchior and Francois Arnaud. Neil Jordan directed the film from script by The Departed’s William Monahan. The film will be released theatrically December 2 through Open Road/Briarcliff Entertainment. In what is Neeson’s 100th film, the star plays detective Philip Marlowe, the protagonist from the hardboiled Raymond Chandler mysteries that included The Big Sleep, Farewell My Lovely and The Long Goodbye. 

This one is based on author John Banville’s book The Black-Eyed Blonde, an original novel authorized by the Raymond Chandler estate. The action is set in late 1930’s Bay City, centering around the brooding, down on his luck detective Marlowe. He’s hired to find the ex-lover of a glamorous heiress (Kruger), daughter of a well-known movie star (Lange). “It was one of those summer Tuesday afternoons when you begin to wonder if the earth has stopped revolving. The telephone on my desk had the look of something that knows it’s being watched. Traffic trickled by in the street below, and there were a few pedestrians, too, men in hats going nowhere.” So begins The Black-Eyed Blonde, and Marlowe is embroiled in a deadly investigation and web of lies he’s determined to bring to light. Ortenberg said he is “very excited to continue working with Liam Neeson on Marlowe. It’s the type of film we love to be part of: an incredible cast, an Oscar-winning writer and director, and a gripping story that audiences are going to love.”

Marlowe is a simmering crime noire with a screenplay written by Academy-award winner William Monahan, whose credits include Martin Scorsese's The Departed, Ridley Scott's Body of Lies and more. Set in Bay City in the '30s, the story itself follows Detective Philip Marlowe (Neeson), who has, as of late, been down on his luck. Everything changes when a beautiful and glamorous heiress, played by Diane Kruger, hires Marlowe to track down her ex-lover. When the ex's disappearance turns out to be only the tip of the iceberg, the detective finds himself at the center of a deadly investigation, spurred by a string of lies that will put his "very particular set of skills" to the test. Marlowe is hard-pressed to fall for the genre's femme fatales, and prefers to use violence only as a last-resort. He's the epitome of those black and white noire crimes with a rain-drenched city backdrop and a beautiful woman sitting on the edge of the desk, pleading for help. Marlowe is an adaptation of a specific work by Booker Prize-winner John Banville, The Black-Eyed Blonde, which featured Detective Marlowe, and was officially authorized by Chandler's estate. Source: collider.com

Marilyn Monroe, Mulholland Drive, Kim Stanley

Sixty years on from her untimely death, Marilyn Monroe remains the definition of a Hollywood icon. Her films, her look, her voice and her persona all are forever etched in the annals of movie history – which means any actor hoping to step into her shoes really has their work cut out. For Andrew Dominik’s Blonde, an adaptation of Joyce Carol Oates’ fictionalised story of Monroe’s life, Ana de Armas is tasked with embodying the blonde bombshell – and it’s a responsibility that came with considerable pressure. Speaking to Empire about inhabiting Marilyn Monroe, de Armas admits she felt insecure. “I was insecure about my voice, about the accent, about the choreography, about working with American actors who know her better than me, everything!” she says. That reaction, she explains, became part of the performance. “All of that was exactly what she would be feeling. So it was incredible. Even though it seems like everything was very sad, and a lot of traumatic things were going on, we had a great time.” 

The actor had a wealth of material to draw from when crafting her performance – not just Oates’ novel, but a tome consisting of iconic Marilyn Monroe photos curated by the director. “Andrew gave us a bible of 700-and-something pictures,” de Armas says. “The whole movie was in this bible, picture by picture, every scene.” That stack of photos informed the film’s formally-playful presentation, switching between aspect ratios, and from colour to black-and-white. “That’s the relation between the black-and-white and colour; it’s because of the pictures, it’s not random,” de Armas explains. “You want the audience to immediately engage, even in their subconscious, to something that they’ve already seen, and get them into the story.” Norma Jeane shared her mother’s love of movies and the escapism that they provide, and Marilyn Monroe became her mythical alter ego. De Armas points out that Monroe wanted to be taken seriously. “She wanted to have control of the material she was going to work on. No one was thinking like that at the time.” Source: empireonline.com

C.S Lewis has written extensively on the concept of Sehnsucht, a German word which signifies "sense of deep, inconsolable longing, yearning, the feeling of intensely missing something when we don't even know what it is." Perhaps no film conveyed this sense more powerfully than David Lynch’s MULHOLLAND DR. Roughly, the first four-fifths of the film are immersed in a kind of dream-fantasy-haze, spawned within the mind of an unstable actress named Diane Selwyn. The surreal alternative universe of Selwyn’s fantasies ranges in style and mood from comedy to romance to horror to absurdism to ‘art film’. There are some funny bits, especially with the old couple with frozen faces in the limousine and the cocky movie director who finds his wife in bed with another man and later confronts the ‘cowboy’. Likewise, the story of Betty Elms (the fantasy alter ego of Diane Selwyn) goes from light comedy-drama to romance to dark romance to something approaching suspense and tragedy and finally horror. Betty is Diane’s main alternative character, much like the Norma Jeane/Marilyn Monroe dichotomy. 

