Marilyn Monroe: Part One - Goodbye Norma Jeane

In this gripping three-part series, we unravel the enigma of Hollywood's iconic figure, Marilyn Monroe. Part One, "Goodbye Norma Jean," delves into the early life of the legendary actress. Marilyn's journey is a maze of secrets, heartbreak, and unexpected twists from a troubled childhood to the dazzling lights of stardom.

As Marilyn's story unfolds, witness the tumultuous relationships, career setbacks, and personal battles that shaped the woman behind the iconic persona. From her early years as Norma Jeane Baker to the emergence of Marilyn Monroe, every twist and turn reveals a facet of her complex, captivating existence.

Join us on a journey through the glitz and shadows of Hollywood's Golden Age, where glamour and mystery collide. "Marilyn Monroe: A Story in 3 Parts" invites you to uncover the truth behind the headlines and discover the untold chapters of a legend.

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• 23:03 [Ad] Persons of Interest
• 23:46 (Cont.) Marilyn Monroe: Part One - Goodbye Norma Jeane

Transcript

Marilyn Monroe: a story in 3 parts: this is Part One: Good by Norma Jean

[Underscore Music]

Marilyn said, No one ever told me I was pretty when I was a little girl. All little girls should be told they’re pretty, even if they aren’t. 

[Theme Music Start]

We dance round in a ring and suppose, but the secret sits in the middle and knows.

[Theme Music Play Out]

[Under Score Music]

[Music – Old Hollywood Movies – Suspense]

Eunice Murray woke up suddenly, she quietly looked around, the room she was in felt foreign to her, for just a moment Eunice had forgotten that she was not in her own home, but rather at the home of her employer. She glanced at the bedside table and took note that the clock read 03:00 am, it was now August 5th, 1962. A strange feeling began to creep into Eunice’s mind, that feeling we all get when we know that something is not quite right. Eunice stood up from her bed and walked to the door to the room, she opened the door and stepped out into a small area of the house where she could see the other bedroom door in the house and here Eunice noticed something strange, she could still see the lights shining from under the bedroom door of her employer, why would they still be awake at this ungodly hour Eunice thought to herself. 

Eunice walked up to the door and gently knocked, [knocking sound] there was no immediate answer. Eunice knocked louder and called out to the inhabitant of the room, still she heard nothing in response. Eunice tried to open the door [door jiggling sound], but the door was locked, and she could not get it to open. Eunice was unsure what to do next, so she made a phone call to Dr. Ralph Greenson and pleaded for his help. Dr. Greenson rushed to the home and upon arriving, he also found the door to the bedroom locked and there was no auditory response from the resident sealed within this chamber. Dr. Greenson walked to the exterior of the home, and he located the window that led to the home’s main bedroom. Dr. Greenson broke into the room through this exterior window and entered the room, but as he entered the room, his heart sank as he realized that he was already too late. 

Dr. Greenson made a phone call to one of his colleagues, Dr. Hyman Engelberg and Dr. Engelberg quickly made his way to 12305 Fifth Helena Drive in the Brentwood neighborhood of Los Angeles. When Dr. Engelberg arrived at the home, Eunice took note that it was now 03:50 AM, August 5th, 1962. Dr. Engelberg entered the bedroom, he looked at his patient, lying face down on her bed, gently clutching a phone in her right hand, and he knew that there was nothing more he could do for her in this world.

At 4:25 in the morning the phone rang at the Los Angeles Police Department [phone ringing], the caller was Dr. Hyman Engelberg and he needed to report a death. The following day every news outlet around the world would also be reporting on this death with newspapers declaring, Marilyn Monroe ‘It looks like suicide’, Marilyn Dead, and Marilyn Monroe Dies Blame Pills.

