Marilyn Monroe Net Worth Income Profile and Salary. In any case, the joviality and the unbridled and unconcerned living that she had often represented in the cinema and outside of it correspond very little to the true profile of her life, marked by the contradictions and complexes of an unhappy childhood and youth, Followed after an overwhelming success that she could not cope with, even when she believed she found, along with personalities like Arthur Miller, the stability and security she pursued throughout her life.Marilyn Monroe, of real name Norma Jean Baker (or Norma Jean Mortenson, last name of its stepdad), was born the 1 of June of 1926 in Los Angeles, in the American state of California. Daughter of Gladys Baker, who never communicated to him the identity of her father, her early childhood was very hard.
His mother left it in the hands of a friendly marriage until she turned seven; Then she took her to live with him. But a year later Gladys was admitted to a psychiatric sanatorium where she was diagnosed with paranoid schizophrenia, a condition Marilyn later believed she had inherited, especially when she was hospitalized for frequent depressions. Her childhood and adolescence passed between an orphanage (where she entered at the age of nine and worked as a kitchen assistant), the house of her grandparents and those of several families who adopted her. In one of these shelters she allegedly suffered sexual abuse by the head of the family when she was eight years old.
There was nothing to suggest that Norma Jean had a future career as an actress, not even the fact that her mother, an extraordinarily attractive woman, had worked for some time as a negative filmmaker at Consolidated Film Industries. Marked by emotional instability and poverty, at the age of sixteen, after leaving school, she was employed in an aircraft building plant. In the same factory she met a 21-year-old mechanic, James Dougherty, with whom she married on June 19, 1942 and who would divorce four years later.
That same year of 1946 a fashion photographer discovered it and convinced her to become a model. Thus, the still called Norma Jean began its race like model under the tutelage of the agent Emmeline Snively, that suggested to him to change the color of its hair, that was brown of birth, by the characteristic blonde platinum. During this time, Norma Jean made an endless number of advertising campaigns, being very remembered the ones that made to announce bathing suits. At the same time, her restless and eager nature, always acquiring new knowledge, led her to take drama classes at Hollywood’s Actor’s Lab and attend literature courses at the University of Los Angeles (UCLA).
The face of the model was becoming well known. Its innumerable publicity works made that in 1947 the magnate Howard Hughes, proprietor of the film company R.K.O., offered him to make screen tests in order to know if it could give game before a cinematographic camera; But Norma Jean preferred to accept an offer from 20th Century Fox to work a few months as a supporting actress. It intervened in three forgettable films in which it was not properly credited, and already it was verified the change of name: Norma Jean happened to be called Marilyn Monroe. One of her first roles was of a figure among a crowd; It was the Frederick Hugh movie Herbert Scudda Hoo! Scudda Hay !, with June Harver. At one point in the film, Marilyn was separated from the group to greet the lead actress. This scene, however, was later cut into the montage, and Marilyn recalled a few years later: “A part of my back is visible in a plane, but no one knew it apart from me and some close friends.”
A year later the Fox refused to renew the contract, reason why it accepted a new one of similar characteristics in Columbia. For this company acted in the musical comedy Ladies of the chorus (1948), of Phil Karlson. Marilyn was a modest stripper named Peggy Martin and sang two songs. To prepare this role she received lessons from Columbia’s musical director, Fred Karger, with whom she is believed to have had intimate relationships. The following year she participated in what would be the penultimate film of the more or less complete Marx brothers (Groucho, Harpo y Chico), Love Happy, by David Miller. In the film, Marilyn wiggled her hips with such mastery that Groucho, who played the detective Sam Grunion, manifested through her with his proverbial histrionics a bustling desire.
He subsequently got a short but very important role for Metro future Goldwyn Mayer as an actress: in John Huston’s excellent thriller The Asphalt Jungle (1950), she played quite easily Angela , The lover of a gangster whom she eventually betrays. The ever-watchful Joseph L. Mankiewicz, who had begun his career as a filmmaker four years earlier, noticed young Marilyn and offered him another small but succulent role in his melodrama Eva All Night (1950). In this film she interpreted a superficial aspiring actress in what we could qualify as one of the first papers that responded to the stereotype that later would be created of her.
