Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Famous for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2021) by the time of her death in 1962. Long after her death, Monroe remains a major icon of pop culture. In 1999, the American Film Institute ranked her sixth on their list of the greatest female screen legends from the Golden Age of Hollywood.

Born and raised in Los Angeles, Monroe spent most of her childhood in a total of 12 foster homes and an orphanage before marrying James Dougherty at age sixteen. She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career, which led to short-lived film contracts with 20th Century Fox and Columbia Pictures. After a series of minor film roles, she signed a new contract with Fox in late 1950. Over the next two years, she became a popular actress with roles in several comedies, including As Young as You Feel and Monkey Business, and in the dramas Clash by Night and Don't Bother to Knock. Monroe faced a scandal when it was revealed that she had posed for nude photographs prior to becoming a star, but the story did not damage her career and instead resulted in increased interest in her films.

By 1953, Monroe was one of the most marketable Hollywood stars. She had leading roles in the film noir Niagara, which overtly relied on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a "dumb blonde". The same year, her nude images were used as the centerfold and on the cover of the first issue of Playboy. Monroe played a significant role in the creation and management of her public image throughout her career, but felt disappointed when typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch (1955), one of the biggest box office successes of her career.

When the studio was still reluctant to change Monroe's contract, she founded her own film production company in 1954. She dedicated 1955 to building the company and began studying method acting under Lee Strasberg at the Actors Studio. Later that year, Fox awarded her a new contract, which gave her more control and a larger salary. Her subsequent roles included a critically acclaimed performance in Bus Stop (1956) and her first independent production in The Prince and the Showgirl (1957). She won a Golden Globe for Best Actress for her role in Some Like It Hot (1959), a critical and commercial success. Her last completed film was the drama The Misfits (1961).

Monroe's troubled private life received much attention. She struggled with addiction and mood disorders. Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized, but ended in divorce. On August 4, 1962, she died at age 36 from an overdose of barbiturates at her Los Angeles home. Her death was ruled a probable suicide.

Life and career

1926–1943: Childhood and first marriage

Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, at the Los Angeles General Hospital in Los Angeles, California. Her mother, Gladys Pearl Baker (née Monroe; 1902–1984), was born in Piedras Negras, Coahuila, Mexico to a poor Midwestern family who migrated to California at the turn of the century.[8] At age 15, Gladys married John Newton Baker, an abusive man nine years her senior. They had two children, Robert (1918–1933) and Berniece (1919–2014). She successfully filed for divorce and sole custody in 1923, but Baker kidnapped the children soon after and moved with them to his native Kentucky.

Monroe was not told that she had a sister until she was 12, and they met for the first time in 1944 when Monroe was 17 or 18. Following the divorce, Gladys worked as a film negative cutter at Consolidated Film Industries. In 1924, she married Martin Edward Mortensen, but they separated just months later and divorced in 1928. In 2022, DNA testing indicated that Monroe's father was Charles Stanley Gifford (1898–1965), a co-worker of Gladys, with whom she had an affair in 1925. Monroe also had two other half-siblings from Gifford's marriage with his first wife, a sister, Doris (1920–1933), and a brother, Charles (1922–2015).

Although Gladys was mentally and financially unprepared for a child, Monroe's early childhood was stable and happy. Gladys placed her daughter with evangelical Christian foster parents Albert and Ida Bolender in the rural town of Hawthorne. She also lived there for six months, until she was forced to move back to the city for employment. She then began visiting her daughter on weekends. In the summer of 1933, Gladys bought a small house in Hollywood with a loan from the Home Owners' Loan Corporation and moved seven-year-old Monroe in with her.

They shared the house with lodgers, actors George and Maude Atkinson and their daughter, Nellie. In January 1934, Gladys had a mental breakdown and was diagnosed with paranoid schizophrenia. After several months in a rest home, she was committed to the Metropolitan State Hospital. She spent the rest of her life in and out of hospitals and was rarely in contact with Monroe. Monroe became a ward of the state, and her mother's friend Grace Goddard took responsibility over her and her mother's affairs.

Over the next four years, Monroe's living situation changed often. For the first 16 months, she continued living with the Atkinsons, and may have been sexually abused during this time. Always a shy girl, she now also developed a stutter and became withdrawn. In the summer of 1935, she briefly stayed with Grace and her husband Erwin "Doc" Goddard and two other families. In September 1935, Grace placed her in the Los Angeles Orphans Home. The orphanage was "a model institution" and was described in positive terms by her peers, but Monroe felt abandoned.

