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Marilyn Monroe

Marilyn Monroe’s former home saved from demolition in LA




Marilyn Monroe moved around a lot during her life, about 43 times in total. I think the instability she experienced in childhood became a subconscious pattern that was hard to break. She only ever purchased one home, in January of 1962, and it’s the house where she died in August of that year. It’s a landmark, albeit a very dark one. Someone bought the home in July and intended to immediately tear it down, and a demolition permit was issued. But then the Marilyn fan community sprang into action, inundating the LA City Council with thousands of phone calls. Councilwoman Traci Park responded by filing a motion to designate the house as a historic building, and the rest of the City Council voted unanimously in favor. Marilyn’s house has been saved–at least for now. If it is designated as a historic place, the new owners (who almost certainly knew that it was Marilyn’s house) won’t be able to destroy it. I have complicated feelings about all of this.

Demolition of the Los Angeles area home where Marilyn Monroe spent her last months has been put on hold by Los Angeles City Council, following a last-minute motion aimed at designating the house a Historic-Cultural Monument.

Councilmember Traci Park, whose district includes Brentwood where the legendary actress’s former home is located, said the house was sold in July and the new owners recently filed a request to have it demolished.

“Unfortunately, the Department of Building and Safety issued a demolition permit before my team and I could fully intervene and get this issue resolved,” Park said in a news conference on Friday.

When word of its looming demise broke on Wednesday, Park’s offices were inundated with calls to save the fabled bungalow that once belonged to the pop culture icon.

“At this point, it may be into the thousands,” Park said of the volume of phone calls. “All of our phones in city hall and the field office have been ringing off the hook for the last 48 hours.”

On Friday, the Los Angeles City Council unanimously approved Park’s emergency motion to begin the process to designate the house a historic building.

Demolition is on hold until the city’s Office of Historic Resources conducts a study and analysis of the home, according to Park.

It remains unclear who the new homeowners are as the purchase was made under a limited liability company (LLC).

“We have not been contacted at all by the property owner,” Park told CNN. “Most certainly they were aware of who owned the home previously and who lived and died there.”

[[From CNN]

I wonder who is in this murky LLC. I’m glad it’s not being demo’d yet, but the way people mythologize this house makes me uneasy. It’s hard for me to put into words. I’ve seen a lot of people in the Marilyn fan community refer to the Fifth Helena Drive house as “our Graceland” but that doesn’t sit quite right with me. Marilyn was proud of her little house–2300 square feet is quite modest for a superstar. She was enjoying fixing it up and making it her own that summer of 1962. One of the last things she did before her death was to buy a bunch of succulents and trees for the backyard from a local nursery (according to Donald Spoto’s well-researched biography). But because it’s where she died, it will always be a tremendously sad place and I think the energy of what happened that night has marked that house forever. I could not live there.

I get why people in the fan community feel so passionately about protecting it. In recent years people have done disrespectful things to Marilyn’s legacy. That terrible Blonde movie came out, packed full of lies, judgment, and explicit scenes that exploited Marilyn (and Ana de Armas for what it’s worth). Then Kim Kardashian destroyed one of Marilyn’s most iconic dresses just to get attention and probably damaged another dress of Marilyn’s just to get an Instagram photo. I think Marilyn’s fans just want to preserve anything that mattered to her at this point. In practical terms, the house on Fifth Helena could never become a museum like Graceland because it’s on a tiny dead end residential street with no parking. I think that Marilyn should have a museum, I think she is that important to the culture. But with how her estate was handled, most of her personal affects are in the hands of private collectors now (or “museums” that will loan out their artifacts to any Kardashian that asks). But some of her makeup and clothing is on display at the Hollywood Museum in the Max Factor Building, if anyone is interested.

Embed from Getty Images

Embed from Getty Images

Photos credit: Holland / Avalon, Topfoto Archive / Avalon and Getty

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Andrew Dominik Marilyn Monroe

‘Blonde’ director: People shouldn’t care if I exploited Marilyn Monroe, she’s dead

At the end of the day, Andrew Dominik’s Blonde was a terrible movie. It just kept getting worse and worse too, like the first half of the movie isn’t good per se, but it vaguely resembled the actual life of Marilyn Monroe. The second half goes off a cliff, it’s just a purely misogynistic fantasy. While the source material – Joyce Carol Oates’ book of the same name – was pretty dark and sexist towards Marilyn, it wasn’t AS dark as Dominik’s fantasies. Anyway, no one should be proud of any of it. Dominik was recently asked about the American reception to the film while he was in Saudi Arabia and his reaction was… not good.