[Music – Sentimental – The beginning]

Gladys Pearl Baker was born in 1902 to a poor Midwest family living in Piedras Negras, Coahuila, Mexico, the family migrated west, to California, at the turn of the century. When Gladys turned 15-years-of-age, she married John Newton Baker, a man 9 years her senior, who went by the nickname “Jasper” like a Disney villain’s sidekick, and who would also turn out to be terribly abusive to his young wife. Together, the couple brought forth two children into the world, a son they named Robert, but called Jackie was born in 1918 and in 1919 a daughter, which the couple named Berniece. In 1923, Gladys, tired of the life she was enduring as an abused housewife, filed for divorce from Jasper and in this settlement, she was also granted soul custody of the couple’s two children, however; before the ink was even dry on the divorce papers, John Baker, also known as Jasper, had kidnapped both of his children and absconded with them to his home state of Kentucky, 3,000 miles away from their mother.

[Music – old Hollywood (silent film) busy]

In the vibrant landscape of 1923, the Hollywood film industry had reached unprecedented heights, with a staggering 576 films gracing the silver screen and captivating the imagination of over 43 million people. This cinematic spectacle drew in more than 40% of the nation's population, mesmerizing them with the magic of black-and-white silent films. The film industry itself had undergone a remarkable transformation, with a workforce that had swelled to 130,000 dedicated employees, a significant leap from the 35,000 workers just 4 years prior in 1919.

Amidst this cinematic renaissance, Gladys embarked on her own Hollywood journey in 1923. She joined the ranks of Consolidated Film Industries, where her nimble fingers took on the role of a negative film cutter. Six days a week, she meticulously excised sections of film as directed by the studio editors, helping to shape the narratives that would soon grace the silver screen. Her skillful hands were not confined to a single studio, for she also lent her talents to Columbia Pictures and RKO studios. I mean, get the work where you can.

In the hustling, bustling corridors of Consolidated, Gladys crossed paths with Grace McKee, a formidable figure in her own right as a supervisor. A strong friendship quickly developed between the two women, and together, they ventured into the vibrant era of the Roaring Twenties. They were no ordinary women; they were flappers, pioneers of women's rights, extending the boundaries of social and sexual freedoms that had long been reserved for men.

Grace, with her transformative touch, sculpted Gladys from a brown-haired "plain jane" into a radiant redhead, dressed in the most stylish fashion of the time. Yet, within the corridors of RKO, Gladys was somewhat of a mystery. Here she bore a demeanor that seemed flat and distant, closed off from the world around her. However, her coworkers held a different perspective. To them, she was a striking beauty, her green eyes twinkling with life, her spirit infectious, and her humor a source of delight. 

In the scorching summer of 1924, Gladys's life took another unexpected turn when she crossed paths with Martin Edward Mortensen, a 27-year-old meterman employed by the Southern California Gas Company and the son of a Norwegian immigrant. Both Gladys and Martin had previously been married, but on October 11, 1924, they decided to take another chance on love, and they tied the knot.

At first, Gladys was drawn to Martin for his stability and the promise of a secure future. However, as the sands of time slipped through their fingers, she found herself yearning for something more, and the spark that had ignited their romance began to dim. By early 1925, she made a life-altering decision, leaving Martin Mortensen behind and seeking refuge with her trusted confidante, Grace McKee.

This sudden departure left Martin bewildered and heartbroken. He was determined to salvage their marriage and win back his wife's affection. On May 26, 1925, Martin took the step of filing a divorce petition, citing desertion as the cause. Despite his heartfelt efforts to rekindle their love, the rift between them proved insurmountable. After a tumultuous journey through the trials of separation, Gladys and Martin Mortensen's union was officially dissolved on August 15, 1928, marking the end of yet another chapter in Gladys's eventful life.

Gladys worked as a negative film cutter at RKO Pictures under her supervisor, Stan Gifford, with whom she began a personal relationship. Stan had separated from his wife, Lillian Priester, in October 1923, and their divorce was finalized in May 1925. Stan was known for his reputation as a womanizer, and Gladys also dated other men in 1925.

In late 1925, approximately 10 months after her separation from her husband, Gladys discovered that she was pregnant. During the winter of the same year, Stab Gifford introduced Gladys Baker to his family, but they did not approve of his relationship with a pregnant woman who was not raising her own existing children.

