Truman capote and marilyn monroe relationship

Marilyn Monroe's Most Famous Lovers: Truth vs. Rumor |

truman capote and marilyn monroe relationship

In , Capote and Marilyn Monroe attended the funeral of Constance Collier, Marilyn's acting coach. Afterward, the two friends spent the day together touring. How Truman Capote's novella became a great Hollywood film by Sarah Churchwell. to the story, Capote wanted Marilyn Monroe to play Holly Golightly. . is really about our love affair with Audrey Hepburn, the movie star. Marilyn Monroe left Los Angeles in November in hopes of starting her where she had an affair with Marlon Brando and hung out with Truman Capote . Monroe also spent time with Truman Capote while in New York.

Every inch of Audrey Hepburn exudes aristocratic chic. Monroe, by contrast, whom Capote knew well, though raised in California rather than Texas, was originally named Norma Jeane with an E, like Lulamaeand her parallels with Capote's Holly do not end there.

She was a depression-era orphan who was both exploited and saved by older men. As an adult she would allude to childhood molestations when reckoning how many lovers she's had, Capote's Holly dismisses "anything that happened before I was 13, because, after all, that just doesn't count".

truman capote and marilyn monroe relationship

She has an upturned nose, tousled, "somewhat self-induced" short, blonde hair "strands of albino-blonde and yellow" and "large eyes, a little blue, a little green". She is befriended by an extremely short, powerful Hollywood agent who recognises her potential and helps her reinvent herself, renaming her and providing her with access to education and a more sophisticated veneer. She runs away to New York just as success in Hollywood seems assured — although Holly, unlike Monroe, knows she doesn't have it in her to be a star, because she lacks the drive that precisely characterised Monroe as Capote understood.

Like Monroe, Holly is in it for the "self-improvement", as she tells the narrator. She's been around the block, for which she never apologises, and she ends as an icon, a fertility symbol the narrator sees a picture of Holly carved as an African fetish. Most of all, Monroe, like Capote's Holly, "is a phony.

Truman Capote's confidante reveals details about lost Jackie Kennedy/Marilyn Monroe film

But on the other hand. The novella's Holly, her agent knows, is "strictly a girl you'll read where she ends up at the bottom of a bottle of Seconals". Mind you, the novella was published in Blake Edwards's film adaptation was released ina little less than a year before Monroe died.

Holly could have been the performance of a lifetime — as it would have been the performance of her lifetime. Moreover Holly, despite being blonde, is decidedly not dumb, and Monroe was desperate to escape being typecast.

But Hepburn won the part, and in retrospect it is easy to see why. Hepburn, far more than Monroe, had become indelibly associated with the transformative Cinderella makeover. Hepburn was the only one whose stardom seemed to reflect her authentic self — as if she were not an actor but a true princess, an authentic queen. In one way, Capote was certainly an authentic queen.

But he was never able to shed his sense of belonging on the margins. The neglected child from Louisiana, the prodigy who transformed himself into a celebrity, never believed that he belonged in the castle. As he wrote of his own alter ego, the unnamed narrator of Tiffany's, he lived perpetually with "his nose pressed on the glass", wanting "awfully to be on the inside staring out".

Capote, who was born Truman Parsons, was himself an aspiring Cinderella; like Holly he was renamed, reinvented, and left eternally waiting for the right fairy godmother. Cinderella was not, originally, a poor child raised to the rank of princess.

In the stories of Charles Perrault and the Brothers Grimm, Cinderella begins life in privilege and wealth — in earlier versions she's even a princess — who is wrongly deprived of her rightful status by those who envy her power and beauty.

It is less a story of metamorphosis than of revelation: On screen, we never saw Norma Jeane become Monroe: But for Hepburn, every definitive role leading up to Breakfast at Tiffany's — and continuing to My Fair Lady — featured her being transformed, the butterfly emerging from the chrysalis. And unlike Monroe, who was always seen as having transformed into something artificial, Hepburn was only ever transformed back into her own luminous, immanent self.

The story of our culture's subsequent love affair with the film of Breakfast at Tiffany's — and not with the novella, which may be admired, and certainly has the cachet of its author, but is hardly well-beloved, much less well-read — is really about our love affair with Audrey Hepburn, the movie star. The persona she consistently projected was of authentic, intrinsic refinement, of chic sophistication that was never brittle or cold, of an instinctive stylishness that reached its epitome in Breakfast at Tiffany's.

The moment when Hepburn first emerges in the film still ranks as one of the great screen makeovers of all time. The title credits roll over a scene of condensed, symbolic wishing: Selznick a ride on their private plane, and Selznick asked whether he could bring along his friend, Truman. How disappointed he was to meet this diminutive character with a high-pitched voice — no matter that he was a wunderkind, just 29 years old.

She may have been one of the most beautiful women in New York City, married to a true power broker, but in truth she was lonely. Her husband ignored her. She spent her days as the most pampered, expensive house cat on the Eastern Seaboard, roaming around big, empty houses, the children shunted off to nannies in other wings.

Whether he admitted it or not, he was attracted to money and power. Sister to Jackie Kennedy, married to a prince in name only, Lee was a society girl who lacked ambition, intellect, an identity of her own.

But Capote smothered her with attention, praised her beauty in the pages of Vogue — and, most importantly, he made her feel smart by association. She never quite loved him, but these swans did. Slim Keith reinvented herself from a hick named Nancy Raye Gross into a high-end model. She would divorce twice and marry three times, settling for an unsatisfying union with a British baron. She had never met anyone like him. His head excited me immensely! Going to lunch with him in a good restaurant was the most fun there was.

It may be the meanest American short story ever. After, there was no doubt. Had she not passed away in at the age of 36, what might she be doing now? Would she have continued acting? Retired to become Mrs.

How NYC freed Marilyn Monroe from sexist Hollywood labels

Joe DiMaggio for the second time? Carved out an Oscar-winning career for herself? What could have been remains a mystery, much like Monroe herself. In honor of her birthday, here are 14 things we do know.

truman capote and marilyn monroe relationship

Getty Images As a child, Norma Jean Baker was in and out of foster homes, state care, and the guardianship of various family friends. She never knew her father, and her mother had been committed to a psychiatric facility.

  • Marilyn Monroe's Most Famous Lovers: Truth vs. Rumor
  • Breakfast at Tiffany's: When Audrey Hepburn won Marilyn Monroe's role
  • An Abbess in High-Heeled Shoes

Unless she married, the teenager would have been turned back over to an orphanage. So they turned to year-old James Dougherty next door and suggested a marriage. He had been walking on Broadway with her one evening, totally incognito, and the next minute, she was swarmed with attention.

Marilyn would say that. Getty Images She chose her new surname because it was her mother's maiden name.

truman capote and marilyn monroe relationship