Blonde director Andrew Dominik is reveling in the backlash over his film’s depiction of late screen legend Marilyn Monroe. The Australian filmmaker, 55, said he was “really pleased” that the fictional take on her life “outraged so many people” after premiering on Netflix in September, as he appeared Sunday at the Red Sea International Film Festival in Saudi Arabia, according to The Hollywood Reporter.

He blamed the response on U.S. audiences, stating: “They hated the movie!”

“Now we’re living in a time where it’s important to present women as empowered, and they want to reinvent Marilyn Monroe as an empowered woman. That’s what they want to see. And if you’re not showing them that, it upsets them,” Dominik explained.

“Which is kind of strange, because she’s dead. The movie doesn’t make any difference in one way or another,” he continued. “What they really mean is that the film exploited their memory of her, their image of her, which is fair enough. But that’s the whole idea of the movie. It’s trying to take the iconography of her life and put it into service of something else, it’s trying to take things that you’re familiar with, and turning the meaning inside out. But that’s what they don’t want to see.”

[From People]

If Blonde had been presented as some kind of horror-story reimagining of Marilyn’s life, I think people would have gone into it understanding that “this is a fictional reimagining.” But it was promoted as a biographical film and Ana de Armas wouldn’t shut up about how it respected Marilyn’s life and work when it wasn’t like that at all. I’m sure Marilyn went through some terrible times, obviously, and the fact that she couldn’t carry a pregnancy to term was one of the greatest sadnesses of her life. But the dramatization of that alone in Blonde was offensive and misogynistic. This was about Dominik’s need to exploit and brutalize a famous woman on-screen.

Photos courtesy of Netflix, Cover Images, Avalon Red.

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Abortion Rights Ana de Armas Andrew Dominik Marilyn Monroe

Planned Parenthood: ‘Blonde’ contributes to ‘anti-abortion propaganda’

When we recorded this week’s Gossip with Celebitchy podcast, I had only watched half of Blonde, and I talked on the pod about how the movie wasn’t as bad as I thought it was going to be. At that point, I had watched up until Marilyn Monroe met Arthur Miller. The film truly takes horrendous turn after horrendous turn after that. I mean, it was trashy before the Arthur Miller stuff, but you could still feel the thread of Joyce Carol Oates’s book in the first half, even though director/screenwriter Andrew Dominik made a choice to edit out some of the better and more explanatory parts of Oates’s book. Like, Marilyn’s whole first marriage. That’s when Marilyn first begins to understand that it might be difficult for her to get pregnant and carry to term (she had severe endometriosis and very painful periods). Instead of using the truth, Dominik made the choice of forcing his MM character to repeatedly get pregnant and then be forced into having abortions. It was truly insane and there’s no historical record of any of that. The abortion scenes – especially the second one – were beyond f–ked up. So was the talking baby scene, where Marilyn and Arthur Miller are expecting and the fetus lays a guilt trip on her for having an abortion years earlier. Well, Blonde is so bad and so damaging to abortion rights that Planned Parenthood has now issued a statement:

Andrew Dominik’s Blonde, the Marilyn Monroe biopic starring Ana de Armas as the screen legend, has been sparking strong reactions since it premiered at the Venice Film Festival on Sept. 8 and made its Netflix debut Sept. 28. Film critics have called the movie, which is based on Joyce Carol Oates’ 2000 novel of the same title, cruel and exploitative for its portrayal of Monroe’s life.

One thread of that criticism has been the way Blonde deals with abortion. The film depicts Monroe as having had two illegal abortions, which were imposed upon her against her will and which tormented her. Via photoreal CGI, the film portrays Monroe’s fetuses speaking to her. “You won’t hurt me this time, will you?” a fetus asks Monroe.

Arriving three months after the Supreme Court overturned Roe v. Wade, Blonde comes as many in the entertainment industry have been considering their own roles in the way abortion is understood by the public. As far as abortion rights activists are concerned, Blonde is a step in the wrong direction.

“As film and TV shapes many people’s understanding of sexual and reproductive health, it’s critical these depictions accurately portray women’s real decisions and experiences,” Caren Spruch, Planned Parenthood Federation of America’s national director of arts and entertainment engagement, tells The Hollywood Reporter. “While abortion is safe, essential health care, anti-abortion zealots have long contributed to abortion stigma by using medically inaccurate descriptions of fetuses and pregnancy. Andrew Dominik’s new film, Blonde, bolsters their message with a CGI-talking fetus, depicted to look like a fully formed baby.”

Spruch went on to say, “Planned Parenthood respects artistic license and freedom. However, false images only serve to reinforce misinformation and perpetuate stigma around sexual and reproductive health care. Every pregnancy outcome — especially abortion — should be portrayed sensitively, authentically and accurately in the media. We still have much work to do to ensure that everyone who has an abortion can see themselves onscreen. It is a shame that the creators of Blonde chose to contribute to anti-abortion propaganda and stigmatize people’s health care decisions instead.”

