Usually we will be posting these on Fridays, but IT IS WOMEN’S EQUALITY DAY and we feel compelled to break the self-imposed rules and post it today.
As always, if you have any questions about classic literature, authors, literary movements, or how to make really good cookies, head over to the page of either Liss or Lyss and send us your questions. We will include them in our next post!
If Marilyn loved animals so much why did she wear fur?
You have to remember that a lot/if not most of the fur that Marilyn wore were either borrowed from the studios or were given to Marilyn as gifts. It is also important to remember that back then no one really talked about how those pelts were obtained so no one really thought about how inhumane the practice was. It wasn’t until the 1960s that animal rights activists began a campaign to sensitize people to the cruelty the animals endured, and their efforts paid off as fur became less popular by the 1970s. If you notice that by the 1960s Marilyn didn’t appear to wear fur as often as she did in the 1950s, and I think if Marilyn was still alive, or lived longer than she had, with the information that’s available to us today she wouldn’t be wearing fur at all.
Below I’ve composed a list of either Marilyn talking about animals or people that knew her talking about her love for all creatures.
“When I was a girl they had this aviary in one of my foster homes and I’d go in when no one was looking and put out watermelon rinds to feed the flies. There were all these flies that would have starved if I hadn’t, and I’m not even wild about flies.”
”She loved them all and was always trying to pick up strays.”
She tried to bring a cow inside her home to get it out of the rain.
Marilyn was walking in central park and saw these boys who were catching birds. She went up to them and asked what they were doing and they said they were getting the birds for the butcher so they can get some money for food. So Marilyn gave the boys as much as the butcher would so that she could free the birds.
“Marilyn adored animals; she was drawn to all living things. She would spend hundreds of dollars to try to save a storm-damaged tree and would mourn its death. She welcomed birds, providing tree houses and food for the many species that visited her lawn; she worried about them in bad weather. She worried about dogs and cats. She once had a dog that was by nature contemplative, but she was convinced he was depressed. She did her best to make him play, and that depressed him even more; on the rare occasions when he did an antic pirouette, Marilyn would hug and kiss him, delirious with joy.”
“I can’t cook it if it looks like a chicken. The poor thing was alive and they killed it, it had a mother. I can only cook it if it’s cut up in pieces so I won’t recognize it.”
“You possess yourself, but you never possess other people or animals. You’ve got no right to end their lives. We can all be vegetarians.”
“I got a cold chill. This girl had something I hadn’t seen since silent pictures. She had a kind of fantastic beauty like Gloria Swanson, when a movie star had to look beautiful, and she got sex on a piece of film like Jean Harlow”. - Leon Shamroy, on Marilyn’s 1946 screen test
"I remember she impressed me more off the screen than on…there was something touching and appealing about her.” - John Huston, director of The Misfits and The Asphalt Jungle
"When you look at Marilyn on the screen, you don’t want anything bad to happen to her. You really care that she should be all right…happy.” Natalie Wood
“She had a great natural dignity and was extremely intelligent. She was also exceedingly sensitive.”- Edith Sitwell, poet
“Marilyn is as near a genius as any actress I ever knew. She is an artist beyond artistry. She is the most completely realized and authentic film actress since Garbo. She has that same unfathomable mysteriousness. She is pure cinema.” - Joshua Logan, director of Bus Stop
"She was an absolute genius as a comedic actress, with an extraordinary sense for comedic dialogue. It was a God-given gift. Believe me, in the last fifteen years there were ten projects that came to me, and I’d start working on them and I’d think, ‘It’s not going to work, it needs Marilyn Monroe.’ Nobody else is in that orbit; everyone else is earthbound by comparison.”- Billy Wilder, director of Some Like it Hot and The Seven Year Itch
"Marilyn Monroe is the greatest farceuse in the business, a female Chaplin.”- Jerry Wald, producer
