conversations.from: human
conversations.value: Give me a description for a story titled Marilyn Monroe about Award, Book, Society with the genre: Arts & Photography, Photography & Video.
conversations.from: assistant
conversations.value: the author first became associated with Magnum Photos in 1951, becoming a full member in 1955. She was based in America during the 1950s and went to England in 1962, where she has lived when not traveling for work. She has received numerous awards and honors, including the National Book Award, the Lifetime Achievement Award from the American Society of Magazine Photographers, the Kraszna-Krausz Book Award, and an honorary O.B.E. by the British Government. She was also made a fellow of the Royal Photographic Society and was elected "Master Photographer" by New York's International Center of Photography.
conversations.from: human
conversations.value: Give me a description for a story titled Marilyn Monroe about Monroe, Method, BR>Copyright with the genre: Biographies & Memoirs, Arts & Literature.
conversations.from: assistant
conversations.value: This critical appreciation of Monroe the actress spans her early years as a cover girl and her later work as a Method actress. <BR>Copyright 1993 Reed Business Information, Inc.
conversations.from: human
conversations.value: What could be a title for a story about Marilyn, Monroe with the genre: Biographies & Memoirs, Arts & Literature?
conversations.from: assistant
conversations.value: A title for this story could be 'Marilyn Monroe'
conversations.from: human
conversations.value: Give me the first paragraph for this story.
conversations.from: assistant
conversations.value: Marilyn Monroe
  She starred in just eleven films over ten years, not a prodigious output of product compared to that of many other screen greats. But her films were just one part of the mystique; she was a total celebrity, one in whom the public's interest did not flag despite often lengthy periods between films.
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: Bouncing back, Marilyn attends a performance by Ella Fitzgerald in Hollywood, escorted by columnist Sidney Skolsky, a friend. Throughout her life, Ella and Frank Sinatra would remain her two favorite vocalists. She in fact helped Ella greatly by attending every one of her performances for a week, which brought great attention to Ella's show.
  The unveiling of the "New Marilyn." January 7, 1955, in New York, she calls a press conference to announce that she and Look magazine photographer Milton Greene had formed Productions, Inc., "so I can play the better kind of roles I want to play. I didn't like a lot of my pictures. I'm tired of sex roles. I want to broaden my scope. I want to do dramatic parts." Asked if, as rumored, she wanted "to play The Brothers Karamazov," she replied, "I don't want to play the brothers. I want to play Grushenka. She's a girl." Then she added, "It's no temptation to me to do the same thing over and over. I want to keep growing as a person and as an actress... in Hollywood they never ask me my opinion. They just tell me what time to come to work."
  Later that day, Monroe meets Dietrich as Milton Greene looks on. Of Greene, who was to take some of the loveliest pictures of her ever, Marilyn said, "I think he's very capable and very talented and very artistic, and a lot of other people will know it someday. You'll see. I feel deeply about him. I'm sincere about his genius. He's a genius."
  Marilyn gives herself to charity. She also gave herself to Milton Berle, if Uncle Miltie's autobiography is to be believed—he claims they had an affair.
  March 31, 1955: Marilyn rides a pink elephant at a Madison Square Garden extravaganza put on by showman Mike Todd to benefit victims of arthritis. Joe DiMaggio was in the audience; that and their several dates over the previous three months had reconciliation rumors swirling.
conversations.from: human
conversations.value: Swap the first and the last sentence.
conversations.from: assistant
conversations.value: Joe DiMaggio was in the audience; that and their several dates over the previous three months had reconciliation rumors swirling. Throughout her life, Ella and Frank Sinatra would remain her two favorite vocalists. She in fact helped Ella greatly by attending every one of her performances for a week, which brought great attention to Ella's show.
  The unveiling of the "New Marilyn." January 7, 1955, in New York, she calls a press conference to announce that she and Look magazine photographer Milton Greene had formed Productions, Inc., "so I can play the better kind of roles I want to play. I didn't like a lot of my pictures. I'm tired of sex roles. I want to broaden my scope. I want to do dramatic parts." Asked if, as rumored, she wanted "to play The Brothers Karamazov," she replied, "I don't want to play the brothers. I want to play Grushenka. She's a girl." Then she added, "It's no temptation to me to do the same thing over and over. I want to keep growing as a person and as an actress... in Hollywood they never ask me my opinion. They just tell me what time to come to work."
  Later that day, Monroe meets Dietrich as Milton Greene looks on. Of Greene, who was to take some of the loveliest pictures of her ever, Marilyn said, "I think he's very capable and very talented and very artistic, and a lot of other people will know it someday. You'll see. I feel deeply about him. I'm sincere about his genius. He's a genius."