On June 1, 1926, Gladys gave birth to her third and final child, this child she named, Norma Jeane Baker. She did not allow Stan to visit her in the hospital, and he eventually went on to remarry, keeping his new illegitimate daughter a secret from his new wife. Legally, due to Gladys Baker still being married to Martin Mortensen, Norma Jeane was considered Martin’s daughter. Norma Jeane would grow up believing that her father was deceased.

On Norma Jeane's birth certificate, her mother registered the surname "Mortenson," using her estranged husband's name and specifying his address as unknown. She also noted that she had previously had two children, but she lied and stated that they were no longer living. In an attempt to hide the illegitimacy, Norma Jeane was baptized with the surname "Baker" at her grandmother Della's insistence.

Motherhood posed multiple challenges for Gladys. She lacked any real parenting skills and led a lifestyle ill-suited for raising a child. Additionally, the absence of accessible daycare options meant she had to keep her job just to make ends meet. However, the most concerning factor was her battle with severe postpartum depression, rendering her incapable of caring for Norma Jeane.

The situation took a distressing turn when, on one occasion, Grace had to intervene to prevent Gladys from harming her own daughter. Reports even suggested that Gladys accused Grace of attempting to poison the baby and subsequently attacked her with a knife.

Within a mere two weeks of Norma Jeane's birth, Gladys made the heart-wrenching decision to place her baby with a foster family located 16 miles away in Hawthorne, California. This devout Evangelical Christian couple, Albert and Ida Bolender, took in the infant. Remarkably, they lived just across the street from Gladys's mother, Della, adding a sense of proximity to the arrangement.

Initially, Gladys resided with the Bolender’s and shared a room with Norma Jeane until the child reached the age of six months. At that point, she returned to Hollywood to manage her growing workload, marking the beginning of a life-altering separation between this mother and her child.

[Music Change - Norma Jeane’s Childhood]

Norma Jeane's early life was a whirlwind of change. Initially placed with a foster family 16 miles away from her mother, she cherished her weekends spent with Gladys. Then, in the summer of 1933, Gladys purchased a small house in Hollywood with a loan from the Homeowners’ Loan Corporation. This marked a turning point as the now seven-year-old Norma Jeane moved back in with her mother. The house became a shared space with other roommates, including actors George and Maude Atkinson, along with their small daughter, Nellie.

Things were looking up for the mother daughter duo, until a shadow descended upon them in January 1934 when Gladys experienced a severe mental breakdown and she was diagnosed with paranoid schizophrenia, a very common mental diagnosis at the time. After spending months in a rest home, she found herself committed to the Metropolitan State Hospital, where she would remain, disconnected from Norma Jeane, for the rest of her days. Because of this, Norma Jeane became a ward of the state, with the responsibilities for her and her mother's affairs falling into the hands of Grace Goddard, Gladys’ trusted friend.

Over the next four years, Norma Jeane's living arrangements remained in constant flux, an ever-changing ebb and flow. Starting with her staying with the Atkinsons for a year and a half, there are unsettling suggestions that she may have endured sexual abuse during this period. Always a reserved girl, she grappled with a stutter and withdrew further into her own world.

In the summer of 1935, Norma Jeane briefly lived with Grace and her husband, Erwin "Doc" Goddard, alongside two other families. Her stay with the Goddard’s proved short-lived, after Doc Goddard proved unable to keep his hands to himself while around the young girl. Norma Jeane was then moved around among various relatives, friends of Grace Goddard’s, and acquaintances in and around Los Angeles and Compton.

Norma Jeane's turbulent childhood experiences sowed the seeds of her aspiration to become an actress. She sought refuge in the silver screen, finding solace and escape in the grandeur of cinema. "I didn't like the world around me because it was kind of grim," she once reflected. "Some of my foster families used to send me to the movies to get me out of the house, and there I'd sit all day and way into the night. Up in front, there with the screen so big, a little kid all alone, and I loved it."