Though ‘Rita’ is based on or ‘inspired’ by Camilla, a real-life person, she has certain attributes that are closer to Diane’s mind-set. And the movie director, Adam Kesher, faces obstacles in the fantasy that echo the problems faced by Diane herself in real life. Diane could only hate what became of Camilla, but she’s still in love with the Camilla whom she once knew. Also, as Camilla was beautiful and glamorous with or without stardom, she served as a psychological crutch for Diane. Even if Diane didn’t make it in Hollywood, the mere fact of being best friends and lovers with Camilla would have sufficed in filling her life with some degree of happiness. 

But a woman like Camilla is bound to be discovered by the industry sooner or later, since she's a perfect sex-symbol, a temptress. Paradoxically, men hanker for the greatest loyalty from the alpha female or temptress even though the allure of such a woman rests in the very qualities that are dynamic and hyperbolic, therefore most unstable and potentially disloyal. There’s something about Camilla that says, “I’m a born winner who must seek another born winner”, so to be associated with her charisma and beauty is to feel as a winner oneself. It is also true that the very unstable quality of Camilla/Rita is what turns Diane/Betty on the most. Through her death, Camilla now belongs to Diane alone, at least in her fantasy. 

As Camilla is gone from the world, she can only exist as a ghost, a phantom, a figment of imagination. No one can own her as a person in the flesh. Yet, what Diane now possesses of Camilla also haunts her. When Camilla was alive, Diane couldn’t have her because she ‘lost’ her to the Hollywood elites. After Camilla is dead, Diane can take possession of Camilla’s ‘soul’ as Diane, more than anyone else, has the obsessive need to weave Camilla into her elaborate myth of hope, love, and promises. But then, no matter how many times Diane resurrects Camilla as ‘Rita’ in her mind, the fact remains that Camilla is gone. 

Betty and ‘Rita’ are alternates of Diane and Camilla. Though Betty is physically the same as Diane, her radiance and talent (noticed by Hollywood casting directors) makes her more like the real-life Camilla. Though ‘Rita’ is physically the same as Camilla, her seating in the limousine in the opening scene is a variation of Diane’s situation in a limousine to Kesher’s mansion later in the film. ‘Rita’ (suffering from amnesia and unable to remember her real name) has attributes that refer to both Diane and Camilla. One of the first images of the film is the subjective view of someone moving toward a bed and laying her head on a pillow. Presumably, it’s Diane going to sleep to plunge into another stupor. In her dream, she, as Betty, is an ideal young woman. 

So pretty, so nice, so full of promises. She’s so sunny and cheerful that the whole world seems to be smiling down on her and on her side. The sun seems to exist just to radiate its heavenly rays on her. Like Doris Day. Even when she finds her suitcases missing outside the airport, it turns out that a friendly cab driver picked them up and is placing them inside the trunk as if it’s only natural to treat her like Hollywood royalty. It’s as if Los Angeles and Hollywood just can’t wait to greet her, indeed as if they are just as excited about her as she is about them. It’s Los Angeles of her mind where everything rolls out before her like a red carpet. But no matter how bright and blooming a fantasy may be, elements of doubt and doom are always hiding just around the corner. Little by little, Betty’s idealized dream fantasy begins to crack and erode. But then, the cracks are cemented and ‘repaired’ with her imaginative ‘rationalizations’ as to why things are getting weirder.

Her mind plays on three narrative threads. A confident and even principled movie director who is hounded by some sinister conspiracy that he must cast a certain woman in his new picture. He is not only pressured by a strange network of ‘gangsters’ but also a victim of marital infidelity who finds his wife in bed with some beefy working class type that is a staple of Hollywood movies. The second narrative thread involves a strange, mysterious, and beautiful woman(who is later known as ‘Rita’) who has lost her memory and has taken shelter at Betty’s place of residence. And the third thread is about Betty’s adventure for fame and fortune in Hollywood. Betty is brimming with pity and warmth for the disoriented and pitiable ‘Rita’. Indeed, she even leaves before the second audition — her first, for a soap opera, was a smash — to pick up ‘Rita’ to check out an apartment that might be Rita’s. Betty might as well be Cinderella. 

She would even risk her career out of her concern for Rita. She never reneges on her promises. When Diane is in the world of reality, she wants to escape into fantasy. But as alluring and beautiful as the fantasy is, there’s also forces within the mind that gnaws away like a sewer rat at the fantasy, thus creating a hole/portal back to reality. So, Diane is simultaneously running from and returning to reality. But both reality and fantasy are dead-ends. There’s no bringing back Camilla in the real world. She is gone forever from the real world. No matters how many times Diane awakens afresh from her dream/nightmare, the reality it that she finds herself lost, living in a desolate world without Camilla. 