  Marilyn gives herself to charity. She also gave herself to Milton Berle, if Uncle Miltie's autobiography is to be believed—he claims they had an affair.
  March 31, 1955: Marilyn rides a pink elephant at a Madison Square Garden extravaganza put on by showman Mike Todd to benefit victims of arthritis.Bouncing back, Marilyn attends a performance by Ella Fitzgerald in Hollywood, escorted by columnist Sidney Skolsky, a friend.
conversations.from: human
conversations.value: Give me the last four paragraphs.
conversations.from: assistant
conversations.value: With the Life interview and the world-wide media frenzy over photographs of her nude swim by Lawrence Schiller, Fox executives realized they had made a mistake and began negotiations to rehire Marilyn--and give her a lucrative new contract.
  A portrait from Marilyn's last photo session, by Allan Grant. The pictures were taken to accompany the Life interview, and despite claims to the contrary by some photographers, are indeed the last ever taken of Monroe.
  At a party in August, Marilyn signed the guest register. Under "residence" she wrote: "Nowhere." Three days later, she was dead. The coroner's verdict was that her death was a "probable suicide" from an overdose of barbiturates. Unanswered questions about her death created a cottage industry of speculation over the ensuing fifty years.
  Lee Strasberg delivered the eulogy at her funeral, from which Joe DiMaggio barred her Hollywood "friends":
conversations.from: human
conversations.value: Give me the first five paragraphs for this story.
conversations.from: assistant
conversations.value: Marilyn Monroe
  Ana Lower and Christian Science: Banner provides the most complete and insightful account of the religion and Ann Lower's profound impact on the maturing adolescent who would become.
  Monroe's costume: Twentieth Century-Fox publicity release in the files of the Academy of Motion Picture Arts and Sciences.
  Interviews with Milton Greene, Rupert Allan, Susan Strasberg, Ralph Roberts, John Springer, and Stanley Flink inform my understanding of Monroe's life and career in this chapter.
  Strasberg and Guiles: tape-recorded interview (January 17, 1967), courtesy of Fred Lawrence Guiles. Unless otherwise noted, my account of Strasberg and his comments on Monroe come from this interview.
  Monroe's friends say she wanted to work: interviews with Rupert Allan, John Springer, and Ralph Roberts.
conversations.from: human
conversations.value: Give me another paragraph.
conversations.from: assistant
conversations.value: Strasberg and Guiles: tape-recorded interview (January 17, 1967), courtesy of Fred Lawrence Guiles. Unless otherwise noted, my account of Strasberg and his comments on Monroe come from this interview.
conversations.from: human
conversations.value: Give me the last three paragraphs.
conversations.from: assistant
conversations.value: Strasberg and Guiles: tape-recorded interview (January 17, 1967), courtesy of Fred Lawrence Guiles. Unless otherwise noted, my account of Strasberg and his comments on Monroe come from this interview.
  Monroe's friends say she wanted to work: interviews with Rupert Allan, John Springer, and Ralph Roberts.
  The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device for terms of interest. For your reference, the terms that appear in the print index are listed below
conversations.from: human
conversations.value: Reverse the sentences.
conversations.from: assistant
conversations.value: For your reference, the terms that appear in the print index are listed below. Please use the search function on your eReading device for terms of interest.
  The index that appeared in the print version of this title was intentionally removed from the eBook.
  Monroe's friends say she wanted to work: interviews with Rupert Allan, John Springer, and Ralph Roberts. Unless otherwise noted, my account of Strasberg and his comments on Monroe come from this interview.Strasberg and Guiles: tape-recorded interview (January 17, 1967), courtesy of Fred Lawrence Guiles
conversations.from: human
conversations.value: Give me the first paragraph for this story.
conversations.from: assistant
conversations.value: Marilyn Monroe
  My father, Milton H. Greene, passed away in 1985. Though he was a successful New York–based fashion and portrait photographer, credited with over 150 covers and thousands of editorial pages, he's remembered best for the body of work he created with from 1953 to 1957.
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: I went back to a Hollywood bedroom, and I stayed in it for several days and nights without moving. I cried and stared out the window.
  When you're a failure in Hollywood—that's like starving to death outside a banquet hall with the smells of filet mignon driving you crazy. I lay in bed again day after day, not eating, not combing my hair. I kept remembering how I had sat in Mr. A's casting office controlling my excitement about the great luck that had finally come to me, and I felt like an idiot. There was going to be no luck in my life. The dark star I was born under was going to get darker and darker.
  I cried and mumbled to myself. I'd go out and get a job as a waitress or clerk. Millions of girls were happy to work at jobs like that. Or I could work in a factory again. I wasn't afraid of any kind of work. I'd scrubbed floors and washed dishes ever since I could remember.