By September 1938, Norma Jeane finally discovered a more stable home living with Grace Goddard’s aunt, Ana Lower, in Sawtelle's west-side district. She attended Emerson Junior High School, occasionally joining Ana in weekly Christian Science services. Her writing talents shone as she contributed to the school newspaper, but otherwise, her academic performance remained unremarkable. Due to Ana’s health challenges, Norma Jeane returned to live with the Goddard’s in Van Nuys in early 1941.

It was that same year, when Norma Jeane embarked on her high school journey at Van Nuys High School. However, just one year later, Doc Goddard's work required him to relocate to West Virginia. Due to California’s child protection laws, the Goddard’s would not be allowed to move Norma Jeane out of the state and the only solution was to send the now high school aged Norma Jeane back to the orphanage. To prevent this from happening, Norma Jeane married the 21-year-old son of their neighbors, James Dougherty, on June 19, 1942, shortly after she turned 16-years-old. This marked the end of her high school education as she embraced the role of a housewife. Yet, Norma Jeane quickly realized her incompatibility with James Dougherty, leading to a sense of entrapment in a dull marriage. In 1943, as James enlisted in the Merchant Marines and Norma Jeane moved with him to Santa Catalina Island. Like most young men at the time, James was shipped to the Pacific during the war, which left Norma Jeane at home all alone. She was quickly bored, so to take up her time and to put a few extra coins in the bank, Norma Jeane got a job working at Radio Plane Munitions Factory, her job was to inspect and paint airplanes. This job did not ease her boredom however, and as James was away serving in the war, she grew more and more lonely, to remedy this loneliness, Norma Jeane turned to a bottle.

In the summer of 1944, a military photographer by the name of David Conover embarked on a photoshoot assignment for Yank magazine, focusing on women contributing to the war effort through their work. Private Conover was captivated by the extraordinary beauty of Norma Jeane, who was diligently working at the factory. He approached her and extended an offer of $5 per hour to model for him over the course of several weeks. Together, they embarked on a journey across Southern California, scouting out picturesque locations for their photoshoots. These captivating images swiftly drew the attention of the prestigious Blue Book Model Agency.

During that year, Norma Jeane's rise to fame as an in-demand model was spectacular, and she graced the covers of 33 national magazines. However, amidst her soaring modeling career, her relationship with her husband began to wane. Norma Jeane, who had always harbored a deep fear of loneliness and the dread of boredom, found herself entangled in several extramarital affairs. In the summer of 1946, Norma Jeane initiated divorce proceedings, marking a pivotal moment in her life.

Barely a month after celebrating her 20th birthday, Norma Jeane found herself seated across casting director Ben Lyon's desk at 20th Century Fox. She was about to embark on her very first screen test, a momentous occasion that would forever alter her destiny. As the camera rolled, Norma Jeane's screen test proved to be a resounding success, and the powers at 20th Century Fox extended an offer—an initial contract of $75 per week for six months. However, this contract came with a life-altering condition: Norma Jeane Dougherty had to shed her given name in favor of something more captivating, something with an irresistible allure.

The first suggestion from the studio was "Carol Lind," a name that fell flat and was swiftly discarded. Then, director Ben Lyon stepped in with a brilliant idea—he proposed the name "Marilyn," inspired by his cherished Broadway icon, Marilyn Miller. Norma Jeane was enchanted by this suggestion and added the surname "Monroe," a tribute to her mother's maiden name. In that transformative moment, the persona of Marilyn Monroe was born.

[Music Change – Marilyn Monroe]

Marilyn always knew that she would be a star, even as a child she fantasized about it. In one interview, Marilyn candidly declared, “I use to think as I looked out on the Hollywood night-there must be thousands of girls sitting alone like me, dreaming of becoming a movie star. But I’m not going to worry about them. I’m dreaming the hardest.”