Shortly before, in 1949, Marilyn, who for a time combined the professions of actress and model, gave its first blow to the celebrity to pose for a photo shoot whose result is still today one of the most genuine images of a pin- Up girl These are the images that show in nude shots to Marilyn naked on a red bedspread. Some of the photos would appear that same year in a calendar, and soon after, in 1953, one of them would be the cover of the first number of the famous erotic magazine Playboy. This, without a doubt, was a true media event, perhaps of the first that can be compared to those that are given today.
Meanwhile, the actress did not abandon her career in film. After realizing some secondary papers not too remarkable, in 1952 appeared in some titles of some importance, either by its directors, or by the work that carried out in them: Encounters at night (Clash by night), of Fritz Lang; We are not married, by Edmund Goulding; The episode that Henry Koster made for the collective film Four Hours of a Life (O’Henry’s Full House); And Roy Ward Baker’s intriguing film Niebla in the Soul (Don’t bother to knock), in which she very convincingly played the character of Nell Forbes.
Marilyn was truly splendid in her role as Nell, a troubled nanny who had attempted suicide in the past and who, desperate and half mad after having lost her great love, now disguises herself with the jewels of her mistress to seduce an attractive pilot . The girl to be cared for that night, Benny, frustrates her plans, so the hallucinatory girl first threatens to eviscerate her as easily as a doll, and then gags her and ties her to the bed. In this sadistic and insane relationship with the little girl, Marilyn showed convincing cruelty that, while revealing her excellent dramatic skills, perhaps brought to mind the horrors she had suffered during her own childhood. It was undoubtedly one of the best roles of her career.
But the really important movie of that year was Howard Hawks’ sitcom I Feel to Rejuvenate, the director who along with John Huston and Billy Wilder may have managed to get the best out of Marilyn Monroe. In this comedy, true classic of the genre written by Ben Hecht, Charles Lederer and I.A.L. Diamond, played the silly blond secretary next to two true monsters of the genre, Cary Grant and Ginger Rogers. The mastery of the staging and the splendid dramatic-comic carpentry of the film was what Marilyn’s career needed, which could finally prove its worth beyond the foolishness of the character she had played. In addition, and as would be seen later, it was in the more or less pure comedy where the actress gave the best of herself.
In 1953 she was going to make the first three films in which her contribution was important. First, Niagara, a Hitchcock thriller directed by the ever-efficient Henry Hathaway, but that was not the kind of production fit for the actress. Much more important, since perhaps the title that marks the beginning of Marilyn Monroe as a star and as a sexual myth, is Gentlemen prefer blondes, a new comedy, this time musical, of Howard Hawks.
The gentlemen prefer blondes, based on an ingenious novel by Anita Loos, told the story of the confrontation of two chorus girls, a brunette, the turgid Jane Russell, and another blonde, Marilyn, who try to hunt one of the most wanted bachelors and Rich of America. In this film, plagued with excellent gags and provocative musical numbers, Marilyn proved that she was, besides a good actress of comedy, a notable singer and dancer, with a personal and very suggestive style. In fact, the sought-after male character, who played Charles Coburn, finally opted to stay with Lorelei Lee, the blonde.
The third job she did that year was a similarly arguably similar film, How to Marry a Millionaire, by Jean Negulesco, in which Marilyn and two other actresses, this time Betty Grable and Lauren Bacall, proposed Conquer a millionaire at all costs. Not as exuberant as the previous one, it was a film that exploited in comedy key the disparity of physicists and characters of the three female interpreters and, therefore, was a work very adapted to the abilities of Marilyn Monroe. As a result of these sensational works, in 1954 would be awarded the prestigious Golden Globe to the best actress.