Encouraged by the orphanage staff, who thought that Monroe would be happier living in a family, Grace became her legal guardian in 1936, but did not take her out of the orphanage until the summer of 1937. Monroe's second stay with the Goddards lasted only a few months because Doc molested her. She then lived for brief periods with her relatives and Grace's friends and relatives in Los Angeles and Compton.

Monroe's childhood experiences first made her want to become an actress: "I didn't like the world around me because it was kind of grim ... When I heard that this was acting, I said that's what I want to be ... Some of my foster families used to send me to the movies to get me out of the house and there I'd sit all day and way into the night. Up in front, there with the screen so big, a little kid all alone, and I loved it."

Monroe found a more permanent home in September 1938, when she began living with Grace's aunt Ana Lower in the west-side district of Sawtelle. She was enrolled at Emerson Junior High School and went to weekly Christian Science services with Lower. She excelled in writing and contributed to the school newspaper, but was otherwise a mediocre student. Owing to the elderly Lower's health problems, Monroe returned to live with the Goddards in Van Nuys in about early 1941.

The same year, she began attending Van Nuys High School. In 1942, the company that employed Doc Goddard relocated him to West Virginia. California child protection laws prevented the Goddards from taking Monroe out of state, and she faced having to return to the orphanage. As a solution, she married their neighbors' 21-year-old son, factory worker James Dougherty, on June 19, 1942, just after her 16th birthday.

Monroe subsequently dropped out of high school and became a housewife. She found herself and Dougherty mismatched, and later said she was "dying of boredom" during the marriage. In 1943, Dougherty enlisted in the Merchant Marine and was stationed on Santa Catalina Island, where Monroe moved with him.

1944–1948: Modeling and first film roles

In April 1944, Dougherty was shipped out to the Pacific, where he remained for most of the next two years. Monroe moved in with her in-laws and began a job at the Radioplane Company, a munitions factory in Van Nuys. In late 1944, she met photographer David Conover, who had been sent by the U.S. Army Air Forces' First Motion Picture Unit to the factory to shoot morale-boosting pictures of female workers. Although none of her pictures were used, she quit working at the factory in January 1945 and began modeling for Conover and his friends. Defying her deployed husband, she moved on her own and signed a contract with the Blue Book Model Agency in August 1945.

The agency deemed Monroe's figure more suitable for pin-up than high fashion modeling, and she was featured mostly in advertisements and men's magazines. To make herself more employable, she straightened her hair and dyed it blonde. According to Emmeline Snively, the agency's owner, Monroe quickly became one of its most ambitious and hard-working models; by early 1946, she had appeared on 33 magazine covers for publications such as Pageant, U.S. Camera, Laff, and Peek. As a model, Monroe occasionally used the pseudonym Jean Norman.

Through Snively, Monroe signed a contract with an acting agency in June 1946. After an unsuccessful interview at Paramount Pictures, she was given a screen-test by Ben Lyon, a 20th Century-Fox executive. Head executive Darryl F. Zanuck was unenthusiastic about it, but he gave her a standard six-month contract to avoid her being signed by rival studio RKO Pictures. Monroe's contract began in August 1946, and she and Lyon selected the stage name "Marilyn Monroe". The first name was picked by Lyon, who was reminded of Broadway star Marilyn Miller; the surname was Monroe's mother's maiden name. In September 1946, she divorced Dougherty, who opposed her career.

Monroe spent her first six months at Fox learning acting, singing, and dancing, and observing the film-making process. Her contract was renewed in February 1947, and she was given her first film roles, bit parts in Dangerous Years (1947) and Scudda Hoo! Scudda Hay! (1948). The studio also enrolled her in the Actors' Laboratory Theatre, an acting school teaching the techniques of the Group Theatre; she later stated that it was "my first taste of what real acting in a real drama could be, and I was hooked". Despite her enthusiasm, her teachers thought her too shy and insecure to have a future in acting, and Fox did not renew her contract in August 1947. She returned to modeling while also doing occasional odd jobs at film studios, such as working as a dancing "pacer" behind the scenes to keep the leads on point at musical sets.

