The Genius and the Goddess (48 page)

3.
Cameron Crowe,
Conversations with Wilder
(New York, 1999), pp. 159–160;Don Widener,
Lemmon:A Biography
(London, 1977), p. 170; Interview with Walter Mirisch; McCann,
Marilyn Monroe
, p. 105.

4.
Wilder, who grew up during the waning years of the Austro- Hungarian Empire, was fond of Czech and Polish names that began and ended with "k." The janitor in
The Seven Year Itch
is
named Kruhulik; the heroine of
The Apartment
, played by Shirley MacLaine, is called Kubelik. Wilder named dubious characters in both
Sunset Boulevard
(1950) and
The Apartment
(1960) "Sheldrake, " which also seemed comical, and may have reminded him of the German word
Dreck
("filth" or "shit").

5.
Little Bonaparte's speech to the convention quotes, ironically, both Alexander Pope's
Essay on Criticism
(1711): "To err is human, to forgive divine," and General Motors' president Charles Wilson's "What's good for the country is good for us."

As the musicians approach the hotel, the script paraphrases Ira Gershwin's "Summertime"from
Porgy and Bess
(1935):"Wintertime and the livin' is easy, fish are jumpin' and the market is high." Billy Wilder and I. A. L. Diamond, "
Some Like It Hot
,"
Best American Screenplays 2
, ed. Sam Thomas (New York, 1990), pp. 142, 141, 112.

6.
Wilder and Diamond,
Some Like It Hot
, pp. 127–128; 107; 98; 108.

7.
Wilder and Diamond,
Some Like It Hot
, pp. 108; 100; 108; 144; 145–146; 130.

8.
Letter from Marilyn to Norman Rosten, October 27, 1958, courtesy of Patricia Rosten Filan; Gottfried,
Arthur Miller
, p. 319; Wilder, in Victor,
Marilyn Encyclopedia
, p. 194; Zolotow,
Billy Wilder in Hollywood
, pp. 260; 263–264.

9.
Jay Leyda,
Voices of Film Experience: 1894 to the Present
(New York, 1977), pp. 507–508;
Billy Wilder: Interviews
, ed. Robert Horton (Jackson, Miss., 2001), p. 170.

10.
Crowe,
Conversations with Wilder
, p. 37; Kevin Lally,
Wilder Times: The Life of Billy Wilder
(New York, 1996), p. 295; 293;Wood,
Bright Side of Billy Wilder
, p. 161.

11.
Zolotow,
Billy Wilder in Hollywood
, pp. 265–267; Lally,
Wilder Times
, p. 294.

12.
Laura Mulvey, in Jim Hillier and Peter Wollen, eds.,
Howard Hawks: American Artist
(London, 1996), p. 216;Victor,
Marilyn Encyclopedia
, p. 204; Hervé Hamon and Patrick Rotman,
Yves Montand: You See, I Haven't Forgotten
, trans. Jeremy Leggatt (New York, 1992), pp. 317; 325; Mailer,
Marilyn
, p. 19.

13.
Guiles,
Legend
, p. 377; Miller,
Timebends
, p. 466; Guiles,
Legend
, pp.

370-371; Simone Signoret,
Nostalgia Isn't What It Used to Be
(1976; New York, 1979), p. 339.

14.
Montand, in Guiles,
Legend
, p. 371; Hamon,
Yves Montand
, pp. 320; 324; Luitjers,
Marilyn Monroe
, p. 81.

15.
Pepitone,
Monroe Confidential
, p. 158; Christopher Isherwood,
Diaries:Volume One, 1939–1960
, ed. Katherine Bucknell (London, 1996), p. 899; Signoret,
Nostalgia
, pp. 336, 349.

16.
Miller, in Leaming,
Marilyn Monroe
, p. 369;Hamon,
Yves Montand
, pp. 326; 328; George Cukor papers, Herrick Library, and Gottfried,
Arthur Miller
, p. 328.

Fourteen: Making
The Misfits

1.
Miller,
Timebends
, p. 457; Arthur Miller, "Please Don't Kill Anything,"
I Don't Need You Any More
(New York, 1967), pp. 74, 75, 77; A. J. Liebling, "The Mustang Buzzers,"
New Yorker
, April 3 and 10, 1954, partly reprinted in
Liebling at the "New Yorker": Uncollected Essays
, ed. James Barbour and Fred Warner (Albuquerque, 1994), pp. 134-135.

2.
Miller, "The Misfits,"
I Don't Need You Any More
, pp. 111; 93; 79; 94; 95, 96; 110; 112.

3.
Arthur Miller and Serge Toubiana,
The Misfits: Story of a Shoot
(London,2000), p.60 and Letter from Arthur Miller to John Huston, July 14, 1958, Huston papers, Herrick Library; Lawrence Grobel,
The Hustons
(1989;New York,1990), pp.477–478; Letter from Miller to Huston, June 16, 1959, Huston papers, Herrick Library.