  But there was something wouldn't let me go back to the world of Norma Jean. It wasn't ambition or a wish to be rich and famous. I didn't feel any pent up talent in me. I didn't even feel that I had looks or any sort of attractiveness. But there was a thing in me like a craziness that wouldn't let up. It kept speaking to me, not in words but in colors—scarlet and gold and shining white, greens and blues. They were the colors I used to dream about in my childhood when I had tried to hide from the dull, unloving world in which the orphanage slave, Norma Jean, existed.
  It was while I lay on this ocean bottom, figuring never to see daylight again, that I fell in love for the first time. I'd not only never been in love, but I hadn't ever dreamed of it. It was something that existed for other people—people who had families and homes.
conversations.from: human
conversations.value: Give me the last five paragraphs.
conversations.from: assistant
conversations.value: I hadn't sung the song with any suggestive meaning. I had sung it as a straight, wistful love song. But I knew there was no use arguing about it. I'd been up against this sort of thing before. People had a habit of looking at me as if I were some kind of a mirror instead of a person. They didn't see me, they saw their own lewd thoughts. Then they white-masked themselves by calling me the lewd one.
  We took a helicopter for the front. I didn't see Korea and its battlefields and beaten up towns. I left one landing field and came down on another. Then I was put in a truck and taken to where the 45th Division was waiting.
  It was cold and starting to snow. I was backstage in dungarees. Out front the show was on. I could hear music playing and a roar of voices trying to drown it out.
  I changed into my silk gown as quickly as I could. It had a low neckline and no sleeves. I felt worried all of a sudden about my material, not the Gershwin song but the others I was going to sing—"Diamonds Are a Girl's Best Friend."
  It seemed like the wrong thing to say to soldiers in Korea, earning only soldiers' pay. Then I remembered the dance I did after the song. It was a cute dance. I knew they would like it.
conversations.from: human
conversations.value: Add another sentence about Division, wounded.
conversations.from: assistant
conversations.value: I hadn't sung the song with any suggestive meaning. I had sung it as a straight, wistful love song. But I knew there was no use arguing about it. I'd been up against this sort of thing before. People had a habit of looking at me as if I were some kind of a mirror instead of a person. They didn't see me, they saw their own lewd thoughts. Then they white-masked themselves by calling me the lewd one. 
  We took a helicopter for the front. I didn't see Korea and its battlefields and beaten up towns. I left one landing field and came down on another. Then I was put in a truck and taken to where the 45th Division was waiting. The 45th Division was my first audience after the wounded in the hospital. 
  It was cold and starting to snow. I was backstage in dungarees. Out front the show was on. I could hear music playing and a roar of voices trying to drown it out. 
  I changed into my silk gown as quickly as I could. It had a low neckline and no sleeves. I felt worried all of a sudden about my material, not the Gershwin song but the others I was going to sing—"Diamonds Are a Girl's Best Friend. "
  It seemed like the wrong thing to say to soldiers in Korea, earning only soldiers' pay. Then I remembered the dance I did after the song. It was a cute dance. I knew they would like it.
conversations.from: human
conversations.value: Give me the first four paragraphs for this story.
conversations.from: assistant
conversations.value: Marilyn Monroe
  Again, Ebbins denied making the one-thirty call. By his account, following his (roughly) nine o'clock conversation with Rudin, he did not speak with the attorney again until four in the morning, at which time Rudin informed him of the death. "I said, 'Mickey, what are you doing up at this hour?' He said, 'I got problems.' I asked, 'How's Marilyn?' and he said, 'Not good.' He said, 'Her doctors and I just broke into the bedroom. They've been working on her, and they just pronounced her dead.'" This timing (Ebbins to DS, Aug. 6, 1992) seems unlikely, for it contradicts the collective witness of Asher, Naar and Rudin and supports the claims of Greenson and Eunice Murray themselves—namely, that the doctor had to break into MM's bedroom to gain access to it.
  The following abbreviations are used for the credits of 's twenty-nine completed and released motion pictures:
  P: Walter Morosco for Fox. D/Sc: F. Hugh Herbert, b/o a novel by George Chamberlain. C: Ernest Palmer. Rel: April 1948. **MM** as Peggy; with June Haver, Lon McCallister, Walter Brennan, Ann Revere, Natalie Wood, Henry Hull, Tom Tully.
  P: Harry A. Romm for Columbia. D: Phil Karlson. Sc: Harry Sauber and Joseph Carol. C: Frank Redman, b/w. Rel: Oct. 1948. **MM** as Peggy Martin; with Adele Jergens, Rand Brooks, Nana Bryant.