“This is no dumb blonde. She’s got guts. She saw herself drowning in Hollywood in 1955 and told her studio, “I’m not going on just wiggling my behind.” She moved to New York to study at the Actors Studio. I met her there. We developed a brother-sister relationship. She often baby-sat with my kids. Marilyn is not any one thing; she’s multidimenstional - she’s cute, sexy, naive, difficult and insecure. On the set she’s a fun-loving girl, cutting up and joking with the crew… As an actress she has lots of imitators - but only Marilyn survives. Why? Because people sense something real and helpless from her on that screen; they want to protect this girl and she makes them ashamed for having thought any dirty thoughts about her” - Eli Wallach
“She listens, wants, cares. Marilyn has amazing intuition-and her perceptions are razor-sharp. Out of these damned responsive eyes of hers flickers thought after thought. She and I talk a lot about new York, which we both love. Like me, she lives there now between pictures. Hollywood is a world of self-stokers, where sanity depends on a sense of humor. Marilyn has it - in spades. No subtiety of humor escapes her. I catch her laughing across the room and I bust up.Every pore of that lovely translucent skin is alive, open every moment - even though this could make her vulnerable to being hurt. I would rather work with her than any other actress. I adore her.”- Montgomery Clift
“Everything Marilyn does is different from any other woman, strange and exciting…from the way she talks to the way she uses that magnificent torso. One thing we have in common is that people look for sexy scenes in my movies, and they certainly expect it from Marilyn. I’ve always liked blondes. And they’re a good combination for me on screen - some of my most successful pictures were opposite blondes: Jean Harlow, Lana Turner, Grace Kelly. Actually there are remarkable physical similarities between Harlow and Monroe, and both made their mark on comedy. But Harlow was always very relaxed; she made no effort to be funny - and often didn’t know she was. This girl is high-strung, and she worries more - about her lines, her appearance, her performance. She’s constantly trying to improve as an actress. I’m convinced that in this picture, Marilyn shows depth that will make people stop thinking of her as just a ‘sexpot’.” - Clark Gable
"I based a lot of Roslyn, the girl in my Misfits screenplay, on Marilyn. Marilyn identifies powerfully with all living things, but her extraordinary embrace of life is intermingled with great sadness. In the picture Roslyn dances in the woods, longing for the stability of a tree, sad that she can’t be at one with Nature’s beauty. Marilyn’s tremendous empathy for people and animals is reflected in the movie too… Frank Taylor, our producer, says ‘Marilyn hates cages for birds, leashes for dogs and halters for herself.’ He’s right. To understand Marilyn best, you have to see her around children. They love her; her whole approach to life has their kind of simplicity and directness. I have not really helped her as an actress. Marilyn has perfected herself. She can imply the world in a look. The thing is, Marilyn has become a sort of fiction for writers; each one seens her through his own set of pleasures and prejudices.” - Arthur Miller
“There was another pocket park at the end of 58th Street, and Marilyn went over there one night, this time on her own, and she came upon two young boys who were capturing pigeons, trapping the birds in nets, then caging them. Marilyn asked the lads why they were doing this, and they informed her that they made money by catching pigeons and selling them to a meat market for 50 cents a piece. Marilyn then counted the pigeons thrashing desperately about the cage, and asked the boys, “If I give you the money, will you free the birds?” They agreed, the cage was opened, and the pigeons took their leave. Marilyn then took the situation at hand a step further, arranging to meet these fellows on the nights they worked catching and caging pigeons at the end of which evenings she would pay them for the birds, then watch as they were released back into the air over the East River.” – James Haspiel, Marilyn: The Ultimate Look At The Legend
…She is wearing a new coiffure by brash young California stylist George Masters. Based at the Saks Fifth Avenue salon in Beverley Hills, Masters courted press attention in part by going after established stylists like Battelle. “Mrs. Kennedy wears her hair too big,” he told one columnist. Masters named Cyd Charisse and Lynda Bird Johnson among his clients but Marilyn was the star of any interviews. “It took me hours to get herald pulled together,” he told the Los Angeles Times in 1977. “But eventually, when she was set to go - pow! She exploded.” For the last year of her life, Masters and Agnes Flanagan shared duties as Marilyn’s west coast stylists.