At the end of
The Asphalt Jungle
, the Sterling Hayden character, who comes from the Kentucky bluegrass country, makes it back home at the end and dies of a bullet wound, surrounded and nuzzled by the horses on his old farm. Huston would also achieve a powerful climax at the end of
Under the Volcano
(1984), when gunfire frightens a horse that bolts and fatally injures the hero's wife.

4.
"Arthur Miller Chez John Huston en Irlande," p. 36 (no author or source), Herrick Library, my translation; Interview with Angela Allen, London, November 22, 2007; James Goode,
The Making of "The Misfits"
(1963; New York, 1986), p. 100.

5.
Goode,
Making "Misfits"
, p. 241; Eve Arnold,
Marilyn Monroe: An Appreciation
(New York, 1987), p. 92; Letter from John Huston to Mrs. J. J. O'Donahue, May 11, 1961, Huston papers, Herrick Library; J. M. Coetzee, "Arthur Miller,
The Misfits
,"
Inner Workings: Literary Essays, 2000-2005
(New York, 2007), p. 225; Goode,
Making "Misfits"
, p. 90.

6.
Arnold,
Marilyn Monroe
, p. 87;
Conversations with Capote
, ed. Lawrence Grobel (New York, 1985), p. 160;
John Huston: Interviews
, ed. Robert Emmet Long (Jackson, Miss., 2001), p. 173.

7.
Interview with Curtice Taylor; Miller,
Timebends
, p. 461;
John Huston: Interviews
, pp. 172; 18.

8.
McIntyre,
Making "The Misfits"
, p. 79; Letters from Arthur Miller to Saul Bellow, [Summer 1960], University of Chicago Library; Christie's
Personal Property
, pp. 69, 337, 68.

9.
Interview with Angela Allen; Miller,
Timebends
, p. 479.

10.
Allen, Huston and Nan Taylor in Guiles,
Legend
, pp. 385; 380; 387; Interview with Angela Allen.

11.
Gussow,
Conversations with Miller
, p.145; James Whitcomb, "Marilyn Monroe – The Sex Symbol Versus the Good Wife,"
Cosmopolitan
, 149 (December 1960), 57.

12.
Weatherby,
Conversations with Marilyn
, p. 70; Guiles,
Legend
, p. 397n; Gottfried,
Arthur Miller
, p. 326.

13.
John Huston: Interviews
, p. 110; John Huston,
An Open Book
(1980; New York, 1994), p. 288; Miller, in Guiles,
Legend
, p. 275.

14.
Spoto,
Marilyn Monroe
, pp.446;434;Rosten,
Marilyn
, p.77;Pepitone,
Monroe Confidential
, p. 150.

15.
Wallach,
The Good, the Bad, and Me
, p.226; Luitjers,
Marilyn Monroe
, p. 18; Miller,
Timebends
, pp. 470; 481.

16.
Rosten,
Marilyn
, p. 75; Clift, in Weatherby,
Conversations with Marilyn
, p. 76; Miller, in Goode,
Making "Misfits"
, p. 300.

17.
Miller and Toubiana,
The Misfits
, p. 37; James Salter,
Burning the Days
(New York, 1997), p. 272; Miller and Toubiana,
The Misfits
, pp. 44, 185.

Fifteen:
The Misfits
: Life into Art

1.
Arthur Miller,
The Misfits
(New York: Dell, 1961), p. 53, and Miller,
Timebends
, p. 369; Miller,
Misfits
(Dell), pp. 169–170; 18; Bigsby,
Remembering Arthur Miller
, p. 264.

In an early version of the script, which has a weaker ending, Gay speaks the last line to Perce, not Roslyn. This version was published in
Film Scripts Three
, ed. George Garrett, O.B. Hardison, Jr. and Jane Gelfman (1972; New York, 1989), pp. 204–382.

2.
Coetzee,
Inner Workings
, p. 222; Leslie Fiedler,
Waiting for the End
(1964; London, 1967), p. 97.

3.
Miller,
Misfits
(Dell), pp. 64; 58; Coetzee,
Inner Workings
, p. 224; Miller,
Echoes Down the Corridor
, p. 246.

4.
Hollis Alpert, "Arthur Miller: Screenwriter,"
Saturday Review of Literature
, 44 (February 4, 1961), 47; Miller,
Misfits
(Dell), pp. 135; 133, 185.

The word "shit" is left out of the film.

5.
Miller,
Misfits
(Dell), pp. 53, 60; 72–73, 33.

6.
Miller,
Misfits
(Dell), p. 134;Goode,
Making "Misfits"
, p.206;Wallace Stevens, "Stars at Tallapoosa,"
Collected Poems
(1954; New York, 1982), p. 71.

In
All My Sons
(1947; New York, 2000), p. 74, Miller wrote, "every man does have a star. The star of one's honesty. And you spend your life groping for it."