Every single day Marilyn attended classes provide by the studio, acting class, dancing class, singing lessons, seven days a week. She knew that if she wanted to succeed and thrive in this business, she had to be more than just good, she had to be the best. But as desperately as Marilyn tried, some of her teachers simply saw her as the quiet girl who would never amount to much. And this was true, Marilyn, while being a great natural beauty, was not a naturally talented girl, she was not a great actress, and this showed while she attended the acting classes provided by the studio.

Marilyn remained under contract with 20th Century Fox for a year before they abruptly severed the agreement without providing any explanation. Living paycheck to paycheck, Marilyn found herself in dire financial straits when her job evaporated. Yet, her resilience shone through, and she refused to allow this setback to eclipse her dreams, because she was dreaming the hardest.

Marilyn sought solace and growth in the embrace of the Actors Laboratory, a collective dedicated to bringing the innovative ideas and acting techniques of New York's theater scene to the West Coast. It was within this dynamic environment that Marilyn was exposed to the provocative and intellectually stimulating elements of New York theater, which would ultimately play a crucial role in her personal and artistic development, helping her mature into the iconic figure she would become.

During the late 1940s, facing dire financial straits, Marilyn turned back to modeling and also ventured into less reputable avenues for income. Between 1947 and 1948, it has been claimed that Marilyn engaged in part-time work as a call-girl and even appeared in certain risqué stag films. However, we will delve further into these aspects of her life as our story unfolds.

In 1948, Marilyn found a new home in the residence of John and Lucille Carroll. John Carroll, a prominent actor during this era, and his wife Lucille, who worked as a casting director at Metro-Goldwyn-Mayer, or MGM, offered Marilyn both emotional and financial support during this challenging period in her life. Marilyn continued with in her modeling work while she diligently pursued interviews at every Hollywood studio she could. It was in March of that year that Columbia Pictures extended an offer—a 6-month contract paying Marilyn $75.00 per week.

During her tenure at Columbia, Marilyn embarked on a journey to refine her acting skills under the tutelage of their head acting coach, Natasha Lytess. With unwavering dedication, Marilyn honed her technique and developed her craft. She secured a role in the film "Ladies of the Chorus," where she had the opportunity to showcase her multifaceted talents in acting, singing, and dancing.

It was during this period that Marilyn's heart found its first true love in Fred Karger, the charismatic 32-year-old director of music at Columbia. Their love story would forever hold a special place in Marilyn Monroe's heart.

By this time, Marilyn had moved into a modest one-room apartment conveniently located near the movie studio. Meanwhile, Fred had been entrusted with the task of helping her learn the music for her upcoming film role. However, on one fateful afternoon, Marilyn fell ill and was unable to make it to her music lesson. Concerned for her well-being, Fred made his way to Marilyn's apartment to check on her.

Upon arriving at the compact one-room space, Fred was taken aback by the living conditions of such a vibrant and beautiful woman. In a decisive act, he spirited her away to his mother's house. Nana Karger, Fred's mother, formed an immediate and deep connection with Marilyn, warmly welcoming her into their family home. Nana Karger quickly assumed the maternal role that had been absent from Marilyn's life, and she would continue to fulfill this vital role for the remainder of Marilyn's life.

It was during this temporary stay at Nana Karger's home that the love affair between Fred and Marilyn began to blossom. But as quickly as love blossoms, those blossoms begin to fade away and that very year, their relationship dissolved. Fred was overly critical of Marilyn, and he did not believe she was a suitable parent for his children from his prior marriages. Later in her life Marilyn would admit that this relationship produced several pregnancies, which all ended in abortion. The weight of these experiences left Marilyn's heart deeply wounded, but as was her resilient nature, she pressed forward and carried on.

Merely six months after securing her contract with Columbia, in September of 1948, Marilyn faced yet another devastating setback as she was released from yet another contract. This was a crushing blow, leaving Marilyn once again unemployed and financially destitute. In her time of despair, she moved in with a friend and occasional lover, Bob Slatzer. Even in their combined efforts, they struggled to make ends meet.