Though Diane Selwyn’s dream/fantasy has elements of whimsy and romance, it also has horror-istic elements of paranoia, diabolic conspiracies, nightmarish surrealism, and lurking dangers. The horrible things in the dream/fantasy have an element of dark mystery that seems either unsolvable or inaccessible. She could also make believe that Camilla-as-Rita is a woman of beautiful soul who’s dependent on her love and support, someone whose rejuvenation is made possible by Betty’s kindly angel-like intervention. Of course, this Betty is the perfect girl who has the talent to be both a great actress and a great star as well a heart of gold that goes out of its way to help her muse. In a way, the fact that the two women are lesbians (or bi-sexual) underline Selwyn’s dilemma. In Chayefsky’s 1958 movie The Goddess, the Marilyn Monroe–type heroine (Kim Stanley) sought movie stardom, fame, and adulation in order to compensate for her inability to love, and ends up dependent on her lesbian secretary's care and adoration. Also Marilyn Monroe was rumored to depend emotionally on her friend and publicist Patricia Newcomb. 

Chayefsky said in 1958 that his heroine Emily Ann Faulkner “represents an entire generation that came through the Depression with nothing left but a hope for comfort and security. Their tragedy lies in that they never learned to love, either their fellow humans or whatever god they have.” Diane Selwyn in MULHOLLAND DR. has a scar that cannot be fixed. So, whenever her mind, via many detours, arrives at the dark truth, it doesn’t lead to clarity and luminance but greater horror and abject darkness. When she opens up her deepest scar, it just festers and hurts to the point of unbearableness. Truth doesn’t set her free. It just deepens her bruises. It just makes her infection fester even more. Source: medium.com

Kim Stanley: I remember that Newman was something of a joke--an erotic joke--at The Actors Studio, because he was so handsome. Frighteningly handsome. He caused as much physical commotion as Marilyn Monroe did. He created a lot of tension, jealousy and competition among the men--merely by showing up. He is a kind, patient and careful man--and he is a patient and careful actor. His incremental method of working can give some the impression that he doesn't know what he's doing, but he usually does: He investigates stealthily, and he gets things done. He waited a long time to prove that he was a real actor. And he found his soul mate in Joanne Woodward, a splendid actress. I don't know how to speak to people about acting if they don't recognize it as an art, as a high calling, as a terribly demanding pursuit that will require not only more than you realize but more than you will ever possess. For the entire life of an actor, you are burnishing and sharpening and replacing tools that you need to have at your highest levels of performance--over and over again. 

It is never enough. Your heart has to be broken. Your mind has to be challenged and stretched and adapted. It is an almost impossible task. Actually, it is an impossible task, but in bravely attempting to fulfill it, you might achieve truth or greatness or inspiration. I just don't see that passion as much as I used to. I see the aching wants, but I don't see the dream, the passion to give up everything else to become a warrior of the art of acting. Religious orders remind me of how I lived when I first began to realize the challenge that was ahead of me. When I was working with Herbert Berghof, Lee Strasberg and Harold Clurman, I began to see how hard it would all be, but also how gratifying, how ennobling. When you see what is demanded, you think of bolting, and many are right to do so. Most of the time I know I fail. Because what I'm after is perfection, truth in art. This is exceedingly rare. It's very hard to achieve and overwhelming to maintain. –Follies of God: Kim Stanley Interview with James Grissom (1992)

King Elvis, Marilyn Monroe, and Breathless

Elvis had just returned from doing military service in Germany and was back in Hollywood working on his next movie, GI Blues. While overseas Elvis had met and fallen for Priscilla Beaulieu but fidelity was never the superstar's strong suit. He was also officially dating 22-year-old starlet Anita Wood at the same time. The King was even visited by the actual princesses Margrethe of Denmark, and Margaretha of Sweden on set that summer, but it was an alleged encounter with the reigning queen of the silver screen that remains speculated about to this day. According to Hollywood agent Byron Raphael, it all started when Elvis' representatives at the William Morris Agency were keen to send him and Marilyn on some high-profile public dates for publicity – but she said no. Byron said that he had kept the details secret for fifty years, but finally told Playboy and then the New York Post all the details in 2006: "He was very embarrassed but I think she turned him down because she felt it was too public, but Presley didn't give up and secretly set up a meeting at the Beverly Wilshire hotel. The agent claimed that when it was all over, Elvis called a cab for Marilyn. "A few days later when I mentioned Marilyn to Elvis, he said, 'She's a nice gal, but she's too much for me.'" Elvis was certainly very attracted to the sexually confident Ann-Margret, with whom Elvis had a long affair after starring together in Viva Las Vegas. Marilyn, conversely, was drawn to older, powerful men, like Joe DiMaggio, Arthur Miller, and President John F Kennedy. —King Elvis: The Untold Stories Of Elvis Presley (2022) by Nicholas Spielberg 