7.
Marijane Meaker, "Marilyn and Norma Jeane,"
Sudden Endings
(New York, 1964), p. 42n;Victor,
Marilyn Encyclopedia
, p. 115;
The Making of "The Misfits"
, unpublished script for twenty-minute featurette, Herrick Library; Conway,
Films of Marilyn Monroe
, p. 157.

8.
Bigsby,
Remembering Arthur Miller
, pp. 91, 263; Brater,
Arthur Miller
, p. 87; Guiles,
Legend
, p. 376; Gottfried,
Arthur Miller
, p. 343; Letter from Arthur Miller to Jeffrey Meyers, January 17, 1981.

9.
Miller,
Echoes Down the Corridor
, p. 190; Dr. Ralph Greenson, in Summers,
Goddess
, p. 189; Cardiff,
Magic Hour
, p. 212.

10.
Weatherby,
Conversations with Marilyn
, p. 187; Jordan,
Norma
, p. 227.

11.
Gussow,
Conversations with Miller
, p. 25; Bigsby,
Remembering Arthur Miller
, p. 271; Gussow,
Conversations with Miller
, p. 96.

12.
John Huston: Interviews
, pp. 109, 111; Huston, in Sarah Churchwell,
The Many Lives of Marilyn Monroe
(New York, 2004), p. 337.

13.
Miracle,
My Sister Marilyn
, p. 183; Leaming,
Marilyn Monroe
, p. 380.

Sixteen: Something's Got to Give

1.
Lambert,
On Cukor
, p. 174; Elisabeth Young-Bruehl,
Anna Freud: A Biography
(New York, 1988), p. 371;Greenson, in Spoto,
Marilyn Monroe
, p. 427; Letter from Ralph Greenson to Agnes Bene, December 9, 1969, Library of Congress.

2.
Roberts, in Spoto,
Marilyn Monroe
, pp. 558; 429; Victor,
Marilyn Encylcopedia
, p. 209.

3.
Greenson, in Summers,
Goddess
, p. 269; Miller, in Guiles,
Legend
, pp. 277, 276.

4.
Susan Strasberg,
Marilyn and Me
, p. 227; Jane Russell,
Jane Russell: My Paths and My Detours
(New York, 1985), p. 280; Stephen Farber and Marc Green, "Romeo and Marilyn,"
Hollywood on the Couch: A Candid Look at the Overheated Love Affair between Psychiatrists and Moviemakers
(New York, 1993), p. 94; Susan Strasberg, in
Remembering Marilyn
, Vestron video, 1988.

5.
See Carol Brightman,
Writing Dangerously: Mary McCarthy and Her World
(New York, 1992), p. 176;David Roberts,
Jean Stafford: A Biography
(Boston, 1988), p. 254; Carr,
Lonely Hunter
, pp. 300–301.

6.
Letter to Strasbergs, in Victor,
Marilyn Encylcopedia
, p. 190; Letter to Greenson, in Spoto,
Marilyn Monroe
, pp. 460; 462–463; 459.

7.
Cardiff,
Magic Hour
, p. 213; Farber,
Hollywood on the Couch
, p. 94; Cramer,
Joe DiMaggio
, p. 391.

8.
Miracle,
My Sister Marilyn
, p. 157; Cramer,
Joe DiMaggio
, p. 417; Victor,
Marilyn Encylcopedia
, p. 143.

9.
Barris,
Marilyn: Her Own Words
, p. 143; Bogdanovich,
Who the Hell's In It
, pp. 417, 419.

10.
Murray,
Marilyn:The Last Months
, p. 25; Kitty Kelley,
His Way:The Unauthorized Biography of Frank Sinatra
(1986; New York, 1987), p. 312; Monroe, FBI file, February 25, 1962.

David Thomson's
In Nevada
(New York, 1999) provides a lurid account of this weekend. When I asked for his source, he did not provide it.

11.
Pepitone,
Monroe Confidential
, p. 193; Ronald Brownstein,
The Power and the Glitter: The Hollywood-Washington Connection
(1990; New York, 1992), p. 317; Hersh,
Dark Side of Camelot
, p. 454.

12.
Arthur Schlesinger, Jr.,
Journals, 1952–2000
(New York, 2007), p. 162; Monroe, FBI file, July 18, 1962; Pepitone,
Monroe Confidential
, p. 211.

13.
Summers,
Goddess
, p. 224; Heymann,
RFK
, p. 313; Summers,
Goddess
, paperback edition (New York, 1986), pp. 427–428; Heymann,
RFK
, p. 474.

14.
Monroe, FBI file, January 26, 1965;Heymann,
RFK
, p. 319;Donald Wolfe,
The Last Days of Marilyn Monroe
(New York, 1998), p. 93.

15.
Jean Negulesco, "Marilyn Monroe: A Vulnerable Phenomenon, "
Things I Did . . . and Things I Think I Did
(New York, 1984), p.
224; Guiles,
Legend
, p. 422;Walter Bernstein, "Marilyn Monroe's Last Picture Show,"
Esquire
, 80 (July 1973), 106; 108; Interview with Walter Bernstein, New York, December 2, 2007.