Monroe was determined to make it as an actress, and continued studying at the Actors' Lab. She had a small role in the play Glamour Preferred at the Bliss-Hayden Theater, but it ended after a couple of performances. To network, she frequented producers' offices, befriended gossip columnist Sidney Skolsky, and entertained influential male guests at studio functions, a practice she had begun at Fox. She also became a friend and occasional sex partner of Fox executive Joseph M. Schenck, who persuaded his friend Harry Cohn, the head executive of Columbia Pictures, to sign her in March 1948.

At Columbia, Monroe's look was modeled after Rita Hayworth and her hair was bleached platinum blonde. She began working with the studio's head drama coach, Natasha Lytess, who would remain her mentor until 1955. Her only film at the studio was the low-budget musical Ladies of the Chorus (1948), in which she had her first starring role as a chorus girl courted by a wealthy man. She also screen-tested for the lead role in Born Yesterday (1950), but her contract was not renewed in September 1948. Ladies of the Chorus was released the following month and was not a success.

Death and funeral

During her final months, Monroe lived at 12305 Fifth Helena Drive in the Brentwood neighborhood of Los Angeles. Her housekeeper Eunice Murray was staying overnight at the home on the evening of August 4, 1962. Murray woke at 3:00 a.m. on August 5 and sensed that something was wrong. She saw light from under Monroe's bedroom door but was unable to get a response and found the door locked. Murray then called Monroe's psychiatrist, Ralph Greenson, who arrived at the house shortly after and broke into the bedroom through a window to find Monroe dead in her bed. Monroe's physician, Hyman Engelberg, arrived at around 3:50 a.m. and pronounced her dead. At 4:25 a.m., the Los Angeles Police Department was notified.

Monroe died between 8:30 p.m. and 10:30 p.m. on August 4,; the toxicology report showed that the cause of death was acute barbiturate poisoning. She had 8 mg% (milligrams per 100 milliliters of solution) chloral hydrate and 4.5 mg% of pentobarbital (Nembutal) in her blood, and 13 mg% of pentobarbital in her liver. Empty medicine bottles were found next to her bed. The possibility that Monroe had accidentally overdosed was ruled out because the dosages found in her body were several times the lethal limit.

The Los Angeles County Coroners Office was assisted in their investigation by the Los Angeles Suicide Prevention Team, who had expert knowledge on suicide. Monroe's doctors stated that she had been "prone to severe fears and frequent depressions" with "abrupt and unpredictable mood changes", and had overdosed several times in the past, possibly intentionally. Due to these facts and the lack of any indication of foul play, deputy coroner Thomas Noguchi classified her death as a probable suicide.

Monroe's sudden death was front-page news in the United States and Europe. According to Lois Banner, "it's said that the suicide rate in Los Angeles doubled the month after she died; the circulation rate of most newspapers expanded that month", and the Chicago Tribune reported that they had received hundreds of phone calls from members of the public requesting information about her death. French artist Jean Cocteau commented that her death "should serve as a terrible lesson to all those whose chief occupation consists of spying on and tormenting film stars", her former co-star Laurence Olivier deemed her "the complete victim of ballyhoo and sensation", and Bus Stop director Joshua Logan said that she was "one of the most unappreciated people in the world".

Her funeral, held at the Westwood Village Memorial Park Cemetery on August 8, was private and attended by only her closest associates. The service was arranged by Joe DiMaggio, Monroe's half-sister Berniece Baker Miracle, and Monroe's business manager Inez Melson. Hundreds of spectators crowded the streets around the cemetery. Monroe was later entombed at Crypt No. 24 at the Corridor of Memories.

In the following decades, several conspiracy theories, including murder and accidental overdose, have been introduced to contradict suicide as the cause of Monroe's death. The speculation that Monroe had been murdered first gained mainstream attention with the publication of Norman Mailer's Marilyn: A Biography in 1973, and in the following years became widespread enough for the Los Angeles County District Attorney John Van de Kamp to conduct a "threshold investigation" in 1982 to see whether a criminal investigation should be opened. No evidence of foul play was found.

Screen persona and reception

The 1940s had been the heyday for actresses who were perceived as tough and smart—such as Katharine Hepburn and Barbara Stanwyck—who had appealed to women-dominated audiences during the war years. 20th Century-Fox wanted Monroe to be a star of the new decade who would draw men to movie theaters, and saw her as a replacement for the aging Betty Grable, their most popular "blonde bombshell" of the 1940s. According to film scholar Richard Dyer, Monroe's star image was crafted mostly for the male gaze.

