The explosion of her fame is tracked alongside evidence that success and celebrity never allowed her to forget her troubled childhood, its issues explored with her longtime therapist, Ralph Greenson. Huston also notes that women, as well as men, responded to Monroe, moved by something in her, while Jane Russell recalls her being bright and eager to learn on Gentlemen Prefer Blondes, following her days on the shoot with nightly coaching sessions to work on her performance.
#The lost tapes sam smith movie#
John Huston describes the untrained newcomer digging into her personal experience to pull out an authentic character in The Asphalt Jungle, the film that marked her transition from model to movie star. Schenck, William Morris vp Johnny Hyde - touch on the predatory side of a male-dominated industry in which women were often treated as merchandise.īut there are also welcome reminders of how Monroe from the start was serious about the craft of acting. Mentions of some of the influential men from early in her Hollywood career - agent Al Rosen, Fox executive Joseph M. Recollections of falling in love with movies during long childhood afternoons seated alone in the front row of theaters are lovely, revealing that Jean Harlow was her favorite. While Cooper’s film is clear in its focus on the gray areas around Monroe’s death, its most consistent rewards are in the more general overview of her life, often heard in the star’s own words from interviews. And of course, there’s Monroe herself, whose magical allure and haunting loneliness transcend even this ham-handed treatment. What saves the doc to some extent is the wealth of fabulous archival material, expertly assembled by editor Gregor Lyon and accompanied by Anne Nikitin’s melancholy score. Dig, dig, dig, in that chatterbox of a place called Hollywood.” Seriously, this stuff is not only insufferable, it cheapens the sorrowful subject it purports to dignify. “The truth and Marilyn, it’s like going into the lion’s den,” he says early on, casting himself as the sole slayer of falsehoods in a public life soiled by behind-the-scenes obfuscation. If that weren’t enough to give the project a whiff of sleazy sensationalism, there are also Summers’ prosaic voiceovers, which often border on self-aggrandizement. Those interviews are presented in low-light, grainy “reconstructions,” with half-unseen actors lip-syncing the tapes, like connective scenes from a lost film noir. The author reveals that he has 650 taped recordings of interviews stemming from that assignment and from the three years of research that went into Goddess, none of which have been heard before. That’s certainly a valid starting point, but it establishes Summers as the dominant voice of authority, and therein lies the film’s problem. “It’s usually the false things.” Cooper then jumps to Ireland, where Summers explains how he was commissioned by a British newspaper editor to cover Monroe’s story in 1982, when the Los Angeles County district attorney reopened the investigation into her death, looking for evidence of foul play. “The true things rarely get into circulation,” she says. Strong evidence suggests this was delayed in a cover-up to allow Bobby Kennedy time to get out of town and have all traces of their association removed from Monroe’s Brentwood home.Ī brief opening montage includes Monroe’s voice from an audio interview, questioning how one goes about telling a life story. The major revelations of Summers’ book are the inconsistencies concerning the time of her shocking death from a barbiturate overdose at age 36, and the manner in which it was reported. Kennedy, for whom her far-left associations made her a political hot potato.
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She was allegedly pimped out by Rat Pack actor Peter Lawford and passed between his brothers-in-law Robert and John F. That makes the tragedy of her outcome resonate all the more.
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She sought the protection - and in cases like her third husband, Arthur Miller - the intellectual validation of important men. Alongside her stratospheric fame as a worldwide sex symbol, she grew into a vulnerable woman a private figure perhaps removed from the confident sensuality she transmitted, of someone entirely comfortable in her body.