Converted in less than a year into one of the most glittering stars in the Hollywood film industry, on January 14, 1954, she married the legendary baseball player Joe DiMaggio, one of the first American athletes whose popularity was comparable to that of a star Of cinema. The wedding was one of the most celebrated social events of that year, but only a few months later, on October 27, DiMaggio and Marilyn divorced. Despite this, and according to the testimony of friends of the actress, Joe DiMaggio was, of the three husbands she had, the only one she really wanted.
Cinematographically speaking, 1954 was not a great year compared to the preceding or the following. She participated in two titles; The first was a peculiar cross between the melodrama and the western that directed Otto Preminger, River of no return, a good film co-starred with Robert Mitchum in which Marilyn did not shine especially. The second, Walter Lang’s musical comedy “There’s no business like show business” was much lower than the previous year.
In spite of the professional successes she had obtained in a short time, her personal life was not satisfactory. In addition to the recent sentimental failure with DiMaggio, she did not stop fighting to prove that it was more than a pretty face and figure. The more she became a sex-symbol, the more she tried not to succumb to the conformist image she projected. The harassment to which it was submitted by the managers of the producers was constant. If in her films she attracted the man with her body and her innocent charm, in life she boasted that she had never agreed to go to bed with the producers and heads of the studios, something that would surely have made things easier for better roles , Especially at the beginning of her career.
On the other hand, her ingrained complex of intellectual nullity, probably caused by her early abandonment of studies, led to new activities. In 1955, for example, she attended the prestigious New York Actors Studio to take classes with Lee Strasberg. Induced by Strasberg, she studied psychoanalysis in order to know herself more and to bring out her interpretative potential. Strasberg, a generous man, treated her like a father and offered to intervene in theatrical sessions at the center, starring in plays such as Tenessee Williams’ A Streetcar Named Desire, and Eugene O’Neill’s Anna Christie. These details were mocked by certain Hollywood circles who persisted in seeing her as an actress whose only valuable attribute was to arouse an irrepressible attraction in men.
The two films in which she then intervened, although excellent, presented the character that was to interpret as someone with more of a parallelism with that other Marilyn of the real life. In both Billy Wilder’s The Seven Year Itch (1955) and Bus Stop (1956) by Joshua Logan, Marilyn performed two stupendous performances. But the general public, instead of changing their idea of the actress by focusing on their interpretive capacity, still pigeonholed her more, because they were roles similar to the image that had been taken from her studies.
The usual pressure on her to submit to a big star, the contempt she felt for some industry professionals, and the discontent with herself did not take long to impress Marilyn. Her behavior in filming was increasingly problematic, with frequent impuntualities, excuses for untimely absences and poor relations with actors and technicians. By this time began to take periods of rest in clinics due to the depressions in which more and more frequently it was seen.
Nevertheless, it remained in the eye of the hurricane, being the preferred object of the press; But also frustrating. She agreed to grant an interview while waiting for a journalist to be interested in her intellectual concerns, what she read or the kind of films she would like to play, but the only thing she found systematically was clumsy toilet matters. Some of her answers then became famous, as when she said that she did not wear underwear or that to sleep only put on Chanel n. 5. So, unconsciously or not, Marilyn herself ended up helping to consolidate people’s perception of her.
1956 was a crucial year in her life, since on June 29 she married the playwright Arthur Miller, for which she had to convert before Judaism. This link was more surprising if it fits for the public and the press that the one of DiMaggio. Miller, a serious writer and playwright, from the Jewish intellectual elite, of openly leftist ideological positions, married a woman who was supposedly the antithesis: superficial, frivolous, with no ideas of her own, and usually appeared on the front pages of the yellow press. And those who predicted the worst, they were right, since this third and last marriage was a new personal failure. Marilyn Monroe’s uncaring and naive did not match up with the exclusive circle of New York intellectuals in which Miller developed, and although they did not divorce until January 1961, they soon distanced themselves irrevocably.