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: P, D, Sc: Arthur Pierson for MGM. C: Lucien Andriot, b/w. Rel: May 1951. **MM** as Iris; with Donald Crisp, Jeffrey Lynn, Marjorie Reynolds, Alan Hale, Jr.
  P: Lamar Trotti for Fox. D: Harmon Jones. Sc: Trotti, b/o a story by Paddy Chayefsky. C: Joe MacDonald, b/w. Rel: Aug. 1951. **MM** as Harriet; with Monty Woolley, Jean Peters, Thelma Ritter, Constance Bennett, Albert Dekker.
  P: Jules Buck for Fox. D: Joseph Newman. Sc: I. A. L. Diamond, b/o a novel by Scott Corbett. C: Lloyd Ahern, b/w. Rel: Oct. 1951. **MM** as Roberta Stevens; with June Haver, William Lundigan, Leatrice Joy, Jack Paar, Frank Fay.
  P: Robert Bassler for Fox. D: Richard Sale. Sc: F. Hugh Herbert and I. A. L. Diamond, b/o a story by Mortimer Braus. C: Lucien Ballard, b/w. Rel: Nov. 1951. **MM** as Joyce; with Claudette Colbert, Macdonald Carey, Robert Wagner, Zachary Scott, Barbara Bates.
  P: Harriet Parsons for Jerry Wald and Norman Krasna, RKO. D: Fritz Lang. Sc: Alfred Hayes, b/o the play by Clifford Odets. C: Nicholas Musuraca, b/w. Rel: June 1952. **MM** as Peggy; with Barbara Stanwyck, Robert Ryan, Paul Douglas, Keith Andes.
conversations.from: human
conversations.value: Reverse the sentences.
conversations.from: assistant
conversations.value: **MM** as Peggy; with Barbara Stanwyck, Robert Ryan, Paul Douglas, Keith Andes.. Rel: June 1952. C: Nicholas Musuraca, b/w. Sc: Alfred Hayes, b/o the play by Clifford Odets. D: Fritz Lang.
  P: Harriet Parsons for Jerry Wald and Norman Krasna, RKO. **MM** as Joyce; with Claudette Colbert, Macdonald Carey, Robert Wagner, Zachary Scott, Barbara Bates. 1951. Rel: Nov. C: Lucien Ballard, b/w. Diamond, b/o a story by Mortimer Braus. L. A. Hugh Herbert and I. Sc: F. D: Richard Sale.
  P: Robert Bassler for Fox. **MM** as Roberta Stevens; with June Haver, William Lundigan, Leatrice Joy, Jack Paar, Frank Fay. 1951. Rel: Oct. C: Lloyd Ahern, b/w. Diamond, b/o a novel by Scott Corbett. L. A. Sc: I. D: Joseph Newman.
  P: Jules Buck for Fox. **MM** as Harriet; with Monty Woolley, Jean Peters, Thelma Ritter, Constance Bennett, Albert Dekker. 1951. Rel: Aug. C: Joe MacDonald, b/w. Sc: Trotti, b/o a story by Paddy Chayefsky. D: Harmon Jones.
  P: Lamar Trotti for Fox. **MM** as Iris; with Donald Crisp, Jeffrey Lynn, Marjorie Reynolds, Alan Hale, Jr. Rel: May 1951. C: Lucien Andriot, b/w.P, D, Sc: Arthur Pierson for MGM
conversations.from: human
conversations.value: Give me the last four paragraphs.
conversations.from: assistant
conversations.value: P, D: Billy Wilder for Walter Mirisch/United Artists. Sc: Wilder and I. A. L. Diamond, b/o a story by R. Thoeren and M. Logan. C: Charles Lang, Jr., b/w. Rel: March 1959. **MM** as Sugar Kane; with Jack Lemmon, Tony Curtis, George Raft, Pat O'Brien, Joe E. Brown, Joan Shawlee.
  P: Jerry Wald for Fox. D: George Cukor. Sc: Norman Krasner, Hal Kanter. C: Daniel L. Fapp. Rel: Sept. 1960. **MM** as Amanda Dell; with Yves Montand, Wilfrid Hyde White, Tony Randall, Frankie Vaughan, Madge Kennedy.
  P: Frank E. Taylor for UA/Seven Arts. D: John Huston. Sc: Arthur Miller. C: Russell Metty, b/w. Rel: Feb. 1961. **MM** as Roslyn Tabor; with Clark Gable, Montgomery Clift, Eli Wallach, Thelma Ritter, Kevin McCarthy, Estelle Winwood, Ralph Roberts.
  The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device for terms of interest. For your reference, the terms that appear in the print index are listed below