From the beginning, Monroe played a significant part in the creation of her public image, and towards the end of her career exerted almost full control over it. She devised many of her publicity strategies, cultivated friendships with gossip columnists such as Sidney Skolsky and Louella Parsons, and controlled the use of her images. In addition to Grable, she was often compared to another iconic blonde, 1930s film star Jean Harlow. The comparison was prompted partly by Monroe, who named Harlow as her childhood idol, wanted to play her in a biopic, and even employed Harlow's hair stylist to color her hair.

Monroe's screen persona focused on her blonde hair and the stereotypes that were associated with it, especially dumbness, naïveté, sexual availability and artificiality. She often used a breathy, childish voice in her films, and in interviews gave the impression that everything she said was "utterly innocent and uncalculated", parodying herself with double entendres that came to be known as "Monroeisms". For example, when she was asked what she had on in the 1949 nude photo shoot, she replied, "I had the radio on".

In her films, Monroe usually played "the girl", who is defined solely by her gender. Her roles were almost always chorus girls, secretaries, or models: occupations where "the woman is on show, there for the pleasure of men." Monroe began her career as a pin-up model, and was noted for her hourglass figure. She was often positioned in film scenes so that her curvy silhouette was on display, and frequently posed like a pin-up in publicity photos. Her distinctive, hip-swinging walk also drew attention to her body and earned her the nickname "the girl with the horizontal walk".

Monroe often wore white to emphasize her blondness and drew attention by wearing revealing outfits that showed off her figure. Her publicity stunts often revolved around her clothing either being shockingly revealing or even malfunctioning, such as when a shoulder strap of her dress snapped during a press conference. In press stories, Monroe was portrayed as the embodiment of the American Dream, a girl who had risen from a miserable childhood to Hollywood stardom. Stories of her time spent in foster families and an orphanage were exaggerated and even partly fabricated. Film scholar Thomas Harris wrote that her working-class roots and lack of family made her appear more sexually available, "the ideal playmate", in contrast to her contemporary, Grace Kelly, who was also marketed as an attractive blonde, but due to her upper-class background was seen as a sophisticated actress, unattainable for the majority of male viewers.

Although Monroe's screen persona as a dim-witted but sexually attractive blonde was a carefully crafted act, audiences and film critics believed it to be her real personality. This became a hindrance when she wanted to pursue other kinds of roles, or to be respected as a businesswoman. The academic Sarah Churchwell studied narratives about Monroe and wrote:

Biographer Lois Banner writes that Monroe often subtly parodied her sex symbol status in her films and public appearances, and that "the 'Marilyn Monroe' character she created was a brilliant archetype, who stands between Mae West and Madonna in the tradition of twentieth-century gender tricksters." Monroe herself stated that she was influenced by West, learning "a few tricks from her—that impression of laughing at, or mocking, her own sexuality". She studied comedy in classes by mime and dancer Lotte Goslar, famous for her comic stage performances, and Goslar also instructed her on film sets. In Gentlemen Prefer Blondes, one of the films in which she played an archetypal dumb blonde, Monroe had the sentence "I can be smart when it's important, but most men don't like it" added to her character's lines.

According to Dyer, Monroe became "virtually a household name for sex" in the 1950s and "her image has to be situated in the flux of ideas about morality and sexuality that characterised the Fifties in America", such as Freudian ideas about sex, the Kinsey report (1953), and Betty Friedan's The Feminine Mystique (1963). By appearing vulnerable and unaware of her sex appeal, Monroe was the first sex symbol to present sex as natural and without danger, in contrast to the 1940s femme fatales. Spoto likewise describes her as the embodiment of "the postwar ideal of the American girl, soft, transparently needy, worshipful of men, naïve, offering sex without demands", which is echoed in Molly Haskell's statement that "she was the Fifties fiction, the lie that a woman had no sexual needs, that she is there to cater to, or enhance, a man's needs." Monroe's contemporary Norman Mailer wrote that "Marilyn suggested sex might be difficult and dangerous with others, but ice cream with her", while Groucho Marx characterized her as "Mae West, Theda Bara, and Bo Peep all rolled into one". According to Haskell, due to her sex symbol status, Monroe was less popular with women than with men, as they "couldn't identify with her and didn't support her", although this would change after her death.

