To men, Marilyn Monroe was a sex 反対する, a meal ticket, a 'feather-brained slut' and a 'two-bit whore'. But にもかかわらず 存在 hounded by lecherous suitors even after death... she would never have 調印するd up to 'Me Too', 令状s JULIE BURCHILL
How would Marilyn Monroe ― the most famously 攻撃を受けやすい and preyed upon film 星／主役にする in the history of Hollywood ― have fared in the 時代 of #MeToo?
Would she have played a part in exposing monsters like Harvey Weinstein? After all, she wrote an essay called 'Wolves I Have Known' very 早期に on in her career, 詳細（に述べる）ing several grim 遭遇（する）s with men as an 貧窮化した young starlet.
'The first real wolf I 遭遇（する）d should have been ashamed of himself,' she wrote, 'because he was trying to take advantage of a mere kid. That's all I was and I wasn't 怪しげな of him at all when he stopped his car at a corner and started to talk to me...then （機の）カム up with that famous line: 'You せねばならない be in the pictures.'
She was modelling at the time and he （人命などを）奪う，主張するd to be in the film 産業. He borrowed a friend's office, gave her a script and told her to 提起する／ポーズをとる while reading it. 'All the 提起する／ポーズをとるs had to be reclining, although the words I was reading didn't seem to call for that position,' she said before making a 迅速な 出口.
The next wolf she met was a policeman: 'Now, if you can't 信用 an officer of the 法律, then who can you 信用?'
Marilyn Monroe famously epitomised 20th-century glamour and 1950s American beauty
Other wolves took her to dinner, gave her trinkets, 約束d a trip to Los Angeles and even a Cadillac. She wrote of the Hollywood parties where 'carefree wolves think they have to howl' and of the director who 'couldn't believe I was in earnest when I gave him the 小衝突'.
'He followed me upstairs when I went to get my 包む and 罠にかける me when he pulled the door shut on my foot. I managed to get loose and ran into another room. Shut out, he 続けざまに猛撃するd on the door and pleaded that he just 手配中の，お尋ね者 to talk with me.'
Why am I talking about Marilyn Monroe? Because last summer I started 令状ing a play about her called Making Marilyn with my husband Daniel Raven and it will debut in Brighton Palace Pier today.
I won't give too much away, but the play 提起する／ポーズをとるs the question of what Marilyn ― who so famously epitomised twentieth century glamour in general and 1950s American beauty 特に ― would have made of the modern world.
How would she have 反応するd to Weinstein, the film 生産者 who last year was 宣告，判決d to 16 years in 刑務所，拘置所 for 強姦 ― on 最高の，を越す of his 2020 宣告，判決 of 23 years in 刑務所，拘置所 for 性の いやがらせ, 性の 乱用 and 強姦, although that 有罪の判決 was overturned this week by the New York 法廷，裁判所 of 控訴，上告s.
I've loved her since I was a 十代の少年少女 and often thought of what the singer Ella Fitzgerald said about her, after Marilyn 介入するd with the 管理／経営 of a 主要な nightclub unwilling to let Ella 成し遂げる because she was 黒人／ボイコット; 'Marilyn was an unusual woman ― a little ahead of her times. And she didn't know it.'
There's something about Marilyn which resonates with us 負かす／撃墜する the ages. It was in the 早期に 1970s when I first saw a film of hers on TV: Niagara, not one of her best, in which she played a 計画／陰謀ing adulteress. Yet I was mesmerised by her.
The 広大な／多数の／重要な Hollywood brunettes ― Ava Gardner, Elizabeth Taylor ― had been my ideal of beauty (I started dying my dirty-blonde hair 黒人／ボイコット when I was 16, and I've never looked 支援する). But Marilyn was the exception to every 支配する.
