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THE SEVEN DEADLY SINS OF HOLLYWOOD
"That's the Marilyn we like," I told her. "Don't change a thing."
But Miss Monroe said, "Everyone has to change . . . grow up."
"Speaking of changing," I said, "when you come to England what will you wear in bed? Is it still Chanel number five?"
"No. For England I'll change to Yardley's lavender water."
"Won't you be cold? Think of the English climate."
"I can keep warm anywhere."
This is a more or less dispassionate account of my first encounter with Miss Monroe in March 1956 in Hollywood. Since then a great deal has happened to her: she has married Arthur Miller; she has made the film Bus Stop under the direction of a distinguished man of the theatre, Joshua Logan; she has come to England to appear with Sir Laurence Olivier in Terence Rattigan's comedy The Sleeping Prince. And the public has been compelled to recognise that her hunger for culture and extra-curricular education is genuine. Miss Monroe has indeed grown, even if she is not yet grown-up. In the light of these developments, it is possible to make a new assessment of this orphan of our times.
The lives of actresses are often spectacularly irrelevant to everyone except the compiler of a theatrical Who's Who; the only things that ever happen to them happen on the stage or the screen. Their lives have no plot, no development and no theme. Their climactic moments are a premiere, a first night, an Oscar nomination or a divorce action.
The reason why Miss Monroe's story is so fascinating is because — like her — it has shape: it is developing and it has a clear plot-line.
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