|
PAUL: How would you interpret Marilyn's behavior, as described by Nikki Morgan, which was to the effect of a withdrawn, anti-social, skittish model, who blushed at inquiries about what she was doing or dashed from the room always looking for a telephone? If you had to become a clown in the circus of speculation, the unknowable, what was it that kept Marilyn in the dressing room at Diana Herbert’s pool party for two hours, then sneaking out to disappear? With it being that early in her career, could it have been a lingering fear of crowds and parties, as opposed to the measure of control she had in front of a still photographer’s camera ,which was about to evolve with the motion picture camera? JOHN: Marilyn wouldn’t socialize; she was afraid. She had been conditioned to accept that she was useless and nobody would love or like her. She made no friends and, later, those that were close were there to cling for financial gain. That said, it is inevitable that we wind up face-to-dilemma with what was coming: the agonizing internal conflict between a life-long belief in her own worthlessness and feelings of inferiority. If upon you is bestowed blessings and adulation and adoration when inside you feel unworthy of same, then conflict is produced and remains in constant agitation that heats up to the point of explosion. If you are conditioned, dog-like - as an unworthy being, you’ll never accept self-worth or esteem. Whatever the resultant problems or conflicts, it stems from one’s inability to accept fame because you are innately rejecting of it. Especially in Hollywood where fame is not alive, and is only a celluloid image. Some have mastered this for most of their lives, such as Joan Crawford, but even then when the need for you to continue wanes, you reach for the Vodka, the pills, or the gun. Perhaps if one’s fame has been arrived at solitarily it is easier to appraise the result and acknowledge the achievement in some internal way. But performing in a movie belongs to a social art; never a solitary endeavor like a painting or a piece of music or literature. That is the bane of the actor, and with age, with lack of work (like Keith Andes), the bottom under your feet begins to give way. There is only one way to go and that is down....” This is Hollywood, baby!”
JOHN: I can’t think right now of any picture she was in where she seemed closer to herself off screen. To go there, you need to view a couple of the documentaries about her where she is being interviewed or expressing herself. She was more intelligent, brighter, than she appeared in the roles she played. Introduction
:: Previous :: Next |
|
|
|
|
|
|
about the book :: about the author :: Official John Gilmore Site |
PAUL:
In your view, which of Marilyn’s films comes closest to who she was in
life, if any? Perhaps, in light of all we have discussed so far, maybe
there’s no basis for such a question. It is applicable to your friend,
Jimmy Dean, as is discovered in the online Dean interview, but Monroe was
a different creature in many ways, though there were things they had in
common.
