Senator George Smathers was interviewed by Cathy Griffin on September 14, 1998, and again by me on October 1, 1998.
The great entertainer Andy Williams was interviewed by Cathy Griffin on May 4, 2007. It’s certainly an honor to include his comments about his best friend, Bobby Kennedy, on these pages for the first time.
I interviewed Peter Levathes by telephone on February 3, 2000.
I interviewed Nunziata Lisi on June 12, 1999, and I thank her for her time. Her stories have been key in this volume just as they were in Jackie, Ethel, Joan: Women of Camelot.
PART NINE: SAD ENDINGS
Regarding Dean Martin: I must admit that I practically stalked Mr. Martin in the summer of 1994 when I learned that he ate regularly at La Famiglia, an Italian restaurant in Beverly Hills. I simply had to interview him, not only because I was writing a book about his pal Sinatra, but also because I had such admiration for him. After a week of visits to the restaurant without seeing him, he finally showed up on the night of June 23. I watched as he ate alone in a corner, seeming very sad and alone. When he finished, I approached and asked if I might one day interview him. After some banter back and forth about both of us being Italian-Americans, he agreed to be interviewed the next night. I returned and, true to his word, he gave me the interview. To be candid, it was a somewhat odd and disjointed affair. He wasn’t himself—a little drunk, a little ill, and very much on the decline. That said, it was quite a thrill for me to have even a few hours with Mr. Martin, and he certainly did have his very amusing moments. I have used some of his comments about Marilyn Monroe and Something’s Got to Give in this book. “At the time, I was a little pissed off at her,” he told me when discussing her many absences during the filming of that movie. “The only other person who ever kept me waiting that much was Sinatra. I hated waiting. Still do. But now, looking back on it, I get it about Marilyn. She was a sweet kid who probably would have been better off marrying a nobody from the suburbs and then living happily ever after with a bunch of kids. Maybe she was just too real, too honest to be in this business.” He was a class act. I think we all miss Dino.
Again, Michael Shaw’s comments are culled from Cathy Griffin’s interview with him on April 17, 2008.
I interviewed Mort Viner on March 11, 1996, and again on July 2, 2002.
Cathy Griffin and I interviewed John Miner on May 22, 1991. I interviewed him again on May 12, 1998, and then again on June 2, 1999.
Cathy Griffin interviewed Roberta Linn on May 5, 2008.
I interviewed Stacy Baron on June 5, 2007.
Cathy interviewed Janet Leigh on July 1, 1991, and we utilized much of it here for background purposes.
I interviewed Frank Mankiewicz on August 27, 1998, and on October 5, 1998. Cathy interviewed Frank’s son, Chris, in May 1999. Of interest to the reader may be that Frank Mankiewicz completed nine interviews for the Robert F. Kennedy Oral History Project: RFK#1: 6/26/1969; RFK#2: 7/10/1969; RFK#3: 8/12/1969; RFK#4: 9/30/1969; RFK#5: 10/2/1969; RFK#6: 11/6/1969; RFK#7: 11/25/1969; RFK#8: 12/4/1969; and RFK#9: 12/16/1969. Each is stunning in scope and can be found at the John F. Kennedy Presidential Library and Museum in Washington.
The following Secret Service agents assigned to President John F. Kennedy were also interviewed: Anthony Sherman on September 29, 1998; Larry Newman on October 1, 1998, and October 13, 1998; and Joseph Paolella on September 12, 1998.
I interviewed Arlene Dahl on October 5, 2002.
I’d like to mention that once it became known that I was writing this book, many people contacted me and my researchers to tell me of their experiences with Marilyn Monroe. It was impossible to work all of their stories into this volume because of space considerations. I feel badly that they so graciously gave of their time, only to then not appear in the text. Therefore, I would like to generally thank anyone who participated in this project, named in the text or otherwise… and—who knows—maybe their stories will find their way into the paperback edition.