A Rip-off with Genius: Marilyn's  mixture of wide-eyed wonder and cuddly sexiness seemed to get to just about every male; she turned on even homosexual men. And women couldn’t take her seriously enough to be indignant; she was funny and impulsive in a way that made people feel protective. She was a little knocked out; her face looked as if, when nobody was paying attention to her, it would go utterly slack—as if she died between wolf calls. She seemed to have become a camp siren; her comedy was self-satire—conscious parody that had begun unconsciously. She was not the first sex goddess with a trace of somnambulism; Garbo was often a little out-of-it, Dietrich was numb most of the time, and Hedy Lamarr was fairly zonked. But they were exotic and had accents, so maybe audiences didn’t wonder why they were in a daze; Monroe’s slow reaction time made her seem daffy, and she tricked it up into a comedy style. For Norman Mailer, she was “a proud, inviolate artist, a sex angel,” and he suggests that “one might literally have to invent the idea of a soul in order to approach her.” 

Arthur Miller had split her mystique into The Misfits and After the Fall, and since each was only a side of her, neither was believable. Marilyn Monroe might have “grown” as an actress but she would have died as a star. The pity is that she didn’t get more of the entertaining roles that were in her range; she might have been right for Sweet Charity or for Lord Love a Duck or Born Yesterday or a remake of the Harlow comedy Bombshell. She might have had a triumph in Breakfast at Tiffany’s and she probably could have toned down for Tennessee Williams’s Period of Adjustment and maybe even Bonnie and Clyde. In his caping for Marilyn, Norman Mailer is supremely cruel to Arthur Miller, who was left devastated after her death. “Instead of jetting from New York to the funeral to get my picture taken, I decided to stay home and let the public mourners finish the mockering ritual. I loved her so much. Not that everyone there will be false, but enough. Many of them there destroyed her, ladies and gentlemen. Now you stand there weeping and gawking at this lovely girl who you at last killed.” —The Age of Movies: Selected Writings of Pauline Kael (2016) 

What sneaks up on you in Breathless is that the young hood with his loose random grace and the impervious American girl seem so remote. And you’re left with the horrible suspicion that this is a new race, bred in chaos, accepting chaos as natural, and not caring one way or another about it. The heroine, who has literary interests, quotes Wild Palms, “Between grief and nothing, I will take grief.” But that’s just an attitude she likes at that moment; at the end she demonstrates that it’s false. Michel states the truth for them both: “I’d choose nothing.” The European critic, Louis Marcorelles, describes their world as “total immorality, lived skin-deep.” And possibly because we Americans are used to live among just such people, the film may not, at first, seem quite so startling as it is. And that’s what’s frightening about Breathless: not only are the characters familiar in an exciting, revealing way, they are terribly attractive. They seem giddy and gauche and amusingly individualistic, until you consider that this individualism is not only a reaction to mass conformity, but, more terrifyingly, is the new form that mass society takes: indifference to human values. 

Despite the unrest and anarchy in the moral atmosphere, Michel is as romantic as Pépé Le Moko and as true to love (and his death scene is just as operatic and satisfying). He’s honest and likable, though socially classifiable as a psychopath; she’s a psychopath, too, but the non-classifiable sort—socially acceptable but a sad, affectless doll. Patricia seems to be playing at existence, at a career, at “love”; she’s “trying them on.” But she doesn’t want to be bothered; when her lover becomes an inconvenience, she turns him in to the police. Shot down and dying, the young man gallantly tries to amuse her, and then looks up at her and remarks—without judgment or reproach, but rather, descriptively, as a grudging compliment: “You really are a bitch.” 

And in her flat, little-girl voice, she says, “I don’t know what the word means.” If she does know, she doesn’t care to see how it applies to her, and it wouldn’t bother her much anyway. The codes of love and loyalty depend on stronger emotions than her idle attachment to this lover—one among many. They depend on emotions, and she is innocent of them. An updated version of the betraying blondes who destroyed so many movie gangsters, she is innocent even of guilt. As Jean Seberg plays her—and that’s exquisitely—Patricia is the most terrifyingly simple muse-goddess-bitch of modern movies. Next to her, the scheming Barbara Stanwyck of Double Indemnity is as archaic as Theda Bara in A Fool There Was. Godard's film was dedicated to Monogram Pictures—who were, of course, the producers of cheap American gangster-chase movies. Breathless was made for $90,000. —Deeper Into Movies: Film Writings (1969-1972) by Pauline Kael