'This girl had something I hadn't seen since silent pictures. She had a kind of fantastic beauty like Gloria Swanson and she radiated sex like Jean Harlow. She didn't need a soundtrack to tell her story.' -Leon Shamroy, the cinematographer who shot MM’s first screen test in 1946
I always felt protective toward her. I liked her. While I had no reason to feel sorry for her—she was beautiful and rich and loved—I did: I just knew that she was a magnet for shit, and I saw a lot of people unload on her. She was a child—a sweet, needy child, and I’m very Irish and very Catholic and basically a decent person, and I think you take care of children and needy people. I think you reach out to the sad people and the sick people, and I always felt that Marilyn was an inch and a half from deep sadness. If I made her comfortable—and she told me I did—it was because I wasn’t after her for anything but friendship, and I had a house full of noise and kids and open doors. She could let it hang with me, and I wish—like a lot of other people—that I had kept the doors open more often. She was a good person. She was not treated well.
-Maureen Stapleton in an interview with James Grissom, 1991[x]
Watching Bwana Devil in 3D at the Paramount Theater, Hollywood, 1952
JR Eyerman famously captured this photo of a formally-attired audience sporting 3D glasses during the opening night screening of the movie -Bwana Devil- (the first full length colour 3D motion picture) at Paramount Theatre, Hollywood. The film is set in British East Africa during the early 20th century. It is based on the true story of the Tsavo maneaters, a pair of lions which were responsible for the deaths of a number of construction workers on the Kenya-Uganda Railway, from March to December 1898. Although panned by the critics, the movie started a temporary 3D boom in the US film industry from 1952 to 1954. The advance of television halved the movie attendance from 90 million in 1948 to 46 million in 1951 and the movie studios tried desperately to lure the audience back into the theatres with many innovative techniques, among which were National Vision, Cinerama and other unsuccessful 3D ventures.