Specifically, I interviewed James Wright, Sinatra’s chauffeur on April 16, 1997; Kennedy hairstylist Mickey Song twice—with Cathy Griffin on April 24, 1997, and with Charles Casillo on July 16, 1998. Cathy also conducted her own interview with him on August 17, 1991. Also, Cathy interviewed entertainment manager Jess Morgan on May 2, 1997; the talented Tony Martin and the beautiful Cyd Charisse on April 15, 1997; private investigator Fred Otash on August 29, 2001; Danny Cahn on April 28, 2008; and the wonderful Miss Ruta Lee on May 19, 2008. I also interviewed Cyd Charisse on June 1, 2007, regarding her role in Something’s Got to Give. Jackie Bouvier Kennedy’s cousin John Davis was interviewed in March 2008. No quotes from those sources were utilized in this book, but I referred to their stories for background purposes and certainly do thank them all for their time.
Cathy Griffin would like to thank the following people for helping to make her work on this project so much easier and worthwhile: Greg Shriner (of the “Marilyn Remembered” fan club), Harrison Held, Kathleen Hughes, Harlan Boll, Jayne Meadows, Larry Billman, Scott Fortner, Tanya Somova, Senator William J. Raggio, Dave Spencer, John Morris, Joshua Greene, and the Nevada Federal Bureau of Investigation.
And, in conclusion, James Pinkston wishes to acknowledge the following people for their help with his work on The Secret Life of Marilyn Monroe: Linda Harris Mehr, director of the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, and her dedicated staff, including Susan Oka; Jan and Ray Boyle (a.k.a. Jan Shepard and Dirk London); Armando Munoz, VideoWest; Robert T. Crane; Lisa and Chris Bonbright; Ron Parish; Meg Woodell Gregory; Hart Henson; David Streets, gallery director, Celebrity Vault; Marian Silverman; Gabriel Rotello; Cherry Vanilla; Hotch and Nita Rippere; Robert Schear; Joe Harvey; Hamilton Powell; Maude Schuyler Clay; Elizabeth Bowman Woolverton; Sandra Shafton; and Richard and Robert DuPont.
PERSONAL ACKNOWLEDGMENTS
I want to thank Stephen Gregory for his priceless contribution to this book. He has been one of the most important people on my team for many years, and his understanding of the human mind continues to astound me. His own talent as a storyteller and writer has made his counsel during the production of this, and many of my books, invaluable. I thank him sincerely for always reminding me that my goal is to treat everyone represented in all of my books with compassion first and foremost. I am honored to have him as a coworker, and proud to call him my friend.
My sincere thanks to Jonathan Hahn. Not only is he a brilliant writer and my personal publicist, he also happens to be my best friend. I thank him for so many years of support in all of my endeavors, both personal and professional. We have had an amazing run, and I think the best is yet to come. I would also like to acknowledge his wife, Alysia Garrison, also a trusted and loyal friend to me.
As I have often stated, without a loyal team of representatives, an author usually finds himself sitting at home writing books no one reads. Therefore, I thank all of those from “USA Team JRT” who mastermind the chaos in my office: attorneys Joel Loquvam and James M. Leonard; C.P.A. Michael Horowitz of Horowitz, McMahon and Zarem in Southern California, Inc.; Felinda deYoung, also of Horowitz et. al.
I must thank Jeff Hare, a vice president of Dreamworks, for being such a good and trusted friend. I can always count on Jeff to read my books, and I truly appreciate that.
Brian Evan Newman, George Solomon, Frank Bruno, and Jeff Cook have been such good pals to me, and I would like to acknowledge as much here. Also, I would like to especially thank Andy Hirsch for his invaluable contributions to my life. In fact, it means the world to me to be blessed with so many good friends, including: Al Kramer, Richard Tyler Jordan, Steve Ivory, Hazel and Rob Kragulac, Bruce Rheins and Dawn Westlake, Manuel Gallegos, Lisa Reiner, Matthew Barasch, Steve Ridgeway, Andy Skurow, Billy Barnes, Scherrie Payne, Lynda Laurence, Barbara Ormsby, John Passantino, Linda DeStefano, Mr. and Mrs. Joseph Tumolo, Daniel Tumolo, Charles Casillo, John Carlino, David Spiro, Mr. and Mrs. Adolph Steinlen, David and Frances Snyder, Abby and Maddy Snyd
er, Maribeth and Don Rothell, Mary Alvarez, Andy Steinlen, Jared Murphy, Mark Bringelson, Hope Levy, Tom Lavagnino and little Sam, Michelle Caruso, Leslie Miller, Roman D’Angelo, Yvette Jarecki, Scott Allen, Phil Filomowicz, Jonathan Fousek, Master Aaron Lawrence of Quest Martial Arts, as well as Nolan Blackford, Erik Rodriguez, Brandon Visco, Magda Vamos, and Daniel and Erika Feser.