In the meantime, Marilyn had set in motion a new project that was causing the mistrust of the heads of studies: her own producer. Tired of mistreatment and scorn, in 1957 she traveled to Britain to star in and produce The Prince and the Showgirl, a somewhat more dramatic variation on the theme of The Gentlemen Prefer Blondes and How to Marry a Millionaire. As director and partenaire her Marilyn chose the Shakespearean and very British Laurence Olivier. The filming was, as usual, somewhat turbulent, with clashes with Olivier, delays, pills and alcohol. Curiously, the critics, who had already highlighted her good acting as a dramatic actress on Bus Stop, was unanimous in stating that the spontaneity and charm of Marilyn had eclipsed Olivier, although it was merciless with the film.
Back in the United States, Marilyn’s problems, insecurities, and fears were once again arising: a marriage that no longer worked; Studies increasingly refractory to hiring it, strange that this might seem given its immense popularity; New depressions; New stays in sanatoriums or rest clinics, and two new or at least more pronounced factors: the consumption of alcohol and pills, especially barbiturates.
In her next film, Some Like It Hot (1959), a cool and scathing comedy about love and transsexualism in which Billy Wilder directed her again, filming became a real ordeal. In her memoirs, Wilder would remember him as the most traumatic experience of her career due to the unpredictable behavior of the actress, who never came on time or who simply had to repeat up to 65 times a plane in which only had a phrase . Nevertheless, and thanks in a certain way to the good chemistry she had with the other two main actors, Tony Curtis and Jack Lemmon, the final result was satisfactory; The work of Marilyn would be awarded in 1960 with a new Golden Globe, this time in the category of best actress of comedy or musical.
In 1960, she co-starred with the French actor Yves Montand the film of George Cukor The billionaire (Let’s make love). Although with a habitual approach in the filmography of Monroe (humble girl but with desire of improvement that finds the love in a rich man), Cukor printed to the argument a greater dramatic accent. It was a sumptuous production, correctly performed, and with a good work of the main couple, but still there was something in the set that did not work. During the filming, Monroe and Montand had an affair that did not pass to majors. Marilyn fell in love with the actor, but for Montand it was no more than an adventure. Again, the most desirable woman in the world did not find or had difficulty keeping a love.
His last film appearance, if we discount the incomplete and unreleased film of Cukor Something’s got to give, was for many critics and fans the best work of all those made by Marilyn Monroe. John Huston’s The Misfits (1961) and screenplay by Marilyn’s still husband, Arthur Miller, was an elegiac film, played with the rare quality of the unrepeatable, which brought together three great actors, Clark Gable , Montgomery Clift and Marilyn Monroe, three stars that were also going through different personal moments especially delicate moments. A story of losers, so much like Huston, that in a final twilight will find at least a place where they can rest and share their experiences with someone. Intense and emotional, perhaps this role was the best gift she could make to Marilyn Arthur Miller, with whom she would divorce soon after, on January 21, 1961, just a week before the premiere of Rebel Lives. Her sentimental interpretation of the divorced Roslyn Taber, who finds a new love in the personage that embodies Gable, returned to be highlighted in 1962 with a new Globe of Gold.
The last months of Marilyn’s life present a series of dark areas that are unlikely to become clear, such as her relationship with then-US President John Fitzgerald Kennedy, which seems proven to be intimate in nature, or later to Her brother, Senator Robert Kennedy, in which some evidence may suggest that it was only friendship. However, the names of both appeared then and continue appearing today in the matter of the suicide death of the actress, who died on August 5, 1962 because of an overdose of barbiturates in her home in Brentwood, California.
At three in the morning, Mrs. Murray, her housekeeper, found her in bed in a strange pose, with the phone tightly clutched in one of her hands and the lights on. An empty bottle of Nembutal on the table testified to the massive ingestion of pills by the star. The coroner certified her death and expressed her conviction that it was a suicide. In later years, a veritable scandal industry, with the yellow right-wing, right-wing and a ruined and desperately needy Norman Mailer, speculated tirelessly about the relationship between her death and the Kennedy brothers.