In 1949, Marilyn embarked on a daring adventure, posing nude for a calendar photoshoot with photographer Tom Kelley. Little did she know that a few years later, this calendar would ignite a worldwide sensation, triggering a scandal that would go down in history as "The Calendar Caper."

In that same year, Marilyn seized an opportunity to audition for a role in an upcoming Marx Brothers film titled "Love Happy." She was vying for the part of a seductive character and at her audition, she was tasked with simply walking across the set. As she gracefully glided across the room, Groucho Marx watched in sheer astonishment. Later, he would fondly remark that Marilyn Monroe embodied the essence of "Mae West, Theda Bara, and Bo Peep all rolled into one." Marilyn was promptly cast in the role and became a central figure in the film's promotions. This moment, this was the moment that Marilyn began to gain the recognition from Hollywood she had desired her entire life. 

In that very year, Marilyn embarked on an affair with Johnny Hyde, one of Hollywood's most influential and powerful agents, despite their significant age difference. In his mid-50s, Johnny Hyde was captivated by the young and vulnerable actress, and he recognized her immense potential. Under his guidance, Marilyn underwent a transformation of both her physical appearance and public image.

Johnny persuaded Marilyn to undergo plastic surgery to remove scars on her chin, he encouraged her to regularly bleach her hair, and, according to rumors, even convinced her to have her tubes tied, ensuring she could not have children. Johnny’s influence extended beyond Marilyn's personal life; he played a pivotal role in securing her a contract with 20th Century Fox, the very studio that had turned her away just two years earlier.

For her role in the film "Asphalt Jungle," Marilyn received $500 a week. This role marked the beginning of her journey toward more lucrative contract extensions and increasingly prominent roles in Hollywood films. Over the next few years, Marilyn took on roles in films such as "All About Eve," where she earned praise for her on-screen performances. It was during this period that Marilyn's image as a living sex symbol began to flourish. In December of 1950, Johnny Hyde, with his exceptional negotiation skills, secured a seven-year contract for Marilyn with 20th Century-Fox. This contract featured a unique provision, which allowed Fox the discretion to decide whether to renew or not renew the contract at the end of each year. However, just days after this significant achievement, Johnny Hyde tragically died of a heart attack, leaving Marilyn utterly shattered.

Despite her involvement in other love affairs during her time with Johnny, Marilyn was profoundly affected by his sudden loss. His unwavering support and profound respect meant the world to her, and his absence left a void that she could not easily fill.

Marilyn became so utterly depressed that several days after Johnny’s funeral, she took an overdose of sleeping pills in an attempt to take her own life. Her roommate and former acting coach Natasha Lytess found Marilyn unconscious on her bed and quickly called for help, saving Marilyn’s life, this was not Norma Jeane, I mean, Marilyn Monroe’s first attempt to take her own life, and it would also not be the last.

Marilyn was steadily making strides toward realizing her dream of stardom. Her popularity among audiences was soaring, evident from the thousands of fan letters she received each week. In a nod to her appeal, she was bestowed with the title of "Miss Cheesecake of 1951" by the army newspaper Stars and Stripes, reflecting the desires of soldiers stationed overseas in the Korean War.

In February 1952, the Hollywood Foreign Press Association honored Marilyn by naming her the "best young box office personality," underscoring her burgeoning success in the film industry. In her personal life, Marilyn embarked on brief relationships with several notable figures, including a dalliance with director Elia Kazan, as well as fleeting romances with director Nicholas Ray and actors Yul Brynner and Peter Lawford.

In early 1952, Marilyn entered into a highly publicized and enduring romance with Joe DiMaggio, the retired New York Yankees baseball legend and one of the era's most iconic sports personalities. 

During this same year, Marilyn crossed paths with one of America's most renowned playwrights, Arthur Miller. She was immediately drawn to his intellectual brilliance, while Arthur Miller found himself captivated by Marilyn's undeniable sex appeal, her passionate nature, and her unapologetic femininity. It's worth noting that Arthur Miller was already married and had children; however, despite these commitments, he and Marilyn would go on to engage in a secret, passionate relationship that would span several years.