Though she was breathtakingly beautiful, she made a nonsense of the hackneyed old phrase 'If you look good, you feel good.' We're taught growing up that if we're pretty and sexy enough and if men fancy us enough, the world is ours for the taking ― but Marilyn's unhappiness in Hollywood after the first 紅潮／摘発する of success was proof that a girl's sense of self-価値（がある） can never be 扶養家族 on her looks, which will surely fade.
The difficulties had, of course, been there from childhood, when she was plain Norma ジーンズ パン職人 and her mother Gladys was in and out of psychiatric hospital in Los Angeles. At 15 her foster parents 手配中の，お尋ね者 to move to Virginia and couldn't take her with them, so they 示唆するd Norma ジーンズ should marry a boy called James Dougherty, the son of a 隣人.
Marilyn married baseball superstar Joe DiMaggio but 結局 grew bored of him and moved on again
She was a 'pretty 円熟した girl and 肉体的に she was 円熟した' James remembered, 'feisty' and 'funny' ― and they married when she turned 16. But Marilyn? She （人命などを）奪う，主張するd they had nothing to say to each other, was 'dying of 退屈', and after four years they 離婚d.
Then her life was catapulted by fame. Working in a 軍需品s factory during the war, she was scouted as a model, had a 審査する 実験（する）, changed her 指名する and married baseball superstar Joe DiMaggio.
'In いっそう少なく than five years, she'd gone from orphanage waif to child bride to factory girl to car model to GI pinup to studio underling to 負かす／撃墜する-and-out extra to mogul's mistress to Playboy centerfold to BAFTA 指名された人,' 令状s 伝記作家, Elizabeth Winder.
Marilyn moved on ― bored again ― from DiMaggio. And tired of 存在 扱う／治療するd like a 'dumb-blonde cash cow' by Twentieth Century Fox, escaped to New York hoping to find a place where she wouldn't be 高く評価する／（相場などが）上がるd 簡単に for her 決定的な 統計（学）.
But there she 簡単に 設立する a more cerebral type of exploiter, such as her 事実上の／代理 coach 物陰／風下 Strasberg who she saw as a parent 人物／姿／数字 ― going so far as to leave her 広い地所 to him in her will ― only for Strasberg's second wife (who never even met Marilyn) to license out her image for all sorts of 疑わしい 製品s, 含むing sex toys.
She was seen as a sex 反対する and a meal ticket. She was patronised by her third husband, 脚本家 Arthur Miller who's believed by many to have married America's Sweetheart, using her 人気 to escape blacklisting as a 共産主義者 by the House Un-American Activities 委員会.
To my mind one of the worst posthumous 罪，犯罪s committed against Marilyn was when Miller wrote in his autobiography Timebends (Truthbends, more like) that she never read. On the contrary, her roommate Shelley Winters once 解任するd that the biggest 負債 Marilyn ran up was when they were struggling starlets was to a bookshop.
That's why in our play we give Marilyn a few lines that could have been uttered by the American poet and wit Dorothy Parker: 'Wherever there are rich men trying not to feel ugly, there will be pretty girls trying not to feel poor'.
At the age of 16, Marilyn married James Dougherty, the son of a 隣人, but they 離婚d four years later?
And 'do you know how you know when life has lost its thrill? It's the first time you don't squeal when the cork 飛行機で行くs out of the シャンペン酒.
'When you're trying to make it, that noise means something. You've escaped 存在 poor. You're going places. Life's going to be all fizzy and golden. And then one day you've had enough ― and you know that all that cork-popping means is that you'll 結局最後にはーなる in bed with some guy who only wants to talk about it to his pals afterwards.'
In Arthur Miller's 事例／患者, Marilyn appears to have had the last laugh. His thinly-disguised portrait of her as a vulgar and しっかり掴むing narcissist in his play After The 落ちる was 解任するd by critics as 'the longest my-wife-doesn't-understand-me 公式文書，認める in history' and 'a three and a half hour 違反 of taste, a shameless piece of tabloid gossip, an 行為／法令／行動する of exhibitionism which makes us all voyeurs… a wretched piece of 劇の 令状ing.'