It was not the first time she had ingested an overdose of barbiturates combined with alcohol: exactly the same had happened in the spring of the previous year, shortly after the separation of Miller and the premiere of Vidas rebels. Strangely, the police did not reveal the name of the substance Marilyn had taken, and seized and refused to make the tapes public
In spite of the infinity of biographies and books that have been written about her (including her autobiography, appeared posthumously in 1974), in which it was possible to perceive that other Marilyn that does not fit the topic, still today appears in the first place, Or in a prominent place, in all sorts of more or less frivolous rankings: in 1995 was voted by the readers of the English magazine Empire like the sexiest actress of all time; The same magazine, in 1997, placed it as the eighth largest movie star (male and female) of all time; And in 1999, the American People magazine considered her the sexiest woman of the century.
In short, despite Marilyn Monroe’s bold attempts to be considered in a different way from what was seen, she will hardly ever disappear from the collective imagination as one of the erotic icons of the twentieth century. The image of The Temptation lives upstairs, with a pleated white blouse and skirt that rise and flutter as it passes over a New York subway vent, has been inextricably linked to its name. Her disappearance in her youth, and at the height of her fame as an actress and as a living erotic myth, did nothing more than increase the legend.
1946 Starts working as an advertising model. She studied acting at Actor’s Lab in Hollywood.
1947 First appearances on the big screen. It adopts the name of Marilyn Monroe.
1948 Debuts as secondary actress in Ladies of the chorus and in Canned Love.
1949 Increases her popularity by posing for a series of erotic photographs, which four years later would be cover of Playboy magazine.
1950 Participates with small roles in the jungle of asphalt and Eva to the naked.
1952 Performs one of her best works in Niebla en el alma, by Roy Ward Baker. Wheel with Howard Hawks I feel rejuvenated, the first of her popular comedies.
1953 Niagara Wheel, by Henry Hathaway, and triumphs worldwide with new comedies: the musical The Knights Pretend Blondes, by Howard Hawks, and How to Marry a Millionaire, by Jean Negulesco
1954 It contracts marriage with the baseball player Joe DiMaggio, of which it is divorced the same year. Coprotagonizes the western River without return and the musical comedy Luces de candilejas.
1955 Deepens in the interpretation in the Actors Studio of Lee Strasberg and intervenes in some of its theatrical montages. Wheel with Billy Wilder The temptation lives upstairs.
1956 Starring Bus Stop, by Joshua Logan. She married the playwright Arthur Miller.
1957 Starring and producing in England the film The Prince and the showgirl, next to Laurence Olivier.
1958 Their depressions and their addiction to alcohol and barbiturates are accentuated.
1959 Wheels with Billy Wilder With skirts and crazy.
1960 Coprotagonizes The Billionaire, by George Cukor. Gets the Golden Globe for Skirts and Crazy.
1961 She divorces Arthur Miller. Rueda with John Huston Rebel lives, her last film.
1962 Receives a Golden Globe for Rebel Lives. She dies in Los Angeles on August 5th.
Marilyn was not an extraordinary interpreter but, as an actress, she was endowed with a particular magnetism and her contribution to several unforgettable films was essential. Billy Wilder’s Gentlemen Prefer Blondes (1953), by Howard Hawks, or Billy Wilder’s “Some Like It Hot, 1959” remain in the memory of any movie buff. In the same way, some sequences of which it was protagonist are among the most reproduced passages of the history of the cinema. The scene of The Temptation lives upstairs in which the wind that escapes a subway vent lifts the skirt of the blonde actress, discovering her legs, has been imitated many times, as in The Woman in Red, starring Kelly LeBrock, and Has recovered on endless occasions for commercials.
His first film roles allowed him to obtain enough success for the producers to focus on it, due to the rupture that their beauty implied with respect to the models accepted in the 1940s. After several minor roles, she was able to take advantage of the opportunity offered by John Huston, who directed her in The Jungle of Asphalt (1950) in the role of Angela, the false “niece” of a gangster much older than herself, prodigal in children’s gestures and Provocative, which ends by naively betraying her protector.