Between 1951 and 1952, Marilyn's star continued to rise as she graced the silver screen in a remarkable nine films. With each new movie, her public profile soared, and legions of fans began to idolize her. Marilyn was inundated with thousands of letters weekly from ardent admirers who flocked to theaters to catch a glimpse of their beloved star.

However, it was in March 1952 that Marilyn found herself thrust into the midst of the scandalous "Calendar Caper," which turned the age-old saying "any publicity is good publicity" on its head. These provocative images, captured years earlier by photographer Tom Kelley, had become a sensation during the early 1950s, adorning the walls of men across the United States and cementing Marilyn Monroe’s place in history as a national sex symbol.

The scandal erupted when Marilyn publicly acknowledged that she had posed for a nude calendar in 1949, unveiling the photos that had remained hidden for years. The studio had become aware of these pictures and the rumors surrounding her role as the model, leading both Marilyn and the studio to a strategic decision. They opted to admit to the photos, emphasizing that she had done so out of financial necessity at the time. This approach garnered public sympathy and intensified interest in her films, earning her top billing in the industry.

In the aftermath of this scandal, Marilyn graced the cover of Life magazine as the "Talk of Hollywood," and renowned gossip columnist Hedda Hopper hailed her as the "cheesecake queen" turned "box office smash." To capitalize on the heightened public fascination, three of Marilyn's films—namely, "Clash by Night," "Don't Bother to Knock," and "We're Not Married!"—were promptly released, ensuring that her star would continue to shine ever brighter in the Hollywood constellation.

As the year drew to a close, gossip columnist Florabel Muir crowned Monroe the "it girl" of 1952, marking her rise as Hollywood's reigning starlet. In June 1952, she started work on the film "Niagara" and secured her iconic role in "Gentlemen Prefer Blondes." This same year, she was bestowed with the prestigious title of grand marshal at the Miss America pageant, an honor that further cemented her reputation as a burgeoning sex symbol.

Marilyn, determined to craft her own public image, engaged in audacious publicity stunts. She made headlines by donning a revealing dress while serving as Grand Marshal at the Miss America Pageant parade. In a candid interview with gossip columnist Earl Wilson, she casually revealed her penchant for not wearing any underwear, solidifying her status as a sultry icon. It appeared as though everything was finally falling into place for Marilyn, just what she had always dreamed of.

However, during this period, Monroe also acquired a reputation for being challenging to work with, a trait that would only get worse as her career progressed. She frequently arrived late or failed to show up, she struggled to remember her lines, and she insisted on numerous retakes before deeming her performance satisfactory. Her reliance on acting coaches, first Natasha Lytess and later Paula Strasberg, grated on directors. Her on-set difficulties stemmed from a blend of perfectionism, low self-esteem, and stage fright. On film sets, she felt a lack of control, a stark contrast to photo shoots where she had more agency over her performance, allowing for spontaneity rather than adherence to a script. To combat anxiety and chronic insomnia, she began using barbiturates, amphetamines, and alcohol.

Marilyn's love life flourished in 1952 as well. She engaged in affairs with various individuals, including baseball legend Joe DiMaggio and writer Bob Slatzer. Throughout the year, the two vied for Marilyn's affections, with Bob Slatzer briefly winning her heart.

On October 4, 1952, Marilyn and Bob shared an evening filled with champagne and heartfelt conversation before impulsively deciding to take a drive to Mexico's Rosarita Beach. According to Donald Wolfe, during their night out, the couple's escapades led them to the Foreign Club in Tijuana, where, coincidentally, they ran into an old acquaintance named Kid Chissell. This chance encounter led to an unexpected plan: let’s get married. 

Join us next week as we continue exploring the life and death of Hollywood Icon: Marilyn Monroe, until then, We dance round in a ring and suppose, but the secret sits in the middle and knows.

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