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Marilyn Monroe died on August 5, 1962, yet she has remained alive in the minds and hearts of people throughout the world ever since. While 600 books have been published about the actress, Gary Vitacco-Robles’ biography, Icon: The Life, Times and Films of Marilyn Monroe, is a prodigious achievement that could easily doom the efforts of all others to obscurity.
Meticulously research, Vitacco-Robles digs for all the details; i.e. Marilyn’s attire, choices in reading, housekeeping habits — the minutia that is part of her day-to-day existence. The result is that the reader experiences Monroe almost as if she draws breath, steps out of the pages and comes into the house to chat.
With a sturdy, straightforward prose style, the author takes a balanced, compassionate, approach to his subject. He begins with Ms. Monroe’s great-grandparents and traces her lineage through her out-of-wedlock birth to a mother who was hospitalized off and on throughout her life due to mental illness. Marilyn is shunted from household to household as a child. By the time she attains age 16, she is a ward of no less than 12 different caretakers. The impact of being abandoned, rejected, and abused is beyond calibrating.
Vitacco-Robles, a psychotherapist, reports objectively about the damage done Marilyn during her nightmarish childhood. About one of Marilyn’s early successes, he writes:
"The little girl who had never been told she was pretty and who bathed in the dirty water left behind by others, now commanded attention. There was no turning back."
At another critical point in the text, he observes:
"Marilyn compensated for her lack of parental support by endearing herself to motherly and fatherly figures who could help her attain her dream of becoming an actress . . . Acting had now become more a religious calling to Marilyn, and like spirituality, it provided her with purpose and meaning."
The author offers clear insights as Marilyn matures and confronts her demons. He avoids the jargon of his profession and debunks many of the unsubstantiated claims of others. Marilyn, it turns out, did go into psychoanalysis very intensively at one time. In addition, she began working with Lee Strasberg in Actor’s Studio where she was required to delve deeply into her own emotional past to give power to her performances. She eventually gives up on her therapy sessions because she decides that they are not good for her. Strasberg and his wife, however, nurture her to her strongest film achievements.
The book is filled with quotes from the greatest stage and screen actors and directors of the era testifying to Marilyn’s power and sensitive delivery in her roles. She was, and often still is, seen only as a dumb blond, a sex symbol, but the author breaks through this stereotyping to depict Marilyn Monroe as an incomparable artist.
The author reminds his readers of the prevailing cultural values of the times. These references provide a backdrop of relevance to his subject’s struggles and triumphs. He presents a synopsis of all of the films in which Marilyn appeared, even those in which she had bit parts, and for good measure provides much more detail on each in an addendum. He takes the time to draw poignant thumbnail bios on many Hollywood personalities – actors, directors, producers, hairdressers, coaches – helping readers viscerally grasp the impact of Marilyn’s interactions with the people around her.
The book takes Marilyn’s story up to 1956, a year in which she goes over the top and finally achieves the recognition her hard work and extraordinary talent have earned. The author reports on Marilyn’s three marriages, giving a studied, objective view into each. Her first marriage to James Dougherty was arranged by her legal guardian when she was only 16 years of age. He abandoned her for the merchant marine. Then along came Joe DiMaggio, the Yankee Clipper, who was physically abusive, controlling, and jealous. The reader is treated to a good dose of adolescent behavior on the part of DiMaggio and Sinatra as the latter goads the ballplayer into breaking into an apartment one night where they expect to find Marilyn in bed with another. The author adds credence to his reports by using the testimony of friends close to Marilyn in writing about such incidents.
Nitpicking, the text is nearly flawless except in the handling of some proper names. Bennett Cerf is correct; not Bennett Cert. Bob Fosse; not Fob Fosse. And finally, is Miller’s home on “Goldmine Road” or “Gladmine Road?”
This review covers only volume one which ends with the marriage between Arthur Miller and Ms. Monroe, an event that surprised many at the time but makes perfectly good sense once those unacquainted with both parties grow to know them better. The second volume, according to the publisher, is due out at the end of the summer, 2014. Vitacco-Robles has written a monumental, definitive work on one of greatest actresses and enduring public personalities of all time. The next volume will carry Marilyn’s story forward to her untimely death in 1962. Readers have every right to expect that the same balanced, compassionate treatment will follow the actress through to what ultimately must be viewed as a horrible tragedy.
This review was initially written for bookpleasures.com.
John J. Hohn Author of the novel "Deadly Portfolio: A Killing in Hedge Funds"