Marilyn Monroe was truly at the level that was required, so it can be said that this role was her consecration, and allowed him to get a small role in Joseph L. Mankiewicz’s Naked Eve (1950). On the contrary, the only memorable thing related to its appearance in the great film of Fritz Lang Meeting in the night (1952), with Barbara Stanwyck, was that the future great star was showing for the first time wearing blue jeans.
The following films, mainly comedies, catapulted her to fame. Marilyn was, in effect, the great comedian interpreter of the fifties: the irresistible object of desire that received a burst of siphon in its round posaderas in I feel to rejuvenate (Howard Hawks, 1952), that part of her anatomy that was also Stuck in the porthole of a ship in The Gentlemen Prefer Blondes (Howard Hawks, 1953).
In How to Marry a Millionaire (Jean Negulesco, 1953), she borders on her phenomenal, ambitious and myopic fool role, but it is in The Temptation Lives Up (Billy Wilder, 1955) where her overwhelming erotic nature becomes enduring myth in such scenes Famous as the one in which an accidental windstorm bare its legs or in the other where it is discovered that it refreshes its underwear in the refrigerator.
Billy Wilder also directed Marilyn in Con skirts and crazy, where Tony Curtis intervened, who then rudely declared that kissing Marilyn Monroe was like kissing Hitler. On the contrary, the director justified the continuous delays with which the star came to work, a behavior that when becoming habitual was gaining all sorts of enmity: “I often came late to the shooting, but not because the sheets were sticking. She had to force herself to come in. She was emotionally upset all the time. ”
However, the result was a film that marked the birth of the new American comedy, which surpassed the tradition of Frank Capra to endow itself with a greater dose of critical acidity. With a sarcasm reminiscent of Eric von Stroheim, in the comedy there are equivocal situations that provoke amusing moments, but the American way of life that it exhibits is no longer so idyllic; The characters show the bitter pessimism that Billy Wilder knows how to infuse. Marilyn Monroe, in a comfortable role of showgirl, was a valuable complement to the work of Jack Lemmon and Tony Curtis, two musicians forced to escape from Chicago for witnessing the violent actions of a gang of gangsters, and joining the orchestra Female Marilyn Monroe disguised as women. In reference to the unstable Marilyn’s contribution, Wilder was blunt: “When you were done with Marilyn, even though you had reached forty shots and endured your delays, you were with something unique and inimitable.”
During the filming of The Multimillionaire (1960), Marilyn had an affair with the male protagonist who shared with her the head of the poster, Yves Montand, who was married then with the actress Simone Signoret. In fact, the star’s relations with Arthur Miller, with whom she had married in 1956, were deteriorating to forced marches, although the playwright prepared, as a cynical epitaph, a screenplay for her wife, The Misfits ), Directed by John Huston.
It was perhaps the most rugged film ever shot by Marilyn, torn by the imminent divorce, which became effective in January 1961. The film’s operator was one Inge Morath, who married Arthur Miller in February of the following year. Before even shooting the foreground, the film was attacked by the press because of its progressive argument. All the darts were thrown mercilessly at Marilyn, who had been admitted to a psychiatric facility in the late 1960s, and who was even accused of Clark Gable’s death immediately after the shooting. Despite the fact that Marilyn’s work in this film has been considered the best of her career, she was able to perfectly trace a symbolic role that, on the other hand, anticipated perhaps her own failure.
Net Worth of Marilyn Monroe.
The Net Worth of Marilyn Monroe in 2017 is $ 30 Million.
When she took her life, she left unfinished a film by George Cukor, a musical comedy with Cyd Charisse and Dean Martin that should be titled Somethings got to give and in which Marilyn appeared naked bathing in a pool. The scene came to be shot, and the photographs that show her wearing a blue bathrobe have become justly celebrated.
1947 You were meant for me
Scudda Hoo! Scudda Hay!
1948 Ladies of the chorus
1949 Canned Love
1950 A ticket to Tomahawk
The jungle of asphalt
1951 Let’s make it cool
As young as you feel