There was something very touching about her, a king of vulnerability. When Suzanne Flon visited me on location, Marilyn admired a jet necklace she was wearing, so Suzanne took it off and gave it to her. The next day Marilyn went to Suzanne’s room and gave her a diamond ring. Suzanne didn’t want it but she couldn’t refuse. When we talked about Marilyn, tears came to Suzanne’s eyes. She knew somehow- we all did- that something awful was going to happen to her.
I never felt Marilyn’s much-publicized sexual attraction in the flesh, but on the screen it came across forcefully. But there was much more to her than that. She was appreciated as an artist in Europe long before her acceptance as anything but a sex symbol in the United States. Jean-Paul Sartre considered Marilyn Monroe the finest actress alive. He wanted her to play the leading female role in Freud.
We finished the picture. It had been an agonizing experience, not only for me but for everyone, including Marilyn. She started another film, was taken off it and then killed herself by accident. Too many sleeping pills- a bottle of them at hand and no one there to save her. She’d made this mistake several times before and had recieved emergency treatment. I’m sure she never meant to take her life.
Montgomery Clift and Marilyn were extraordinary together, particularly in a long scene-several pages-behind a saloon, against a hill of beer cans and junk automobiles. It was a love scene that wasn’t a love scene, and Arthur Miller at his best, too. From what Monty did in The Misfits, I had every reason to have faith in him. But unfortunately he turned out to be another bad case. He was presently to suffer Marilyn’s problems himself, and follow more or less in her footsteps. And I would again be an involved witness.
-An Open Book by John Huston