Dyer has also argued that Monroe's blonde hair became her defining feature because it made her "racially unambiguous" and exclusively white just as the civil rights movement was beginning, and that she should be seen as emblematic of racism in twentieth-century popular culture. Banner agreed that it may not be a coincidence that Monroe launched a trend of platinum blonde actresses during the civil rights movement, but has also criticized Dyer, pointing out that in her highly publicized private life, Monroe associated with people who were seen as "white ethnics", such as Joe DiMaggio (Italian-American) and Arthur Miller (Jewish). According to Banner, she sometimes challenged prevailing racial norms in her publicity photographs; for example, in an image featured in Look in 1951, she was shown in revealing clothes while practicing with African-American singing coach Phil Moore.

Monroe was perceived as a specifically American star, "a national institution as well known as hot dogs, apple pie, or baseball" according to Photoplay. Banner calls her the symbol of populuxe, a star whose joyful and glamorous public image "helped the nation cope with its paranoia in the 1950s about the Cold War, the atom bomb, and the totalitarian communist Soviet Union". Historian Fiona Handyside writes that the French female audiences associated whiteness/blondness with American modernity and cleanliness, and so Monroe came to symbolize a modern, "liberated" woman whose life takes place in the public sphere. Film historian Laura Mulvey has written of her as an endorsement for American consumer culture:

Twentieth Century-Fox further profited from Monroe's popularity by cultivating several lookalike actresses, such as Jayne Mansfield and Sheree North. Other studios also attempted to create their own Monroes: Universal Pictures with Mamie Van Doren, Columbia Pictures with Kim Novak, and The Rank Organisation with Diana Dors.

Legacy

According to The Guide to United States Popular Culture, "as an icon of American popular culture, Monroe's few rivals in popularity include Elvis Presley and Mickey Mouse... no other star has ever inspired such a wide range of emotions—from lust to pity, from envy to remorse." Art historian Gail Levin stated that Monroe may have been "the most photographed person of the 20th century", and The American Film Institute has named her the sixth greatest female screen legend in American film history. The Smithsonian Institution has included her on their list of "100 Most Significant Americans of All Time", and both Variety and VH1 have placed her in the top ten in their rankings of the greatest popular culture icons of the twentieth century.

Hundreds of books have been written about Monroe. She has been the subject of numerous films, plays, operas, and songs, and has influenced artists and entertainers such as Andy Warhol and Madonna. She also remains a valuable brand: her image and name have been licensed for hundreds of products, and she has been featured in advertising for brands such as Max Factor, Chanel, Mercedes-Benz, and Absolut Vodka.

Monroe's enduring popularity is tied to her conflicted public image. On the one hand, she remains a sex symbol, beauty icon and one of the most famous stars of classical Hollywood cinema. On the other, she is also remembered for her troubled private life, unstable childhood, struggle for professional respect, as well as her death and the conspiracy theories that surrounded it. She has been written about by scholars and journalists who are interested in gender and feminism; these writers include Gloria Steinem, Jacqueline Rose, Molly Haskell, Sarah Churchwe. Others, such as Haskell, Rose, and Churchwell, have instead stressed Monroe's proactive role in her career and her participation in the creation of her public persona.

Owing to the contrast between her stardom and troubled private life, Monroe is closely linked to broader discussions about modern phenomena such as mass media, fame, and consumer culture. According to academic Susanne Hamscha, Monroe has continued relevance to ongoing discussions about modern society, and she is "never completely situated in one time or place" but has become "a surface on which narratives of American culture can be (re-)constructed", and "functions as a cultural type that can be reproduced, transformed, translated into new contexts, and enacted by other people". Similarly, Banner has called Monroe the "eternal shapeshifter" who is re-created by "each generation, even each individual... to their own specifications".

Monroe remains a cultural icon, but critics are divided on her legacy as an actress. David Thomson called her body of work "insubstantial" and Pauline Kael wrote that she could not act, but rather "used her lack of an actress's skills to amuse the public. She had the wit or crassness or desperation to turn cheesecake into acting—and vice versa; she did what others had the 'good taste' not to do". In contrast, Peter Bradshaw wrote that Monroe was a talented comedian who "understood how comedy achieved its effects", and Roger Ebert wrote that "Monroe's eccentricities and neuroses on sets became notorious, but studios put up with her long after any other actress would have been blackballed because what they got back on the screen was magical". Similarly, Jonathan Rosenbaum stated that "she subtly subverted the sexist content of her material" and that "the difficulty some people have discerning Monroe's intelligence as an actress seems rooted in the ideology of a repressive era, when super feminine women weren't supposed to be smart".