There are two other fellows who have meant more to me than I can say over the last few years—G.C. and B.P. They know who they are and the impact they’ve had on my life. Both have my undying loyalty. Also, I want to thank D.B. and V.B. for their many kindnesses along the way.
I have always been so blessed to have a family as supportive as mine. My thanks and love go out to: Roslyn and Bill Barnett and Jessica and Zachary, Rocco and Rosemaria Taraborrelli and Rocco and Vincent, and Arnold Taraborrelli. Special thanks to my father, Rocco, who has always been my inspiration. He has encouraged me in ways too numerous to mention.
My mom, Rose Marie, would have loved this book as she did pretty much everything I ever wrote. She was my biggest fan, and I was most certainly hers. We miss her very much.
Finally, I must also acknowledge those readers of mine who have loyally followed my career over these many years. As I have often said in the past, the reason that I write about people such as Marilyn Monroe is to bring about an exchange of ideas concerning how others have lived in the hope that we may learn by their choices. Never did I dream that I would have a global audience for such communication. I am indebted to each and every reader who has stuck by me over the course of my career. I receive so many letters from people who have enjoyed my books—as well as from those who have taken issue with certain aspects of my work. Whatever the response, I am eternally grateful to anyone who takes the time to pick up one of my books and read it.
Thank you so much,
J. Randy Taraborrelli
Winter 2008
MARILYN MONROE FILMOGRAPHY
The Shocking Miss Pilgrim (1947)
Betty Grable, Dick Haymes, Anne Revere
Boston and the Gay Nineties provide setting and period, as Grable strikes a blow for women’s rights while learning the typewriter. In Technicolor. Monroe appears (unbilled) as a telephone operator. 85 minutes.
20th Century-Fox
PRODUCER: William Perlberg
DIRECTOR/WRITER: George Seaton
CINEMATOGRAPHER: Leon Shamroy
Dangerous Years (1947)
Billy Halop, Scotty Beckett, Marilyn Monroe (waitress)
A half dozen former child stars play overage juvenile delinquents in this low-budget exploitation film. They seem unwilling to be rehabilitated, but we don’t really care. Marilyn has a bit as a waitress at the Gopher Hole, a juke joint where the juvies hang out. 62 minutes.
20th Century-Fox
PRODUCER: Sol M. Wurtzel
DIRECTOR: Arthur Pierson
WRITER: Arnold Belgard
CINEMATOGRAPHER: Benjamin Kline
Scudda-Hoo! Scudda-Hay! (1948)
June Haver, Lon McCallister, Marilyn Monroe (girl in canoe)
June Haver competes with a pair of prizewinning mules for the affections of farmboy Lon McCallister in rural Indiana, all dressed up in Technicolor. Marilyn can be spotted in two scenes. 98 minutes.
20th Century-Fox
PRODUCER: Walter Morosco
DIRECTOR/WRITER: F. Hugh Herbert
CINEMATOGRAPHER: Ernest Palmer
Green Grass of Wyoming (1948)
Peggy Cummins, Robert Arthur, Marilyn Monroe (extra at square dance)
A second sequel to Mary O’Hara’s beloved story My Friend Flicka—a boy, a girl, and a wild white stallion, photographed in the lush Wyoming countryside. Charles G. Clark was Oscar-nominated for his Technicolor cinematography. 88 minutes.
20th Century-Fox
PRODUCER: Robert Bassler
DIRECTOR: Louis King
WRITER: Martin Berkeley
CINEMATOGRAPHER: Charles G. Clarke
Ladies of the Chorus (1948)
Adele Jergens, Marilyn Monroe (Peggy Martin)
Beautiful blonde Adele Jergens is a former burlesque queen who aims to see that her daughter (Monroe) avoids the same mistakes she made. Marilyn is impressive in her first lead, sings two songs. 61 minutes.
Columbia Pictures Corp.
PRODUCER: Harry A. Romm
DIRECTOR: Rick Karlson
WRITERS: Joseph Carole and Harry Sauber
CINEMATOGRAPHER: Frank Redman
Love Happy (1950)
Harpo Marx, Groucho Marx, Marilyn Monroe (chorus girl)
This is mostly Harpo’s show (he wrote the original story), and is remembered mainly as the sad cinematic swan song of the legendary Marx Brothers. A low-budget backstage romp, involving an impoverished theatrical troupe trying to put on a Broadway show. Detective Groucho is the story’s narrator, his trademark zaniness reined in, as he tries to solve the theft of a Romanov diamond. 85 minutes.
United Artists
PRODUCER: Lester Cowan, Mary Pickford (as a founder of UA)
DIRECTOR: David Miller
WRITERS: Ben Hecht, Frank Tashlin (story by Harpo Marx)
CINEMATOGRAPHER: William C. Mellor
A Ticket to Tomahawk (1950)
Dan Dailey, Anne Baxter, Marilyn Monroe (Clara)
A race between a train and a stagecoach will determine the owner of the rights to the passenger route to Tomahawk, Colorado. Comic, colorful actioner, set against the towering Rockies near Durango. Marilyn has a bit part as one of Madame Adelaide’s showgirls. 90 minutes.
20th Century-Fox
PRODUCER: Robert Bassler
DIRECTOR/WRITER: Richard Sale
COWRITER: Mary Loos
CINEMATOGRAPHER: Harry Jackson
The Asphalt Jungle (1950)
Sterling Hayward, Louis Calhern, Marilyn Monroe (Angela Phinlay)
A major jewelry heist by a group of career criminals goes off as planned, but all the principals are either dead or in custody as the gritty film noir’s end credits roll. Told from the criminals’ point of view. Marilyn stands out in a small part as the mistress of an elderly, crooked lawyer, played by Calhern. Nominated for four Oscars, including writing, directing, and cinematography. 112 minutes.
Metro-Goldwyn-Mayer
PRODUCER: Arthur Hornblow Jr.
DIRECTOR/COWRITER: John Huston
COWRITER: Ben Maddow
CINEMATOGRAPHER: Harold Rosson
The Fireball (1950)
Mickey Rooney, Pat O’Brien, Marilyn Monroe (Polly)
Thirty-year-old Rooney plays a teenage fugitive from an orphanage who struggles before becoming a skating star in the roller derby, very big on early TV. Father O’Hara (O’Brien) tries to save him from himself, much as Father Flanagan did for Whitey Marsh in Boys’ Town fifteen years earlier. 84 minutes.
20th Century-Fox
PRODUCER: Bert Friedlob
DIRECTOR/COWRITER: Tay Garnett
COWRITER: Horace McCoy
CINEMATOGRAPHER: Lester White
All About Eve (1950)
Bette Davis, Anne Baxter, Marilyn Monroe (Claudia Casswell)
A ruthless, conniving ingénue insinuates her way into the inner circle of a legendary, aging Broadway star, leaving wrecked lives and shattered relationships in her wake, as she claws her way to the very pinnacle of theatrical stardom. Of the set pieces, Marilyn shines in two of them, earning kudos from the critics. Widely considered the best film about the theater ever made and, by the American Film Institute, among others, one of the best films of all time. The script contains a number of memorable lines, not the least being Davis’s warning to her captive audience to “fasten your seatbelts.” Nominated for fourteen Academy Awards, winning six, including Best Picture, Best Director, and Best Screenplay. 138 minutes.
20th Century-Fox
PRODUCER: Darryl F. Zanuck
DIRECTOR/WRITER: Joseph L. Mankiewicz
CINEMATOGRAPHER: Milton Krasner
June Allyson, Dick Powell, Ricardo Montalban, Marilyn Monroe (Dusky LeDoux)
Anglo-Latino romantic entanglements are unresolved as they play out against the story of a Chicano fighter (Montalban) trying to hang on to his boxing career after a hand injury leaves him a noncontender. Allyson is in his corner, but not necessarily in his bed. Marilyn plays a bar girl who has a brief encounter with Powell, Montalban’s best friend. Pretty dull going, but good production values help. 90 minutes.
Metro-Goldwyn-Mayer
PRODUCER: Armand Deutsch
DIRECTOR: John Sturges
WRITER: Charles Schnee
CINEMATOGRAPHER: Norbert Brodine
The Secret Life of Marilyn Monroe Page 56