[From THR]

Yep, all of this, especially “It is a shame that the creators of Blonde chose to contribute to anti-abortion propaganda and stigmatize people’s health care decisions instead.” The second abortion isn’t even portrayed as Marilyn’s decision. Men literally come for her in the night and take her away for a bloody abortion. AND NONE OF IT IS TRUE. It would be one thing if this was a biographical film which stuck to historical accuracy and it was a fact that, say, Marilyn had an abortion and regretted it. There is literally no evidence that any of the abortion sh-t happened. She did miscarry when she was with Arthur Miller and that miscarriage left her devastated and contributed to her drug use. That’s the historical reality – that Marilyn desperately wanted a child and she could never carry a pregnancy to term. And Blonde is 100% anti-abortion propaganda.

Photos courtesy of Avalon Red, Cover Images, Netflix.

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Kim Kardashian & Kanye West cover Harper’s Bazaar’s September issue

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Ah, it’s that time of year when we get to see the September Issue covers. It seems like they start coming in earlier and earlier. Harper’s Bazaar devoted their September issue to Kim Kardashian and Kanye West. The photoshoot is decent – there are a few random shots, but I love the close-up of Kim and Kanye’s faces. You can see the full editorial and interview here. Surprisingly, I enjoyed the interview. Kanye often comes across as eccentric and mercurial (if not flat-out crazy) in interviews, but doing a joint interview with Kim grounds him. And while neither of them is going to win a genius grant any time soon, I enjoyed this piece and I think people often miss the fact that Kanye has a very dark, sardonic sense of humor. Some highlights:

Kim and Kanye on each other’s favorite body parts:
KW: Is the face a body part? My favorite body part of Kim’s: heart.
KKW: Awww, now I have to say the same. But of my own, I like my upper stomach. I just seem to always have abs.When I’m not really pregnant, I have a great two-pack. And of Kanye’s? I have to say his heart. And I’ve always loved his legs.

Favorite Taylor Swift song?

KW: For me? I don’t have one.
KKW: I was such a fan of hers.

Historical figure you identify with?
KKW: This one is hard.
KW: Us? Muhammad Ali, Marilyn Monroe—all day. Next question.

Favorite selfie pose?
KKW: I love a selfie in the mirror.
KW: I love her nude selfies. Like, I love the ones from the side, the back ones, and the front. I just love seeing her naked; I love nudity. And I love beautiful shapes. I feel like it’s almost a Renaissance thing, a painting, a modern version of a painting. I think it’s important for Kim to have her figure. To not show it would be like Adele not singing.

Who’s more vain?
KKW: I mean, me.
KW: Yeah, I think she has vanity. And with me, I don’t give a f–k, bro; it is what it is. I’m the best—now what? I don’t know if that’s a vain statement. I don’t particularly like photos of myself, though.

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“Jennifer Lopez & Casper Smart are still going strong, ugh” links

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Kate Upton Does Vogue UK

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On being compared to Marilyn Monroe:

“I always thought Marilyn was so beautiful and iconic, it was amazing to even be mentioned in the same sentence as her. But I feel like nowadays it’s easy to be genuine and show your personality, whereas I don’t think Marilyn had that opportunity. And clearly she had a dark side, and I don’t have that.”

 

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Size 16 Ashley Graham in The Edit

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On her positive upbringing:

My mom is a very encouraging woman. My whole life she told me, ‘You have to love who you are. You have an amazing personality, you have a great heart. Just be who you are.’ My mom never said, ‘I feel so ugly’, she never looked at her face and said, ‘I need a lift.’ I never saw her looking at herself negatively and therefore I never looked at myself that way. But some people aren’t as lucky to have a mother like mine, which is why we need curvy role models. I was told to look up to Marilyn Monroe and J.Lo, because those were the only two curvy women considered beautiful. We need role models for young girls who say, ‘Embrace your curves. Who cares that your body isn’t perfect?’

On her role as a plus-size model:

I’m meant to spread the word and change beauty and body standards in the fashion industry. And even outside the industry, in my whole community. A year and a half ago, I started a group called ALDA it means ‘wave’ in Icelandic with four other plus-size models. We go to schools to talk about body image acceptance.“We’re in the MIDDLE of a great conversation but we have YEARS before we hit the PEAK. Curves are here to stay.”

… says Ashley in The Edit.

See the rest of the spread next!

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Read the rest of Size 16 Ashley Graham in The Edit (1 words)


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