It only ran for four months ― and the First Lady Jackie Kennedy stopped asking Miller to the White House dinners he so enjoyed; an 予期しない 行為／法令／行動する of 団結 from a woman whose husband Marilyn had an 事件／事情／状勢 with.
In death she has attracted another 疑わしい group of admirers; those who portray her as some sort of 損失d angel-child, epitomised at its most cringeworthy in the Elton John song 'Candle In The 勝利，勝つd.'
In Making Marilyn, Monroe gets to hear this song and is 反乱d by its condescension; she knew all too 井戸／弁護士席 that portraying a woman as a lost little child is as poisonous in its way as seeing her as a feather-brained slut.
A s our Marilyn says in the play: 'It's bad enough when you're written off as a two-bit whore, but 存在 mistaken for an angel gets 限定するing, too. Joe [DiMaggio] used to say 'The movies are no place for a woman like you' ― but a woman like me wants to be a good actor. Of course the movies are the place for me.
'And as for Arthur [Miller]...those papers I 設立する in his office after he left. 説 he'd thought I was an angel ― but I was a bitch, like all the 残り／休憩（する）. Is it too 複雑にするd for a girl to be neither? Or both?'
Sadly, even in death Marilyn is not 解放する／自由な of men, living and dead, who try to degrade her. Hugh Hefner started out by publishing her 早期に nude 発射s on the cover of the first Playboy in 1953 and ended up 存在 buried next to her at the Westwood Village 記念の Park 共同墓地: 'Spending eternity next to Marilyn is too 甘い to pass up,' he told the Los Angeles Times in 2009.
Making up a lechers' 挟む in eternal 残り／休憩（する） with Marilyn will be tech 投資家 Anthony Jabin who bought the crypt on her other 味方する, 説 'I've always dreamt of 存在 next to Marilyn Monroe for the 残り／休憩（する） of my life.'
But nothing that men did to her when she was alive could 略奪する her of her 魔法, and nothing they do now can; if anything, she seems bigger and brighter than before.?
There's a 引用する by F.Scott Fitzgerald which always makes me think of her: 'フラン was a land, England was a people, but America was a 乗り気 of the heart.' It's strange to look at the USA now, 涙／ほころびing itself apart while 存在 squabbled over by two men in their dotage, and remember what a symbol of beauty and boldness it once was when Marilyn Monroe bestrode it like a concupiscent colossus.
A play about Marilyn 需要・要求するs someone who can 納得させる us that she is Marilyn, and we are lucky enough to have the world's most successful Marilyn lookalike ― Suzie Kennedy, also 証明するing herself as a 罰金 actor ― in our play.
Suzie speaks movingly of Marilyn: 'She 証明するd to me that no 事柄 where you come from or whatever adversity you 直面する, never give up on your dreams; the 決意 to make a successful life for herself and not be a 犠牲者 of her circumstances always resonated with me. I didn't have a very good childhood; I had no dad growing up, and 苦しむd 乱用.
'But looking like Marilyn gave me an escape from the life path 始める，決める before me. People loved me and paid me attention. Marilyn 辞退するd to be a 犠牲者 of circumstance and looking like Marilyn made sure I wasn't either.'
For this 推論する／理由, the fact she never played the 犠牲者, I'm not altogether sure that Marilyn would have joined in the #MeToo chorus.
'Whether a girl 生き残るs の中で a pack of wolves is 完全に on her,' she wrote in her essay on predatory men. 'If she is trying to get something for nothing, she often ends up giving more than she 取引d for. If she plays the game straight, she can usually 回避する unpleasant 状況／情勢s and she 伸び（る）s the 尊敬（する）・点 of even the wolves.'
Having immersed myself once more in recollections of this 有望な, beautiful and bewildered woman for our play, I really do believe that she was the greatest 審査する 星／主役にする of all time.
And because of this, she'll never die.
調書をとる／予約する for?Making Marilyn here:
