RARE Orginal MARILYN MONROE Vintge HEBREW Book COVER PHOTO Jewish ISRAEL Judaica

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DESCRIPTION : 40 years ago , In 1982 , The Israeli publishers of the Hebrew edition of this French written roman of passion and desire by Sébastien Japrisot -  L'Été meurtrier ( ONE DEADLY SUMMER ) have picked the nice colorful photographed image of MARILYN MONROE for the FRONT and BACK COVER.  Out of print. Rare. Excellent condition.  ( Pls look at scan for accurate AS IS images )  . Book will be sent  in a special protective rigid sealed packaging.

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SHIPPMENT : Shipp worldwide via registered airmail is $ 25 . Book will be sent  in a special protective rigid sealed packaging.  Will be sent  around 5-10 days after payment .  

 Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962)was an American actress, model, and singer, who became a major sex symbol, starring in a number of commercially successful motion pictures during the 1950s and early 1960s. After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946 with Twentieth Century-Fox. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950), drew attention. By 1952 she had her first leading role in Don't Bother to Knock and 1953 brought a lead in Niagara , a melodramatic film noir that dwelt on her seductiveness. Her "dumb blonde" persona was used to comic effect in subsequent films such as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953) and The Seven Year Itch (1955). Limited by typecasting, Monroe studied at the Actors Studio to broaden her range. Her dramatic performance in Bus Stop (1956) was hailed by critics and garnered a Golden Globe nomination. Her production company, Marilyn Monroe Productions, released The Prince and the Showgirl (1957), for which she received a BAFTA Award nomination and won a David di Donatello award. She received a Golden Globe Award for her performance in Some Like It Hot (1959). Monroe's last completed film was The Misfits (1961), co-starring Clark Gable with screenplay by her then-husband, Arthur Miller. The final years of Monroe's life were marked by illness, personal problems, and a reputation for unreliability and being difficult to work with. The circumstances of her death, from an overdose of barbiturates, have been the subject of conjecture. Though officially classified as a "probable suicide", the possibility of an accidental overdose, as well as of homicide, have not been ruled out. In 1999, Monroe was ranked as the sixth-greatest female star of all time by the American Film Institute. In the decades following her death, she has often been cited as both a pop and a cultural icon as well as the quintessential American sex symbol. In 2009, TV Guide Network named her No. 1 in Film's Sexiest Women of All Time *****  Sébastien Japrisot (4 July 1931 – 4 March 2003) was a French author, screenwriter and film director. His pseudonym was an anagram of Jean-Baptiste Rossi, his real name. Renowned for subverting the rules of the crime genre, Japrisot broke down the established formulas "into their component pieces to re-combine them in original and paradoxical ways."[1] Some critics argue that though Japrisot's work may lack the explicit experimental element present in the novels of some of his contemporaries, it shows influences of structuralist theories and the unorthodox techniques of the New Novelists. He remains little known in the English-speaking world, though all his novels have been translated into English and all but one of them have been made into films. Contents 1 Biography 2 Literary style 3 Literary influences 4 Legacy 5 Works 6 Filmography 7 Awards 8 References 9 External links Biography[edit] Jean-Baptiste Rossi was born on July 4, 1931 in Marseille to an Italian immigrant family.[2][3] His father abandoned them when the boy was six years old.[4] Supported by his mother, Rossi went to study with the Jesuits at the Ecole de Provence, and later at the Lycée Thiers.[5] There he began writing his first novel Les Mal-partis.[6] He came to Paris to study philosophy at the Sorbonne but spent most of his time finishing his novel. It told a story of a rebellious 14-old boy in a Jesuit school, and his passionate love affair with a 26-year old nun. Despite the controversial subject matter, the book was published by Robert Laffont in 1950. It was well received in the UK (The False Start, 1951) and the U.S. (Awakening, 1952) where it sold 800,000 copies.[4] Rossi then wrote the novella Faces of Love and Hatred, published in October 1950. He followed that by translating fiction from English to French, including several Hopalong Cassidy Westerns and works by J. D. Salinger – The Catcher in the Rye in 1953, and Nine Stories in 1961.[7] In need to generate steady income, Rossi began working in advertising agencies, first as a writer, and then managing campaigns for Air France, Max Factor, and Formica.[8] Rossi also had long-time interest in cinema, and producer Pierre Braunberger offered him to make a film based on a Maupassant story. Rossi replied that he preferred creating his own stories, and wrote and directed two short films: La machine à parler d’amour (1961) and L’idée fixe (1962).[9] In the early 1960s, he found himself owing a considerable amount in back taxes. His friend Robert Kanters, who then managed “Crime-club” collection at Denoël, offered Rossi a sizeable advance to write a crime novel.[8] Not sure of the outcome, the writer chose the pseudonym ‘Sébastien Japrisot’ which was an anagram of his real name. Within a short period of time, he wrote two crime novels: The Sleeping Car Murders and Trap for Cinderella.[10] The latter was awarded the Grand Prix de Littérature Policière in 1963. In 1965, both books were adapted into films, directed by Costa-Gavras and André Cayatte respectively. Japrisot followed this with The Lady in the Car with Glasses and a Gun, which won him the 1966 Prix d'Honneur in France. It also won the Crime Writer's Association Gold Dagger for the best Thriller published in the United Kingdom in 1968 by a foreign writer. It was made into a film by Anatole Litvak in 1970 starring Samantha Eggar, Oliver Reed, and Stéphane Audran. The 1960s and early 1970s were marked by Japrisot's further involvement with cinema. He wrote original screenplays for Farewell Friend (1968), Rider on the Rain (1970), and And Hope to Die (1972), as well as directed the film adaptation of his debut novel Les Mal-partis (1975).[9] He returned to literature in 1977 with the novel One Deadly Summer that received the Prix des Deux Magots in 1978. The film version, directed by Jean Becker in 1983, was awarded four Césars, including one to Japrisot for Best Adapted Screenplay. From then on, Japrisot would divide his time between cinema and literature. His next novel The Passion of Women was published in 1986. In 1988 he wrote and directed the semiserious thriller Juillet en septembre starring Laetitia Gabrielli and Anne Parillaud. The film was derided by critics[11] and unsuccessful commercially, and was Japrisot's last directorial effort. In 1990 Japrisot and his companion Cathy Esposito moved from Paris to a house he purchased near Busset, Allier.[12] Japrisot's final novel A Very Long Engagement was published in 1991 to wide critical acclaim both in France and abroad.[13] It was awarded the Prix Interallié the same year. Japrisot then wrote two screenplays for Jean Becker: The Children of the Marshland (1999), adapting the 1958 novel by Georges Montforez, and A Crime in Paradise (2001), based on Sacha Guitry’s 1951 film La Poison. He died on March 4, 2003 in Vichy. His new novel Là-haut les tambours ("Drums on the Heights") remained unfinished.[4] Jean-Baptiste Rossi is buried in the new section of the cemetery of Busset.[14] Literary style[edit] Martin Hurcombe wrote that Japrisot's four novels (from Trap for Cinderella to The Passion of Women) fit the definition of the suspense novel: "they are structured around a crime that precedes the narrative of the novel, a crime that is reconstructed in narrative form in the course of that novel." At the core of each novel is "a competition between different potential narrators of the crime." Hurcombe then concludes that "Japrisot's novels therefore place the value of narrative, and the ability to convince others through a triumphant narrative version of the crime, above the physical and objective truth concerning the same event."[15] Simon Kemp notes that Japrisot's two most characteristic literary techniques are subjectivity and polyphony – "restricted first-person perspectives and a none-too-harmonious chorus of voices – which together produce the unreliable narratives by which his mysteries are sustained." His novels "are narrated or focalized through characters whose restricted perspective on the events they experience keeps the reader equally in the dark until the moment of revelation comes for both of them." Japrisot enhances this effect by occasionally using present-tense narration, "giving a sense of narration simultaneous with the actions recounted, and thus avoiding the artificiality of a retrospective narrator concealing his hindsight." The polyphony in Japrisot's fiction is used to balance "the restriction of viewpoint with a proliferation of different voices in telling of the tale." Those narratives are usually concerned with disputed events involving a number of witnesses and participants. "In the course of the narrative, the reader is then presented with various accounts of the same incident by different characters."[16] As a result, "the truth is to be sifted by the reader from the variety of partial views and inconsistent testimonies offered."[17] Such complex techniques make Japrisot's works hard to categorize, and pose a problem for the publishers whether to market his novels as crime fiction or literary fiction. In an interview included in the French edition of The Lady in the Car with Glasses and a Gun, Japrisot mentions the ambiguity of his situation: the crime-fiction critics find his novels too literary while the literary critics find his works too exciting.[18] Howard Junker called Japrisot "a great talent, whom students of the popular novel and of the narrative form in general will want to analyze."[19] Literary influences[edit] Japrisot claimed that he didn't like reading, and that Lewis Carroll’s Alice in Wonderland, and Ernest Hemingway’s Fifty Grand and other stories were all one needed to write well.[10] He was also reportedly fond of G .K. Chesterton and Georges Simenon.[4] Lewis Carroll’s Alice in Wonderland and its sequel serve as a constant point of reference in Japrisot’s work, providing the epigraphs for One Deadly Summer, The Passion of Women, and A Very Long Engagement, and appearing as on-screen opening quotes in Rider on the Rain as well as in And Hope to Die. These quotes allude to the characters’ limited vision and "their inability to master the events that surround and confound them."[20] Carroll's texts may have provided Japrisot with "the archetype of the young female protagonist in search of knowledge and identity" that figures in Trap for Cinderella, The Lady in the Car with Glasses and a Gun, One Deadly Summer and A Very Long Engagement.[20] Just like Carroll's heroine, "Japrisot’s characters seem to have entered a dimension where certainties no longer exist and the mystery lies in knowing who you are."[21] Legacy[edit] Upon Japrisot's death, France's then Minister of Culture Jean-Jacques Aillagon issued a statement in which he called Japrisot a "master of storytelling, a writer appreciated by both the critics and the public" and "his greatest resource came from his love for his characters and the history of our country, which will remain the essence of his work."[22] The Association Sébastien Japrisot was founded in Busset in 2004 to promote and preserve his literary legacy.[23] A conference titled "Sébastien Japrisot: A Retrospective" was held at the University of Bristol in September 2005. A number of academics from Europe and North America gathered to discuss and assess Japrisot's contribution to crime fiction and cinema. The materials of the conference were published in 2009 as "Sébastien Japrisot: the Art of Crime." Jacques Dubois wrote in the preface: "Whilst Japrisot himself was indifferent to establishing a legacy at any cost, he nevertheless has that rare merit of compelling us to reconsider our criteria and opinions concerning great literature."[24] Martin Hurcombe and Simon Kemp wrote that because of his reputation as merely a crime fiction author "Japrisot has failed to receive due academic consideration and this despite the fact that many of his works appear on undergraduate syllabuses in Europe and North America."[1] They argue that though Japrisot's work may lack "the explicit experimental thrust of many of his counterparts in the 1960s and 1970s, but it also reflected and therefore popularized certain intellectual currents of his day." In his writings one can find influences of structuralist theories and the unorthodox techniques of the New Novelists, "as it breaks down the formulas of the classic detective story into their component pieces to re-combine them in original and paradoxical ways."[1] Works[edit] Year of publication in France Original French title English title / translation Publication 1950 Les Mal Partis The False Start = Awakening The False Start. London, Secker and Warburg, 1951, 212 p. Awakening. New York, Harper [1952], 244 p. 1950 Visages de l'amour et de la haine Faces of Love and Hatred New York : New American Library of World Literature, New World Writing n° 73, 1952. 1962 Compartiment tueurs The 10:30 from Marseille = The Sleeping-car murders Transl. by Francis Price The 10:30 from Marseille. Garden City, N.Y. : Published for the Crime Club by Doubleday [1963], 181 p. The 10:30 from Marseille. London : Souvenir Press, 1964, 181 p. The Sleeping-car murders. Harmondsworth, Eng. ; New York : Penguin Books, 1978, c1963, 181 p. ISBN 0-14-004992-4 The Sleeping car murders. New York, N.Y. : Plume, [1997], 181 p. ISBN 0-452-27778-7 The 10:30 from Marseille. London : Harvill Press, 1998, 214p. ISBN 1-86046-440-8 (pbk) 1963 Piège pour Cendrillon Trap for Cinderella Transl. by Helen Weaver New York : Simon and Schuster, 1964, 171 p. London : Souvenir Press, 1965, 171 p. Harpenden, Herts: No Exit Press, 1990 New York : Plume, 1997, 171 p. ISBN 0-452-27779-5 1965 L'Odyssexe – – 1966 La Dame dans l'auto avec des lunettes et un fusil The Lady in the Car with Glasses and a Gun Transl. by Helen Weaver New York : Simon and Schuster, [1967], 240 p. London : Souvenir Press, 1968, 240 p. ISBN 0-285-50076-7 New York : Penguin Books, 1980, 253 p. ISBN 0-14-005361-1 (pbk.) New York : Plume, [1997], 224 p. ISBN 0-452-27777-9 London : Harvill, 1998, c1967, 233p. (Panther). ISBN 1-86046-439-4 (pbk) 1968 Adieu l'ami Goodbye, friend Transl. by Patricia Allen Dreyfus London : Souvenir Press, 1969, 185 p. ISBN 0-285-50263-8 New York : Simon and Schuster, [1969], 185 p. London : Corgi, 1971, 126 p. ISBN 0-552-08705-X (pbk) 1972 La Course du lièvre à travers les champs – – 1977 L'Été meurtrier One Deadly Summer Transl. by Alan Sheridan New York : Harcourt Brace Jovanovich, c1980, 279 p. ISBN 0-15-169381-1 Harmondsworth ; New York : Penguin Books, 1981, c1980, 297 p. (Penguin crime fiction). ISBN 0-14-005846-X (pbk.) New York : Plume, 1997. ISBN 0-452-27780-9 London : Harvill, 2000, c1980, 279 p. ISBN 1-86046-773-3 (pbk.) 1986 La Passion des femmes The Passion Of Women Women in Evidence Transl. by Ros Schwartz The Passion Of Women. New York : Crown, c1990, 312 p. ISBN 0-517-56940-X Women in evidence. Harpenden : No Exit, 1995, c1990, 310p. ISBN 1-874061-25-4 (pbk.) Women in evidence. New York, N.Y. : Plume, [2000], 326 p. ISBN 0-452-28162-8 (pbk.) 1991 Un long dimanche de fiançailles A Very Long Engagement Transl. by Linda Coverdale New York : Farrar, Straus, Giroux, 1993, 327 p. ISBN 0-374-28335-4 1992 Le Passager de la pluie Rider on the Rain Transl. by Linda Coverdale London : Harvill, 1999, 150 p. ISBN 1-86046-542-0 (pbk) Filmography[edit] 1961: La machine à parler d'amour (short) (director, screenwriter) as Jean-Baptiste Rossi 1961: L'idée fixe (short) (director, screenwriter) as Jean-Baptiste Rossi 1964: L'homme perdu dans son journal (short) (director, screenwriter) as Jean-Baptiste Rossi 1965 : Trap for Cinderella (screenwriter, based on his novel) 1965 : The Sleeping Car Murders (based on his novel) 1968 : Adieu l'ami a.k.a. Honor Among Thieves a.k.a. Farewell, Friend (UK title) a.k.a. So Long, Friend (screenwriter) 1970 : Rider on the Rain (screenwriter) 1970 : The Lady in the Car with Glasses and a Gun (based on his novel) 1972 : And Hope to Die (screenwriter, based on a novel by David Goodis) 1975 : Story of O (screenwriter, based on a novel by Pauline Réage) 1975 : Folle à tuer a.k.a. Mad Enough To Kill (screenwriter, based on a novel by Jean-Patrick Manchette) (uncredited at Japrisot's request) 1976 : Les Mal Partis (director, screenwriter, based on his novel) as Jean-Baptiste Rossi 1983 : One Deadly Summer (screenwriter, based on his novel) 1988 : Juillet en septembre a.k.a. July In September (director, screenwriter) 1992 : Daam Autos (The Lady in the Car), Estonia, (based on his novel The Lady in the Car with Glasses and a Gun), directed by Peeter Urbla 1999 : Children of the Marshland (screenwriter, based on a novel by Georges Montforez) 2000 : Traektoriya babochki (Trajectory of the Butterfly), Russian TV miniseries (based on his novel Trap for Cinderella) 2001 : Dama v ochkakh, s ruzhyom v avtomobile (The Lady in the Car with Glasses and a Gun), Russian TV miniseries (based on his novel) 2001 : A Crime in Paradise (screenwriter, based on La Poison by Sacha Guitry) 2004 : A Very Long Engagement (based on his novel) 2013 : Trap for Cinderella (based on his novel) 2015 : The Lady in the Car with Glasses and a Gun (based on his novel) Awards[edit] 1963 : Grand Prix de Littérature policière for Piège pour Cendrillon (Denoël, 1963). 1966 : Prix de l'Unanimité for Les Mal Partis 1966 : Prix d'Honneur for La Dame dans l'auto avec des lunettes et un fusil 1968 : Gold Dagger Award for the Best Crime Novel of the Year 1968 (Best Foreign) – The Crime Writer's Association for The Lady in the Car (Souvenir Press) 1978 : Prix des Deux-Magots for L'Été meurtrier (Denoël, 1977) 1981 : The Martin Beck Award – Svenska Deckarakademin (Académie suédoise) – for Vedergällningen (L'Été meurtrier) 1984 : César de la meilleure adaptation cinématographique (Best Adapted Screenplay) – French Academy of Cinema – for L'Été meurtrier (film de Jean Becker, 1983). 1991 : Prix Interallié for Un long dimanche de fiançailles (Denoël, 1991). 1996 : Adult Great Read (Honorable Mention) – Northern California Independent Booksellers Associated (NCIBA) (USA) for A very long Engagement ****  One Deadly Summer is a psychological suspense novel by Sébastien Japrisot, originally published in French as L'Été meurtrier in 1977. It received the 1978 Prix des Deux Magots in France. Japrisot also scripted the 1983 film adaptation directed by Jean Becker and starring Isabelle Adjani. Contents 1 Plot 2 Style and structure 3 Reception 4 Publications in English 5 Film adaptation 6 References Plot[edit] Eliane, or "Elle", a beautiful young woman settles into a mountain village with her Austrian mother (whom the local people mistake for a German and call 'Eva Braun') and disabled father Gabriel. Soon she becomes talk of the town because of her aloof but at the same time, sexually provocative behavior. She has an affair with Florimond Montecciari, nicknamed Ping-Pong, a car mechanic and volunteer fireman. Soon Eliane insinuates herself into the Montecciari household, and starts inquiring about Ping-Pong's late father, and the old piano that the family keeps in the barn. It turns out that Eliane is out to avenge the long-ago rape of her own mother by three men who had arrived at her isolated house in a van which contained an old piano which they were delivering. Eliane is the child of that rape, and doesn't know her real father. Since the father of the Montecciaris is already dead, she decides to take revenge on the two suspects who are still alive: Leballech and his brother-in-law Touret. She poses as a young teacher and rents an apartment from Touret to be closer to her targets. At the same time she marries Ping-Pong. Soon after the wedding, she disappears and is later found in Marseille. She has regressed into childhood, and has to be institutionalized in a clinic. Seeing his wife's mental state, Ping-Pong believes that Eliane is the victim of Leballech and Touret who prostituted her, according to the rumors she spread before she had lost her mind. He tracks down and shoots both men before realizing his mistake. He discovers that Eliane was wrong: her adoptive father Gabriel had long ago shot the real culprits. Ping-Pong is arrested and recounts the whole story to his attorney. Style and structure[edit] The novel opens with a quote from Lewis Carroll’s Alice in Wonderland: “I'll be judge, I'll be jury,' Said cunning old Fury: 'I'll try the whole cause, and condemn you to death." Marina Kundu writes in her analysis of the novel: "The reader follows the process of detection of the criminal’s identity through the separate testimonies of four characters. All are involved in Elle’s plan of vengeance, all assume a wider reference than would be indicated by their individual designations as victim, witness, juror or judge."[1] And yet none of them is able to prevent the fatal course of events: "Like the analogous extratextual readers, they are trapped by the narrative situation—by the detective novel's peculiarity of being narrated backwards, inversely from the moment of the revelation of the criminal."[1] The book is divided into six parts: "The Executioner" narrated by Ping-Pong; "The Victim" narrated by Eliane; "The Witness" narrated by Ping-Pong's Aunt Nine nicknamed Cognata; "The Indictment" narrated by Eliane's mother; "The Sentence" again narrated by Eliane who is now revealed to be 'judge and jury';[2] "The Execution" narrated by Ping-Pong who is by this point emerges as the true victim.[2] The text is constructed in a circular fashion: Chapter One begins and ends with the same phrase: "I said OK," and Chapter Six ends at the point at which this phrase from Chapter One is uttered in 'real time.'[3] Japrisot occasionally uses present-tense narration, especially in Eliane's sections "giving a sense of narration simultaneous with the actions recounted, and thus avoiding the artificiality of a retrospective narrator concealing his hindsight."[4] Reception[edit] One Deadly Summer was the winner of the 1978 Prix des Deux Magots in France, and received positive reviews from critics. Kirkus Reviews wrote: "Slow to build as its four narrators come and go, this psychological crime-suspense is nevertheless unreeled with the taut, confident shaping of a grand master; Japrisot… has finally found just the right balance between very Gallic atmospheric density and ironic, tragically twisting events." The reviewer then added: "In other hands, this sexual melodrama might have come across as both contrived and lurid; here, however, it's a rich and resonant sonata in black, astutely suspended between mythic tragedy and the grubby pathos of nagging everyday life."[5] Jean Strouse wrote in Newsweek: "Fragments of her [Eliane's] disturbing story come slowly together like the pieces in a psychological jigsaw puzzle—rape, murder, incest, revenge, split personality. Japrisot slices into these small-town European lives with all the precision of a fine surgeon. He gets each voice just right, in Alan Sheridan's deft translation, and Elle's bizarre behavior gradually begins to make sense. By the end, you feel more sympathy than horror at the ghastly truth."[6] Reviewing the paperback edition, The New York Times commented: "This chilling story of psychological suspense is the work of a French novelist who has been influenced by American crime writing, yet on its own terms it is a most original creation."[7] David Bellos wrote: "Japrisot's novel engages with painful, paradoxical and profound dimensions of human life, and no one who reads it can fail to be moved, scared, fascinated, and to a degree, transformed by it."[8] Publications in English[edit] New York: Harcourt Brace Jovanovich, 1980 London: Secker and Warburg, 1980 New York: Penguin Books, 1981 New York: Plume, 1997 London : Harvill, 2000 Mineola, New York: Dover Publications, Inc., 2019 Film adaptation[edit] 1983: One Deadly Summer, French film directed by Jean Becker and starring Isabelle Adjani as Eliane and Alain Souchon as Ping-Pong. The film was a commercial and critical success in France, and received four César awards, including one to Japrisot for Best Adapted Screenplay.  ****Jean-Baptiste Rossi, plus connu sous son nom de plume (et anagramme) Sébastien Japrisot, est un romancier, scénariste, traducteur, réalisateur et parolier français né le 4 juillet 1931 à Marseille et mort le 4 mars 2003 à Vichy. Sommaire 1 Biographie 1.1 Jeunesse marseillaise (1931-1949) 1.2 Premiers écrits (1948-1952) 1.3 Traduction, publicité, courts métrages (1953-1961) 1.4 Retour à la littérature et naissance de Sébastien Japrisot (1962-1970) 1.5 La tentation cinématographique (1970-1980) 1.6 Nouveau retour à la littérature (1980-1991) 1.7 Nouvelles flâneries du côté du cinéma (1991-2003) 2 Publications 2.1 Romans, récits 2.2 Romans policiers 2.3 Scénarios publiés 2.4 Traductions 2.5 Recueils, œuvres réunies en volumes 2.6 Nouvelles 2.7 Poème 3 Filmographie 3.1 En qualité de réalisateur et scénariste 3.2 En qualité de scénariste (scenarios originaux) 3.3 En qualité de scénariste (adaptations d'œuvres) 3.4 En qualité d'auteur de l'œuvre originale 4 Discographie 4.1 Paroles de chanson 5 Analyse de l'œuvre 5.1 Thèmes 5.2 Accueil et perception de l'œuvre 5.3 Revue de presse, éloges, hommages 5.3.1 Écrivains 5.3.2 Classe politique 5.3.3 Universitaires 5.3.4 Critiques littéraires 5.3.5 Critiques littéraires spécialisés 6 L'œuvre de Sébastien Japrisot à l'étranger 6.1 Œuvres littéraires traduites 6.2 Films à l'étranger 7 Récompenses 7.1 Livres 7.2 Films 7.2.1 Nominations 7.2.2 Victoires 8 Dans la culture populaire 8.1 Œuvres influencées par Sébastien Japrisot 8.2 Hommages 9 Sources 10 Voir aussi 10.1 Bibliographie critique 10.1.1 Interviews 10.1.2 Monographies 10.2 Documentaire 10.3 Liens externes Biographie[modifier | modifier le code] Jeunesse marseillaise (1931-1949)[modifier | modifier le code] Né le 4 juillet 1931 à Marseille dans une famille d'origine italienne, Jean-Baptiste Rossi, est élevé par sa mère et ses grands-parents. À 17 ans, au lycée Thiers1, il entreprend, pour tromper l’ennui des cours de physique-chimie, d’écrire Les Mal Partis, une histoire d'amour entre un collégien et une religieuse pendant la débâcle de 1940. Ce qui ne l'empêchera pas d'obtenir son baccalauréat. Premiers écrits (1948-1952)[modifier | modifier le code] Monté à Paris à la rentrée suivante pour s’inscrire à la Sorbonne, Jean-Baptiste Rossi n’a qu’un but : faire publier son roman, trouver un éditeur. Une amie lui recommande un bureau de dactylographie au quai de l’Horloge, pour y faire taper la première partie des Mal Partis. Ce n'était pas vraiment la bonne adresse, mais un service destiné aux avocats et aux médecins sans secrétaire. Germaine Huart, une dactylo, s'apercevant de son désarroi, lui propose de taper son manuscrit en dehors des heures de travail. Elle est petite, timide et mignonne. Il a le coup de foudre. Cette jeune fille deviendra sa femme2. Tout en vivant avec elle, il écrira la deuxième partie des Mal Partis, publiés en 1950 chez Robert Laffont. Si le roman est ignoré en France, il est bien accueilli dans sa traduction aux États-Unis. Introduit dans le milieu cinématographique et littéraire, J.-B. Rossi traduit en 1953 L'Attrape-cœurs de J. D. Salinger qui ne rencontre pas le succès ; il travaille alors dans la publicité pour gagner sa vie. Poussé par son ami Robert Kanters, il écrivit sous le pseudonyme de Sébastien Japrisot son premier roman policier, Compartiment tueurs en 1962. Le succès est grand et le roman est adapté au cinéma. Il en est de même pour les romans suivants comme Piège pour Cendrillon (1963) ou L'Été meurtrier (1977). Il travaille aussi comme scénariste sur Adieu l'ami (1968), Le Passager de la pluie (1969) dont il publie les réécritures romanesques, ou encore La Course du lièvre à travers les champs (1972). Cherchant à revenir à la littérature, il publie en 1991 Un long dimanche de fiançailles, histoire d'amour durant la guerre de 14-18 qui se transforme en une véritable enquête policière, que couronne le Prix Interallié et que Jean-Pierre Jeunet adapte au cinéma en 2004. Jean-Baptiste Rossi choisit le pseudonyme de Sébastien Japrisot (quasi-anagramme de son nom) pour signer ses deux premiers romans policiers Compartiment tueurs et Piège pour Cendrillon, écrits à la suite en quelques jours, sans imaginer un seul instant le succès qu'ils allaient avoir, sans penser qu'ils deviendraient le « Marienbad du roman policier » et que le cinéma s'emparerait de ses livres. Ne connaissant pas le monde de l'édition, c'est par hasard, parce que la couverture des volumes de la collection Pavillons lui avait attiré l'œil à la vitrine de la librairie Gibert, qu'il tente sa chance auprès de Robert Laffont. Sans se rendre compte que la collection en question n'abritait que des auteurs étrangers. Il demande à voir personnellement le patron pour lui remettre en main propre l'exemplaire unique de son manuscrit. Il fait le siège plusieurs jours. Robert Laffont, Marseillais comme lui, accepte aussitôt de publier cette histoire malgré le sujet sulfureux, les avis défavorables de son comité de lecture – à l'exception de Robert Kanters –, et les menaces des jésuites. On est en février 1950, Rossi n'a alors que dix-neuf ans. Ce livre lui vaut un succès d'estime en France, une belle auréole au Quartier Latin auprès de ses aînés comme Roger Nimier qui déclare : « Jean-Baptiste Rossi est très jeune, mais il n'est pas pressé de le démontrer ». Aussitôt traduit à l'étranger, le livre connaît un succès foudroyant aux États-Unis. Rossi décroche un contrat mirifique avec les Pocket Books. Afin de se prouver à lui-même qu'il n'est pas l'auteur d'une seule œuvre, il écrit dans la foulée Visages de l'amour et de la haine, longue nouvelle pour le numéro d'octobre 1950 de Réalités, revue dirigée par Marcel Mithois. Traduction, publicité, courts métrages (1953-1961)[modifier | modifier le code] Pour gagner sa vie, alors que ses connaissances en langue anglaise ne vont pas plus loin que celles acquises à l'école, il se met à traduire librement plusieurs romans westerns de Clarence E. Mulford (l'auteur de la série Hopalong Cassidy), sous le pseudonyme de Robert Huart, pour la nouvelle collection Arizona de Robert Laffont3. On lui confie par la suite, en 1953, la traduction de L'Attrape-cœurs de J. D. Salinger, l'histoire d'un adolescent fragile. Mais L'Attrape-cœurs ne rencontre pas la faveur immédiate du public (100 exemplaires vendus) et cela a pour effet de dégoûter le jeune Rossi de la littérature. Il traduit encore en 1956 Mais qui a tué Harry ?, le roman de Jack Trevor Story dont Alfred Hitchcock a tiré son film. Puis il entre comme concepteur et chef de publicité dans deux grandes agences parisiennes, dont Synergies, avec Air France, Rubafix, les vins Postillon, les parfums Houbigant comme principaux clients. Sa vie redevient confortable. Rétrospectivement, il confie : « Je venais de plus en plus tard au bureau et j'étais tellement pressé d'en sortir que le trajet même a fini par me sembler absurde. » À cette époque, vers l'âge de 29 ans, il fait la connaissance du producteur Pierre Braunberger, l'homme des films de la Pléiade, le véritable initiateur de la Nouvelle Vague, le producteur qui a lancé Truffaut, Godard, Resnais, Lelouch. Ce dernier souhaite produire Les Mal Partis. Le film ne se fait pas (livre trop difficile à mettre en images) mais Braunberger, trouvant à son auteur des dons de metteur en scène, lui demande d'adapter une nouvelle de Maupassant. Rossi lui répondra qu'il préfère inventer des histoires lui-même. C'est ainsi que Rossi demande un congé de six mois à son agence publicitaire et réalise pour Braunberger deux courts-métrages : La Machine à parler d'amour avec Nicole Berger et L'Idée fixe, un film policier où une sourde-muette voit un tueur à l'action. Pouvant enfin donner libre cours à son imagination, Rossi quitte définitivement la publicité, ne lâche plus le cinéma, et travaille comme scénariste pour différents metteurs en scène, notamment Jean Renoir et Marcel Ophuls. Il traduit les Nouvelles de J. D. Salinger en 1961. Et là, belle revanche, Salinger plaît aux Français qui redécouvrent L'Attrape-cœurs. Mais les traductions et le cinéma ne nourrissent pas leur homme. Retour à la littérature et naissance de Sébastien Japrisot (1962-1970)[modifier | modifier le code] En janvier 1962, J.-B. Rossi a un besoin urgent d'argent car le fisc lui réclame un arriéré impressionnant : 500 000 francs de l'époque. Il s'agit d'impôts sur ses gains de publicitaire épuisés depuis longtemps. Son ami et voisin Robert Kanters, à qui il doit en partie la publication des Mal Partis et qui dirige la collection policière "Crime Club" chez Denoël, propose qu'il lui écrive un roman policier. Rossi porte la semaine suivante à son éditeur un manuscrit Compartiment tueurs pour lequel il touche 250 000 francs d'à-valoir. Il revient huit jours plus tard avec Piège pour Cendrillon, pour toucher la même somme. Au moment de signer le contrat, il propose le pseudonyme Sébastien Japrisot. « Craignant de me fourvoyer dans l'erreur et d'échouer dans le domaine policier, je n'avais pas voulu signer Jean-Baptiste Rossi. » (Sébastien Japrisot, cité in Le Provençal, 06/11/1977). Il n'imagine pas qu'il va devenir prisonnier de ce nom et se découvrir un don pour lier les fils d'une intrigue complexe. Compartiment tueurs paraît au mois de mai 1962, suivi un an après de Piège pour Cendrillon qui remporte le Grand Prix de Littérature policière. Ces deux livres, qu'il jugeait inavouables, rencontrent d'emblée la faveur de la critique et du public. Le cinéma s'en empare aussitôt : Costa-Gavras pour Compartiment tueurs (son premier film, avec Simone Signoret et Yves Montand) et, en 1965, André Cayatte pour Piège pour Cendrillon (sur une adaptation signée Jean Anouilh). Deux grands succès. Du coup, les producteurs sont à ses pieds. Il devient l'auteur qui écrit facilement pour le cinéma. Sous son vrai nom, il publie un album satirique illustré par son ami Alain Trez : L'Odyssexe (1965) tiré de leur court-métrage réalisé l'année précédente : L'Homme perdu dans son journal. À l'occasion d'une réédition, Les Mal Partis obtient en 1966 le prix de l'Unanimité (décerné par un jury qui comprend Sartre, Aragon, Elsa Triolet, Adamov, Jean-Louis Bory, Robert Merle). En septembre de la même année, Sébastien Japrisot donne enfin un nouveau roman, plus long que les précédents et qu'il écrit en trois semaines : La Dame dans l'auto avec des lunettes et un fusil. Denoël créera une nouvelle collection, "Sueurs froides", pour l'accueillir. L'histoire est celle d'une jeune femme qui emprunte à son patron, sans le lui dire, sa luxueuse voiture pour se rendre sur la Côte d'Azur et qui, en cours de route, est confrontée à des situations de plus en plus hallucinantes. La critique et le public adorent ce livre qui se voit décerner le Prix d'Honneur 1966 et le Best Crime Novel en Grande-Bretagne. Même Simone de Beauvoir en parle. Après bien des tergiversations (Alfred Hitchcock, Jules Dassin, Roger Vadim sont séduits par La Dame dans l'auto), c'est finalement Anatole Litvak qui adapte à l'écran le roman ; et il en fait même son œuvre testament (1969) avec Samantha Eggar dans le rôle-titre. Les prétendantes étaient nombreuses : Brigitte Bardot, Michèle Mercier, Elizabeth Taylor, Julie Christie, Jane Fonda... La tentation cinématographique (1970-1980)[modifier | modifier le code] Dans les années 70-80, Sébastien Japrisot écrit directement pour le cinéma et consolide son rayonnement à l'étranger. « Dans le cinéma moins qu'ailleurs personne n'écoute jamais personne. Si vous voulez que vos personnages soient sur une toile blanche, n'écrivez pas un roman, écrivez directement un scénario, l'adaptation, les dialogues, tout. C'est ce que j'ai fait. »4 Avec Jean Herman (alias Jean Vautrin), il va trouver Serge Silberman, producteur du Journal d'une femme de chambre de Luis Buñuel, et du Trou, de Jacques Becker, pour lui proposer Adieu l'ami, l'histoire de deux ex-légionnaires qui se font enfermer dans une chambre forte, l'un pour voler, l'autre pour y restituer de l'argent. Le film, réalisé en 1968 avec Charles Bronson et Alain Delon, marche très fort. Serge Silberman le pousse à écrire de nouveau pour lui. Ainsi naît Le Passager de la pluie, mis en scène par René Clément en 1969, avec Charles Bronson et Marlène Jobert. Dans cette lutte entre une femme victime d'un viol, qui a tué son agresseur, et un policier obstiné et imprévisible qui la traque et la malmène, tout est dans la subtilité des relations qui s'esquissent entre eux. Savant dosage de résistance acharnée et d'essai de domination, de douceur ou de brutalité teintée d'érotisme sous-jacent. Japrisot écrit encore pour Silberman et avec à la réalisation le même René Clément, deux ans plus tard, La Course du lièvre à travers les champs. Au début, il s'agissait d'adapter un roman de la "Série noire" Black Friday (Vendredi 13) de David Goodis. Mais très vite, Japrisot s'aperçoit que ça ne marchera jamais, il a envie de raconter une autre histoire. Et de ce fait, La Course du lièvre à travers les champs est l'une de ses œuvres les plus personnelles, qui dégage un charme étrange et poétique. Il associe deux histoires : celle d'enfants de Marseille jouant aux gangsters et celle de gangsters en pleine action en Amérique. Serge Silberman le pousse à la réalisation. Sébastien Japrisot tourne ainsi en 1975 son premier long métrage adapté de son roman de jeunesse : Les Mal Partis. Ce film lui donne le virus de la mise en scène, mais l'écriture est pour lui plus qu'une passion, « une infirmité », et il déteste les contraintes liées aux horaires. La même année, il adapte au cinéma, pour Just Jaeckin, le roman de Pauline Réage : Histoire d'O et Folle à tuer pour Jean-Pierre Mocky d'après le roman Ô dingos, ô châteaux ! de Jean-Patrick Manchette. Finalement, c'est Yves Boisset qui réalisera Folle à tuer et du coup, Japrisot refusera d'être crédité au générique. Nouveau retour à la littérature (1980-1991)[modifier | modifier le code] Après une « absence » de dix ans, il revient à la littérature en 1977 avec L'Été meurtrier, qui obtiendra le prix des Deux-Magots en 1978. Ce roman, dont les événements sont relatés par les principaux protagonistes, chacun apportant sa vision de la réalité, de son point de vue personnel, trouve son point de départ dans trois faits divers réels. Le roman, puis le film réalisé en 1983 par Jean Becker (qui n'avait pas tourné depuis seize ans) et mettant en vedette Isabelle Adjani et Alain Souchon, connaîtront un important succès. Dans cette histoire de vengeance, Adjani incarne une jeune séductrice prête à tout pour dénouer une tragédie du passé. La beauté de la Provence contraste avec la noirceur de l'intrigue. Le film récolte en 1984 quatre Césars, dont celui de la meilleure adaptation cinématographique pour Japrisot. En 1986, l'auteur publie La Passion des femmes – portrait fragmenté d'un homme par les huit femmes qui l'ont aimé et hommage à l'univers du cinéma – et dirige deux ans plus tard Lætitia Gabrielli et Anne Parillaud pour son second long métrage, Juillet en septembre, l'histoire de deux personnages en quête d'amour – un tueur psychopathe et une jeune femme –, qui se croisent, se rencontrent mais seulement pendant huit minutes. Japrisot entame alors la rédaction d'Un long dimanche de fiançailles, qui obtiendra à sa sortie en 1991 le prix Interallié. Il a porté ce livre en lui pendant vingt ans et il a mis quatre ans à l'écrire. Le lecteur est emmené sur les champs de bataille de la Grande Guerre. Un long dimanche de fiançailles raconte une histoire d'amour, celle vécue par une jeune fille meurtrie dans sa chair (elle est handicapée) et dans son cœur (elle ne croit pas en la mort de son fiancé parti à la guerre). Une histoire d'amour qui se décline comme une enquête policière et qui se nourrit de souvenirs et d'acharnement. Nouvelles flâneries du côté du cinéma (1991-2003)[modifier | modifier le code] Un long dimanche de fiançailles, son chef-d'œuvre romanesque pour beaucoup de ses lecteurs, a été porté à l'écran par Jean-Pierre Jeunet avec Audrey Tautou dans le rôle de Mathilde. En 1998 sort Les Enfants du marais, tendre chronique de l'entre-deux-guerres dédiée aux petites gens et à la nostalgie d'un bonheur simple comme un rayon de soleil ou un verre de vin. Réalisé par Jean Becker d'après le roman de Georges Montforez, ce film prouve que L'Été meurtrier n'a pas tué le ticket Becker-Japrisot. Japrisot perpétue d'ailleurs sa complicité avec ce même réalisateur en écrivant le scénario d'Un crime au paradis (2000) d'après La Poison de Sacha Guitry, l'histoire d'un couple de paysans qui se détestent au point de souhaiter chacun la mort de l'autre, avec Jacques Villeret et Josiane Balasko dans les rôles autrefois interprétés par Michel Simon et Germaine Reuver. Vers 1990, il s'installe en Bourbonnais, avec sa compagne Cathy Esposito5, dans une grande maison en pleine campagne, entre Busset et Mariol ; il meurt en 2003 à Vichy. Il est enterré dans l'extension du cimetière de Busset (Allier). Publications[modifier | modifier le code] Romans, récits[modifier | modifier le code] Les Mal Partis - Prix de l'Unanimité 1966 (sous le nom de J.-B. Rossi, Robert Laffont, 1950) Visages de l'amour et de la haine (sous le nom de J.-B. Rossi, in Réalités no 57, 10/1950) L'Odyssexe (album illustré par Trez, publié sous le nom de J.-B. Rossi, Denoël, 1965) La Passion des femmes (Denoël, 1986) Romans policiers[modifier | modifier le code] Compartiment tueurs (Denoël, coll. «  Crime-club » no 203, 1962) Roman adapté au cinéma en 1965 dans un film français homonyme réalisé par Costa-Gavras, avec Simone Signoret et Yves Montand. Piège pour Cendrillon (Denoël, coll. « Crime-club » no 209, 1963) - Grand Prix de littérature policière 1963 Roman adapté au cinéma en 1965 dans un film français homonyme réalisé par André Cayatte, avec Dany Carrel et Madeleine Robinson. La Dame dans l'auto avec des lunettes et un fusil (Denoël, 1966) Roman adapté au cinéma en 1970 dans un film franco-américain, dont le titre original est The Lady in the Car with Glasses and a Gun, réalisé par Anatole Litvak, avec Samantha Eggar et Oliver Reed, et de nouveau en 2015 dans un film français homonyme réalisé par Joann Sfar, avec Freya Mavor et Elio Germano. L'Été meurtrier (Denoël, 1977) - Prix des Deux-Magots 1978, prix de l'Académie suédoise 1978 Roman adapté au cinéma en 1983 dans un film français homonyme réalisé par Jean Becker, avec Isabelle Adjani et Alain Souchon. Un long dimanche de fiançailles (Denoël, 1991) - prix Interallié 1991 Roman adapté au cinéma en 2004 dans un film français homonyme réalisé par Jean-Pierre Jeunet, avec Audrey Tautou et Gaspard Ulliel. Scénarios publiés[modifier | modifier le code] La Machine à parler d'amour (sous le nom de J.-B. Rossi, L'Avant-scène cinéma no 66, 01/1967) Adieu l'ami (Denoël, 1968) Scénario qui a donné lieu au film franco-italien Adieu l'ami réalisé par Jean Herman en 1968, avec Charles Bronson et Alain Delon. La Course du lièvre à travers les champs (Denoël, 1972) Scénario qui a donné lieu au film franco-italien La Course du lièvre à travers les champs réalisé par René Clément en 1972, avec Jean-Louis Trintignant et Robert Ryan. Le Passager de la pluie (Denoël, 1992) Scénario qui a donné lieu au film français Le Passager de la pluie réalisé par René Clément en 1970, avec Marlène Jobert et Charles Bronson. Traductions[modifier | modifier le code] Hopalong Cassidy entre en jeu (Hopalong Cassidy With the Trail Herd, 1950), roman western de Clarence E. Mulford, trad. sous le pseudonyme de Robert Huart (Robert Laffont, coll. "Arizona" no 1, 1951) Hopalong Cassidy et la couvée de l'aigle (Hopalong Cassidy With the Eagle's Brood, 1931), roman western de Clarence E. Mulford, trad. Robert Huart (Robert Laffont, coll. "Arizona" no 2, 1951). Hopalong Cassidy trouve un double (Hopalong Cassidy Returns, 1923), roman western de Clarence E. Mulford, trad. Robert Huart (Robert Laffont, coll. "Arizona" no 3, 1951) Hopalong Cassidy : les Hors-la-loi de West Fork (Hopalong Cassidy and the Rustlers of West Fork, 1951), roman western de Louis L'Amour, trad. Robert Huart (Robert Laffont, coll. "Arizona" no 6, 1951). (NB : le nom de l'auteur sur la page de titre est "Tex Burns") Pistes dans la nuit (Trails by Night), roman western de Tom J. Hopkins, trad. Robert Huart (Robert Laffont, coll. "Arizona" no 7, 1951). Hopalong Cassidy et les Compagnons du ranch 20 (Hopalong Cassidy, Bar 20, Rides Again, 1926) roman western de Clarence E. Mulford, trad. Robert Huart (Robert Laffont, coll. "Arizona" no 8, 1951). Hopalong Cassidy : le Shérif de Twin River (Hopalong Cassidy Serves a Writ, 1941), roman western de Clarence E. Mulford (Robert Laffont, coll. "Arizona" no 10, 1952). Hopalong Cassidy : (Meurtres sur) la Piste des sept pins (Hopalong Cassidy and the Trail to Seven Pines, 1951), roman western de Louis L'Amour, trad. Robert Huart (Robert Laffont, coll. "Arizona" no 11, 1952). La Poursuite blanche (Murder in the Outlands), roman western de James Beardsley Hendryx, trad. Robert Huart (Robert Laffont, coll. "Arizona" no 12, 1952). Hopalong Cassidy : Panique à Tasotal (Hopalong Cassidy and the Riders of High Rock, 1951), roman western de Louis L'Amour trad. Robert Huart (Robert Laffont, coll. "Arizona" no 14, 1952). Hopalong Cassidy : l'Inquiétant tireur (Hopalong Cassidy : Trouble Shooter, 1952), roman western de Louis L'Amour, trad. Robert Huart (Robert Laffont, coll. "Arizona" no 16, 1953) L'Attrape-Cœurs (The Catcher in the Rye), roman de J. D. Salinger (Robert Laffont, coll. « Pavillons », 1953) Mais... qui a tué Harry ? (The Trouble with Harry), roman de Jack Trevor Story [archive] (Robert Laffont, 1956) Nouvelles (Nine Stories), J. D. Salinger (Robert Laffont, coll. « Pavillons », 1961) L'Homme hilare / J. D. Salinger, extrait des nouvelles ; Quinze xylographies de Movy Pasternak (Thuin : Editions de la Grippelotte, 1970) Recueils, œuvres réunies en volumes[modifier | modifier le code] Écrit par Jean-Baptiste Rossi (coéd. Denoël-Robert Laffont, 1987) Japrisot volume 1 (œuvre policière) (Denoël, coll. "Des heures durant", 2003) Japrisot volume 2 (œuvre romanesque) (Denoël, coll. "Des heures durant", 2004) Romans policiers (Gallimard, coll. "Quarto", 2011) Nouvelles[modifier | modifier le code] Jean-Baptiste Rossi. « Les Vagabonds ». La Gazette des Lettres no 94, samedi 6 août 1949, p. 10-11, ill. en n/b de R. Pagès. Jean-Baptiste Rossi. « La Voix morte ». La Nef : revue mensuelle no 57, septembre 1949, p. 46-51. Jean-Baptiste Rossi. « Aquarelle pour un petit garçon ». La Pipe en écume : bulletin périodique du Mouvement Musical des Jeunes et des Compagnons du Concert de Chambre de Paris, cahier no 15, automne-hiver 1949, p. 18 Jean-Baptiste Rossi. « Atmosphère indigo ». La Gazette des Lettres, samedi 1er avril 1950 (6e année), no 111, p. 8-9, ill. Le Louarn. Jean-Baptiste Rossi. « La Croisière du "Charcot" de Frank Bullen », résumé-digest du livre de F. Bullen. La Gazette des lettres, samedi 8 juillet 1950, no 118, p. 11, surtitre : « notre Digest ». Sébastien Japrisot. « L'Idée fixe ». 813, octobre 2003, n° 85/86, p. 20-22, ill. Dominique Rousseau. Poème[modifier | modifier le code] Jean-Baptiste Rossi. « Sensations » [Crépuscules sombres]. Entre Nous, journal de lycéens parisiens, 1947. Filmographie[modifier | modifier le code] En qualité de réalisateur et scénariste[modifier | modifier le code] La Machine à parler d'amour (court métrage, 1961) L'Idée fixe (court métrage, 1962) L'Homme perdu dans son journal (court métrage, avec Alain Trez, 1964) Les Mal Partis (1975 - sortie le 11/02/19766). Réal. Jean-Baptiste Rossi. Avec France Dougnac, Marie Dubois, Pascale Roberts, Fred Personne, Olivier Jallageas, Bernard Verley, Jean Gaven, Richard Leduc, Martine Kelly, René Morard, Monique Mélinand, René Havard Juillet en septembre (1988). Réal. Sébastien Japrisot. Avec France Dougnac, Lætitia Gabrielli, Anne Parillaud, Pascale Pellegrin, Jean Gaven, Giselle Pascal, Daniel Desmars, Éric Damain, Cathy Esposito, Lydia Andréi, Éric Denize, Florence Geanty En qualité de scénariste (scenarios originaux)[modifier | modifier le code] Voir aussi les trois courts métrages et Juillet en septembre qu'il a réalisés Adieu l'ami. Réal. Jean Vautrin. Avec Charles Bronson et Alain Delon. La Course du lièvre à travers les champs. Réal. René Clément, avec Jean-Louis Trintignant, Robert Ryan, Lea Massari - ainsi que, le temps d'une apparition, une petite fille : Emmanuelle Béart. Le Passager de la pluie. Réal. René Clément. En qualité de scénariste (adaptations d'œuvres)[modifier | modifier le code] Peau de banane (1963). Réal. Marcel Ophuls. D'après le roman de Charles Williams. NB : Sébastien Japrisot n'est pas crédité. Histoire d'O (1975). Réal. Just Jaeckin. D'après le roman de Pauline Réage Histoire d'O. Folle à tuer (1975). Réal. Yves Boisset. D'après le roman de Jean-Patrick Manchette Ô dingos, ô châteaux ! NB : Sébastien Japrisot n'est pas crédité. Les Mal Partis (1976). Réal. Jean-Batiste Rossi, d'après son propre roman. L'Été meurtrier (1983). Réal. Jean Becker. César de la meilleure adaptation cinématographique 1984. Les Enfants du marais (1998). Réal. Jean Becker. D'après le roman de Georges Montforez. Un crime au Paradis (2001). Réal. Jean Becker. D'après La Poison de Sacha Guitry. En qualité d'auteur de l'œuvre originale[modifier | modifier le code] Compartiment tueurs (1964). Réal. Costa-Gavras. Piège pour Cendrillon (1965). Réal. André Cayatte. La Dame dans l'auto avec des lunettes et un fusil (1970). Réal. Anatole Litvak. L'Été meurtrier (1983). Réal. Jean Becker. Un long dimanche de fiançailles (2003). Réal. Jean-Pierre Jeunet, avec Audrey Tautou, Gaspard Ulliel, Marion Cotillard, Dominique Pinon, Jean-Paul Rouve, Albert Dupontel, Ticky Holgado... Trap for Cinderella (2013). Réal. Iain Softley. La Dame dans l'auto avec des lunettes et un fusil (2015). Réal. Joann Sfar. Discographie[modifier | modifier le code] Paroles de chanson[modifier | modifier le code] Sébastien Japrisot a écrit les paroles de la chanson titre du film Le Passager de la pluie réalisé par René Clément, avec une musique de Francis Lai (Éditions Francis Dreyfus, 1970). L'interprète Séverine signe son premier grand succès. Le single se vend non seulement en France, mais également à l'étranger et est classé numéro 1 durant plusieurs semaines des charts japonais. Nicole Croisille a repris cette chanson dans une version sensiblement différente. Analyse de l'œuvre[modifier | modifier le code] Thèmes[modifier | modifier le code] Tous les romans de Sébastien Japrisot racontent des histoires passionnelles mêlées à une intrigue criminelle savante. Les lecteurs se complaisent dans ce côté labyrinthique cher à l'écrivain qui avoue : « Si j'aborde dans mes livres certaines choses que je pense sur la société, cela me vient vraiment des personnages. Tout ce qui m'intéresse, c'est humain, ce n'est jamais idéologique. C'est pourquoi après Compartiment tueurs, mes romans s'écartaient de plus en plus du policier pour aller vers le roman psychologique où il n'y a plus vraiment d'intrigue policière. Je pouvais dire des choses à travers des personnages qui sont confrontés à une aventure qui les dépasse. Plutôt que de prendre des policiers qui voient des meurtres tous les jours, autant prendre un personnage comme vous et moi qui est confronté à un meurtre ou à une histoire dans laquelle il ne devait pas être. J'aime les personnages qui sont dépassés par les événements et qui, finalement, gagnent sur les événements. C'est d'autant plus intéressant quand c'est une héroïne, qu'on croit plus vulnérable, en tout cas plus fragile physiquement que les hommes, et qui est protégée par le lecteur qui a peur pour elle plus que pour un héros masculin. »7 L'exigence a toujours été une de ses qualités : « Le roman policier n'est pas un genre mineur. Balzac et Graham Greene ont écrit des policiers. Vous pensez que j'exagère de me comparer à Balzac et Graham Greene ? Il faut être ainsi à notre époque. Je ne dois pas pécher par facilité [...] Si j'ai choisi d'écrire des histoires policières, c'est parce qu'elles sont un alibi commode pour dire ce dont, par nature, je ne voudrais parler qu'à voix basse. Les événements y font un tel vacarme qu'on peut crier et chanter à tue-tête. Seuls, les plus près de vous entendent. »8 Accueil et perception de l'œuvre[modifier | modifier le code] Sébastien Japrisot vivait à son humeur, alternant littérature et cinéma, avec la chance de pouvoir s'octroyer, parfois, quelques années de silence méritées. Ses livres, ses films ne l'ont pas trahi. Il aimait la Femme, Lewis Carroll, le jazz, la tranquillité autant que les nuits blanches, la campagne et la mer, le pomerol, les souvenirs de son enfance, la vidéo (la plus grande invention depuis l'aspirine), les voitures miniatures, les timbres-poste et, par-dessus tout, sa famille et ses amis. Il n'avait jamais pris la grosse tête, avait su rester simple et se tenir à l'écart des mondanités parisiennes. Traduit dans de nombreux pays (Europe, Amérique, Japon, pays de l'Est…), il est également considéré comme l'un des écrivains français les plus lus à l'étranger. Ses romans, recommandés par l'Éducation nationale, font d'ailleurs partie des programmes scolaires. Revue de presse, éloges, hommages[modifier | modifier le code] Écrivains[modifier | modifier le code] Maurice-Bernard Endrèbe, Magazine du mystère no 11, 1978 : « Japrisot a franchi allègrement la distance séparant le Quai des Orfèvres du Quai Conti et la littérature policière de celle qui ne l'est pas. » Françoise Giroud, Le Journal du Dimanche, 13 octobre 1991 : « Un mécanicien diabolique. Il emboîte, il déboîte, il visse, il dévisse, il manipule son Meccano et vous surprend jusque dans ses dernières pages. C'est son truc, il y excelle. D'autre part, c'est un écrivain. La combinaison des deux n'est pas courante. » Thomas Narcejac, Le Grand Livre du Mois, décembre 1991 : « Quand un auteur dispose ainsi des nerfs de son lecteur et sait unir les ressources de la tragédie et les subtilités du roman de mystère, aucun doute, c'est le premier parmi les grands... » Jean-Christophe Grangé, France Info, mars 2003 : « Pour moi, c'était vraiment un maître absolu, un auteur qui avait à la fois son univers policier et son univers stylistique. Il avait ce talent d'associer à la fois des intrigues très particulières toujours avec des angoisses sur l'identité, sur un noyau central qui était vertigineux, d'une complexité, qui se resserrait au niveau de l'enquête. » Thierry Jonquet, La Bête et la belle, La bibliothèque Gallimard no 12, 1998 : « J'admire Sébastien Japrisot. Ses constructions abstraites, rigoureuses, implacablement rationnelles et pourtant totalement folles, me laissent admiratif. Japrisot est sans doute un joueur d'échec très doué. Mygale a été influencé par Piège pour Cendrillon, qui était un livre très construit, avec une logique folle. Japrisot m'impressionne beaucoup ! » Emmanuel Carrère, Le Nouvel Observateur no 2011, 22-28/05/2003 : « Cet inventeur de fictions aussi tarabiscotées qu'évidentes était aussi un styliste. Il y a chez lui des attaques, des rapidités, des détentes, une musique facile et savante qui sent souvent le Midi mais jamais l'ersatz de pagnolade. » Jean-François Coatmeur, 813, no 85-86, octobre-novembre 2003 : « Bien avant que nos chemins se croisent, Sébastien Japrisot était déjà pour moi un modèle : savante architecture de ses constructions narratives, sans rien qui « pèse ou qui pose », complexité si humaine de ses personnages, sortilèges d'une écriture très travaillée, mais qui avait gardé la souplesse éthérée du premier jet... Et puis je l'ai rencontré, au temps heureux des "grands-messes" rémoises. Et Jean-Baptiste est devenu un ami. » Classe politique[modifier | modifier le code] Jean-Jacques Aillagon, Ministre de la Culture et de la Communication, communiqué du 6 mars 2003 : « Avec Sébastien Japrisot disparaît un maître de la narration, un écrivain aussi apprécié de la critique que du public. Il a écrit avec la même aisance La Dame dans l'auto avec des lunettes et un fusil et Un long dimanche de fiançailles. Il a connu de grands succès populaires aussi bien dans le roman policier que dans le roman historique, et obtenu des prix prestigieux comme l'Interallié ou les Deux-Magots. Ses romans ont inspiré des cinéastes comme Costa-Gavras, Jean Becker ou Jean-Pierre Jeunet et lui-même a été l'auteur de scénarios dont on se souviendra longtemps, comme Adieu l'ami ou Le Passager de la pluie. Il disait "la seule langue que je comprends, en dehors du français, est celle des images". Il était un orfèvre dans les deux langages. Mais sa plus grande ressource venait de son amour pour ses personnages et pour l'histoire de notre pays, qui restera comme la chair de son œuvre. » Universitaires[modifier | modifier le code] André Vanoncini, Le Roman policier. PUF, coll. "Que sais-je ?", 1993 « Les héroïnes de Japrisot, à travers l'enquête et le crime, cherchent à atteindre et à articuler leur identité profonde, fût-ce au prix de l'autodestruction. » Stéphanie Dulout, Le Roman policier. Milan, coll. "Les Essentiels Milan", 1995 « Très influencé par les inventions virtuoses de Boileau-Narcejac, Sébastien Japrisot joue à son tour sur les possibilités multiples qu'offre le roman policier. Il tente notamment, en concentrant sur un seul personnage les fonctions clés de l'intrigue, d'intensifier la tension psychologique et le drame. » Yves Reuter, Le Roman policier. Nathan Université, coll. "128", 1997 : « Sébastien Japrisot est un virtuose des jeux de narration et de perspectives. Il soigne autant ses intrigues, fort complexes, que son écriture. » Le choix de l'intrigue policière, conforme au goût de l'insolite que Japrisot avait exprimé en tant que publicitaire, révèle surtout la volonté de démonter les modèles du genre : il s'agit de subvertir la logique narrative pour remettre en jeu la maîtrise du lecteur et le pouvoir des héros, obligés de reconstruire leur identité en confondant progressivement les rôles de l'enquêteur, du témoin, de la victime et de l'assassin, au risque d'être eux-mêmes condamnés ou de perdre la raison. Sylvie ROZÉ, « Dictionnaire des lettres françaises : le xxe siècle », La Pochothèque, 1998 Critiques littéraires[modifier | modifier le code] « Japrisot a une vertu rare, ou une grâce, ou une chance : il ne sait pas rater un livre, pas plus qu'un film… Il y a dans le roman de Japrisot un tel foisonnement d'intrigues, comme dans la littérature picaresque où chaque personnage raconte un univers, une telle générosité d'invention, une telle émotion, pour tout dire un tel talent, qu'on y trouverait dix films ». Renaud Matignon, Le Figaro. « Japrisot n'a pas la chair triste. Il a le délire élégant. Rien d'étonnant de la part de quelqu'un qui place si volontiers Lewis Carroll en épigraphe de ses livres. Ce caïd des séries noires ou blêmes dissimule un rêveur. Ou, si l'on préfère, un poète, mais qui ne hausse pas le col, ne pose pas au voyant ». Arnould de Liederkerke, Le Figaro Magazine. Un vrai romancier, un écrivain qui a trouvé l'équilibre entre la technique policière et la sensibilité romanesque. François Gonnet, France-Inter. Japrisot est un Simenon corrigé par Robbe-Grillet. Le Nouveau Candide, 16-23/05/1963 Sébastien Japrisot a le visage du poète de Peynet, une douceur qui donne la chair de poule, un filet de voix et le regard candide. À le voir tapi dans un coin de la pièce, reculant devant le succès comme devant un bain glacé, image même de l'innocence, nous avons pensé " Quel superbe criminel il ferait ! " Babette Rolin, Les Beaux-Arts, 17/05/1963 Son expérience de la publicité où, écrit-il, « ce qui compte, c'est d'en mettre un coup dans l'imagination », semble lui servir en littérature : il s'applique à frapper l'esprit du lecteur par son choix de l'intrigue policière et par un renversement au profit d'une écriture personnelle, de toutes les conventions du genre. Dans ces romans policiers qui n'en sont pas, l'insolite définit le comportement des acteurs principaux, dont les millions de gestes imprévisibles menacent le sens et l'ordre d'un monde adulte. Dictionnaire historique, thématique et technique des littératures, Larousse, 1985 La force de Japrisot, c'est d'une part cette construction maligne qui s'apparente au jeu de Meccano, chaque pièce s'emboîtant l'une dans l'autre. C'est aussi, bien sûr, cette écriture d'apparence simple, rythmée, étonnamment phonétique, charmeusement musicale… On frémit, on s'interroge, on s'inquiète. Le suspense se liant à l'émotion. Un grand livre, ce n'est rien d'autre : un grand sujet, des personnages forts, une écriture saisissante. Gilles Pudlowski, Le Point9. Dépassant à chaque roman le cadre d'une intrigue policière menée avec toute la rigueur du genre, Sébastien Japrisot nous livre des drames psychologiques passionnants, où l'insolite, l'humour et l'émotion alternent pour le plus grand plaisir du lecteur. Maxi-Livres / Profrance, présentation de l'auteur pour Le Passager de la pluie, 1995. La logique narrative est chez lui fondée sur sa propre subversion – qui met en cause aussi bien la conscience du détective que la maîtrise du lecteur – dans la lignée de la structure tragique sophocléenne et du récit analytique freudien. Pascal Mougin et Karen Haddad-Wotling, Dictionnaire mondial des littératures, Larousse, 09/2002 Sébastien Japrisot occupe une place singulière dans le roman français contemporain. Il a réussi à mener de front, avec un égal bonheur, son œuvre de scénariste et de romancier. Tenu parfois comme le plus anglo-saxon des écrivains français, il est l'un des auteurs français les plus traduits à l'étranger. Depuis son tout premier livre, la ferveur du public ne l'a jamais quitté. Surtout, et ce n'est pas sans moindre mérite, s'il ne s'est pas cantonné au roman policier, Sébastien Japrisot a largement contribué à abolir, par la qualité de son écriture et l'originalité de son écriture, la frontière entre littérature policière et littérature tout court. Gérard Meudal, Le Monde no 18077, 08/03/2003 Critiques littéraires spécialisés[modifier | modifier le code] Léger, très brillant, Jean-Baptiste Rossi (Sébastien Japrisot) cisèle la phrase avec un plaisir évident, et élabore de très beaux personnages de femmes. Nous lui devons de subtils romans aux machinations complexes, style William Irish, et dont les victimes sont souvent les coupables. Benvenuti-Rizzoni-Lebrun, Le Roman criminel : histoire, auteurs, personnages, L'Atalante, 1982 Même s'il l'a fait involontairement, inconsciemment, il a cependant marqué l'histoire du suspense français. Dans ses romans à suspense l'emporte l'étude psychologique des personnages. Michel Lebrun & J.-P. Schweighaeuser in Le Guide du polar, histoire du roman policier français, Syros, 1987 Les principaux arguments de ce romancier sont la maîtrise de l'écriture comme de l'intrigue. Tout est négocié avec une science innée de l'application. Les sujets sont forts, recherchés. La langue concise, très travaillée. Cette recherche permanente du plus juste équilibre fait de Japrisot un écrivain aussi rare que déterminant. Robert Deleuse, Les Maîtres du roman policier, Bordas, Les compacts no 24, 1991 L'œuvre de Sébastien Japrisot à l'étranger[modifier | modifier le code] Œuvres littéraires traduites[modifier | modifier le code] Œuvre originale Traductions Les Mal Partis  The False Start London, Secker and Warburg, 1951, 212 p.  Awakening New York, Harper [1952], 244 p.  Prélude d'amour / Jean-Baptiste Rossi Trad. ? Hambourg : Kulturverlag GmbH, 1952, 301 p.  Storia d'amore di una suora / Jean-Baptiste Rossi Trad. di Lea C. Bartoli Milano : Libri Edizioni, 1979, 189 p. (Anteprima) Visages de l'amour et de la haine - Compartiment tueurs  The 10:30 from Marseille Transl. by Francis Price Garden City, N.Y. : Published for the Crime Club by Doubleday [1963], 181 p. The Sleeping-car murders. Harmondsworth, Eng. ; New York : Penguin Books, 1978, c1963, 181 p. (ISBN 0140049924) The Sleeping car murders. New York, N.Y. : Plume, [1997], 181 p. (ISBN 0452277787)  The 10:30 from Marseille London : Souvenir Press, 1964, 181 p. London : Transworld Publishers, [1965], 173 p. (Corgi Books ; GC7211) London : Harvill Press, 1998, 214p. (ISBN 1860464408) (pbk)  Mord im Fahrpreis inbegriffen Transl. by Margaret Carroux Reinbek bei Hamburg : Rowohlt, 1964, 154 p. (rororo Taschenbuch ; 2048). Reinbek bei Hamburg : Rowohlt, 1976, 154 p. (rororo ; 2392 : rororo-Thriller). (ISBN 3-499-42392-8) Reinbek bei Hamburg : Rowohlt, 1980, 154 p. (rororo ; 2392 : rororo-Thriller). (ISBN 3-499-42392-8) Baden-Baden ; Zürich : Elster-Verl.; Zürich : Rio-Verl., 1997, 186 p. (ISBN 3-89151-258-9) Frankfurt am Main : Fischer-Taschenbuch-Verl., 1999, 185 p. (Fischer ; 14224). (ISBN 3-596-14224-5) Berlin : Aufbau-Taschenbuch-Verl., 2007, 195 p. (Aufbau-Taschenbücher ; 2296). (ISBN 3-7466-2296-4 et 978-3-7466-2296-5)  Scompartimento omicidi Trad. di Sandro Bajini Milano : Feltrinelli, 1964, 178 p. (Universale economica ; 473) Milano : Garzanti, 1970, 185 p. (I Garzanti ; 271) In Delitti in treno / a cura di Marco Polillo. Milano : A. Mondadori, 1976, 569 p. (Omnibus gialli) Milano : Club degli Editori, 1979, 139 p. Milano : Mondadori, 2003, 218 p. (I classici del giallo ; 958) Piège pour Cendrillon  Trap for Cinderella Transl. by Helen Weaver New York : Simon and Schuster, 1964, 171 p. New York : Plume, 1997, 171 p. (ISBN 0452277795)  Trap for Cinderella Transl. by Helen Weaver London : Souvenir Press, 1965, 171 p. Harmondsworth [etc.] : Penguin books, [1979], 171 p. (Penguin crime fiction). (ISBN 0140053646)  Trappola per Cenerentola Trad. di ? Milano : Feltrinelli, 1967, 181 p. (Feltrinelli K 350 ; 6)  Falle für Aschenbrödel Transl. by Ilse Bulcke Reinbek bei Hamburg : Rowohlt, 1965, 123 p. (rororo Taschenbuch ; 2062). Reinbek bei Hamburg : Rowohlt, 1977, 123 p. (rororo ; 2413 : rororo-Thriller). (ISBN 3-499-42413-4) Reinbek bei Hamburg : Rowohlt, 1978, 123 p. (rororo ; 2413 : rororo-Thriller). (ISBN 3-499-42413-4) Reinbek bei Hamburg : Rowohlt, 1995, 142 p. (Rororo ; 3209 : rororo-Thriller). (ISBN 3-499-43209-9)  En fælde for Askepot På dansk ved Merete Engberg [S.l.] : Schønberg, 1990, 184 p.  Chine 灰姑娘的陷阱 宋冬深译 1. 长沙:湖南文艺出版社,2014,208页。( (ISBN 9787540466602)) L'Odyssexe - La Dame dans l'auto avec des lunettes et un fusil  The Lady in the car with glasses and a gun Transl. by Helen Weaver New York : Simon and Schuster, [1967], 240 p. New York : Penguin books, 1979, 253 p. (Penguin crime). (ISBN 0140053611) (pbk.) New York : Plume, [1997], 224 p. (ISBN 0452277779)  The Lady in the car with glasses and a gun Transl. by Helen Weaver London : Souvenir Press, 1968, 240 p. (ISBN 0285500767) London : Harvill, 1998, c1967, 233p. (Panther). (ISBN 1860464394) (pbk)  Porträt einer Dame im Auto mit Brille und Gewehr Transl. by Gottlieb Knecht Reinbek bei Hamburg : Rowohlt, 1967, 185 p. (rororo ; 2128 : rororo-thriller) Reinbek bei Hamburg : Rowohlt, 1984, 445 p. (Rororo ; 2665 : rororo-Thriller). (ISBN 3-499-42665-X). Roman jumelé avec Dann schlachten wir den Sündenbock, de James McKimmey.  Die Dame im Auto mit Sonnenbrille und Gewehr Transl. by Gottlieb Knecht Baden-Baden ; Zürich : Elster-Verl.; Zürich : Rio-Verl., 1997, 223 p. (ISBN 3-89151-246-5) Frankfurt am Main : Fischer-Taschenbuch-Verl., 1999, 223 p. (Fischer ; 14223). (ISBN 3-596-14223-7) Berlin : Aufbau-Taschenbuch-Verl., 2006, 235 p. (Aufbau-Taschenbücher ; 2171). (ISBN 3-7466-2171-2 et 978-3-7466-2171-5)  Damen i bilen med briller og gevær På dansk ved Bibba Jørgen Jensen Haslev : Bogklubben Spektrum, 1969, 229 p. [S.l.] : Schønberg, 1990, 229 p. [Kbh.] : Forum, 1998, 229 p.  La signora dell'auto con gli occhiali e un fucile Trad. di Francesco Verdeborghese Milano : Feltrinelli, 1967, 206 p. (Il brivido e l'avventura) S. l. : Club degli Editori, c1967 (stampa 1980), 206 p. Milano : Garzanti, 1972, 204 p. (Gialli Garzanti ; 8) In Le piccole città : tre misteri della provincia francese. Milano : Mondadori, 1997, 542 p. (Il giallo Mondadorilo Mondadori ; 11  Chine 车中拿枪戴墨镜的女人 宋冬深译 1. 上海:上海文艺出版社,2009,281页。( (ISBN 9787532135240)) Adieu l'ami  Goodbye, friend Transl. by Patricia Allen Dreyfus London : Souvenir Press, 1969, 185 p. (ISBN 0285502638) London : Corgi, 1971, 126 p. (ISBN 055208705X) (pbk)  Goodbye, friend Transl. by Patricia Allen Dreyfus New York : Simon and Schuster, [1969], 185 p.  Weekend im Tresor Transl. by Erika Tophoven-Schöningh Reinbek bei Hamburg : Rowohlt, 1970, 134 p. (rororo ; 2196 : rororo-thriller). (ISBN 3-499-42196-8) Reinbek bei Hamburg : Rowohlt, 1983, 393 p. (rororo ; 2581 : rororo-Thriller). (ISBN 3-499-42581-5). Roman jumelé avec Bei Nacht sind alle Mörder grau, de Judson Philips. La Course du lièvre à travers les champs  Lauf, wenn du nicht schiessen kannst Transl. by Elisabeth Uebe Reinbek bei Hamburg : Rowohlt, 1974, 91 p. (rororo ; 2325 : rororo-thriller). (ISBN 3-499-42325-1)  La corsa della lepre attraverso i campi Trad. di Lia Peroni Milano : Garzanti, 1974, 152 p. (Gialli Garzanti ; 54). L'Été meurtrier  One Deadly Summer Trad. par Alan Sheridan New York : Harcourt Brace Jovanovich, c1980, 279 p. (ISBN 0151693811) Harmondsworth ; New York : Penguin Books, 1981, c1980, 297 p. (Penguin crime fiction). (ISBN 014005846X) (pbk.) New York : Plume, 1997. (ISBN 0452277809)  One Deadly Summer Transl. by Alan Sheridan London : Harvill, 2000, c1980, 279 p. (ISBN 1860467733) (pbk.)  Blutiger Sommer Transl. by Elisabeth Uebe Reinbek bei Hamburg : Rowohlt, 1979, 204 p. (rororo ; 2479 : rororo-thriller). (ISBN 3-499-42479-7) Reinbek bei Hamburg : Rowohlt, 1981, 204 p. (rororo ; 2479 : rororo-thriller). (ISBN 3-499-42479-7) Reinbek bei Hamburg : Rowohlt, 1984, 204 p. (rororo ; 2479 : rororo-thriller). (ISBN 3-499-42479-7)  Blodig sommer Oversat af Jens Juhl Jensen [Kbh.] : Rosenkilde og Bagger, 1979, 297 p.  Chine 夏日谋杀 宋冬深译 1. 上海:上海文艺出版社,2009,281页。( (ISBN 9787532135288)) La Passion des femmes  The Passion Of Women ou Women in Evidence Transl. by Ros Schwartz The Passion Of Women. New York : Crown, c1990, 312 p. (ISBN 051756940X) Women in evidence. New York, N.Y. : Plume, [2000], 326 p. (ISBN 0452281628) (pbk.)  Women in Evidence Transl. by Alan Sheridan Women in evidence. Harpenden : No Exit, 1995, c1990, 310p. (ISBN 1874061254) (pbk.)  Passion Oversat af Susanne Juul [Kbh.] : Rosenkilde og Bagger, 1987, 326 p.  Chine 偷心人 宋冬深译 1. 长沙:湖南文艺出版社,2014,392页。( (ISBN 9787540466619)) Un long dimanche de fiançailles  A Very Long Engagement Trad. de Linda Coverdale New York : Farrar, Straus, Giroux, 1993, 327 p. (ISBN 0374283354)  Die Mimosen von Hossegor Transl. by Christiane Landgrebe Berlin : Aufbau-Verl., 1996, 318 p. (ISBN 3-351-02341-3) Berlin : Aufbau-Taschenbuch-Verl., 1998, 318 p. (Aufbau-Taschenbücher ; 1407). (ISBN 3-7466-1407-4)  Mathilde - eine große Liebe Transl. by Christiane Landgrebe Berlin : Aufbau-Taschenbuch-Verl., 2005, 318 p. (Aufbau-Taschenbücher ; 2117). (ISBN 3-7466-2117-8)  Una lunga domenica di passioni Trad. di Simona Martini Vigezzi Milano : CDE, 1992, 228 p. Milano : Baldini & Castoldi, 1992, 228 p. (Romanzi e racconti ; 2). (ISBN 88-85988-09-1) Milano : Rizzoli, 2005, 279 p. (La scala). (ISBN 88-170-0569-X)  En lang forlovelse På dansk ved Elisabeth Ellekjær Lang forlovelse. [Kbh.] : Forum, 1992, 225 p. Helsingør : Per Kofod, 2005, 261 p. [Kbh.] : Bogklubben, 2005, 261 p.  Chine 漫长的婚约 翻译:孙纪真、宋冬深 1. 辽宁:辽宁教育出版社,2005,326页。 (ISBN 9787538272895) 2. 长沙:湖南文艺出版社,2014,329页。 (ISBN 9787540466596) 3. 长沙:湖南文艺出版社,2019,383页。精装版 (ISBN 9787540492809) Le Passager de la pluie  Rider on the Rain Trad. de Linda Coverdale London : Harvill, 1999, 150 p. (ISBN 1860465420) (pbk) Films à l'étranger[modifier | modifier le code] Année Titre original Autres titres / dates de sortie Réalisateur Commentaire 1965  Compartiment tueurs   The Sleeping Car Murder  Diamerisma dolofonon (Grèce)  Mord im Fahrpreis inbegriffen (Allemagne de l'Ouest)  Murha makuuvaunussa (Finlande)  Raíles del crimen (Espagne)  Traino ton dolofonon (Grèce, titre revu)  Vagone letto per assassini (Italie) Costa-Gavras Adaptation du roman de Sébastien Japrisot Compartiment tueurs (1962) 1965  Piège pour Cendrillon   A Trap for Cinderella (titre anglais pour l'international)  Non sono un assassino (Italie) André Cayatte Adaptation du roman de Sébastien Japrisot Piège pour Cendrillon (1963) 1968  Adieu l'ami  Farewell, Friend (USA)  Honor Among Thieves (USA) (titre revu)  Adeus, Amigo (Portugal)  Adiós, amigo (Espagne)  Adio file (Grèce)  Bei Bullen singen Freunde nicht (Allemagne de l'Ouest)  Du kannst anfangen zu beten (Allemagne de l'Ouest) (titre pour la TV)  Due sporche carogne (Italie)  Tecnica di una rapina (Italie)  Yksinäiset sudet (Finlande)  Honor wsród zlodziei (Pologne)  Zegnaj, przyjacielu (Pologne)  Zlodziejski honor (Pologne) Jean Herman Scénario original écrit par Sébastien Japrisot 1969  Le Passager de la pluie  Rider on the Rain (USA)   Der aus dem Regen kam (Autriche - Allemagne de l'Ouest)   O Passageiro da Chuva (Brésil - Portugal)  Muukalainen sateesta (Finlande)  El Pasajero de lluvia (Espagne)  Rain (USA) (titre pour la vidéo)  L'Uomo venuto dalla pioggia (Italie) René Clément Scénario original écrit par Sébastien Japrisot 1970  The Lady in the Car with Glasses and a Gun  La Dame dans l'auto avec des lunettes et un fusil (France)  Die Dame im Auto mit Brille und Gewehr (Allemagne de l'Ouest)  Damen i bilen med briller og gevær (Danemark)  Nainen, auto ja ase (Finlande)  La Signora dell'auto con gli occhiali e un fucile (Italie) Anatole Litvak Adaptation du roman de Sébastien Japrisot La Dame dans l'auto avec des lunettes et un fusil (1968) 1972  La Course du lièvre à travers les champs  And Hope to Die (USA)   Treibjagd (Autriche - Allemagne de l'Ouest)  Cómo liebre acosada (Espagne)  La Corsa della lepre attraverso i campi (Italie)  Med döden i hälarna (Suède)  Musta perjantai (Finlande)  Sti folia ton lykon (Grèce) René Clément Scénario original écrit par Sébastien Japrisot 1976  Histoire d'O  The Story of O (USA)  Berättelsen om O (Suède)  Die Geschichte der O (Allemagne de l'Ouest)  História de O (Portugal)  Historia de O (Espagne)  O'n tarina (Finlande)  O's Historie (Danemark) (titre pour la vidéo) Just Jaeckin Adaptation du roman de Pauline Réage Histoire d'O (19**) 1976  Les Mal Partis   Bad Starters (titre anglais pour l'international)  Love Story de un adolescente (Espagne)  Love Story einer Nonne (Allemagne de l'Ouest)  Nunnan rakkaustarina (Finlande)  Olovligt förhållande (Suède)  Storia d'amore di una suora (Italie) Jean-Baptiste Rossi Adaptation du roman de J.-B. Rossi (Sébastien Japrisot) Les Mal Partis (1950) 1983  L'Été meurtrier  One Deadly Summer (USA)  L'Estate assassina (Italie)  Intohimon ja koston kesä (Finlande)  Ein Mörderischer Sommer (Allemagne de l'Ouest)  O Verão Assassino (Portugal)  Verano asesino (Espagne) Jean Becker Adaptation du roman de Sébastien Japrisot L'Été meurtrier (1977) 1988  Juillet en septembre  Giocando con l'assassino (Italie) Sébastien Japrisot Scénario original écrit par Sébastien Japrisot 1999  Les Enfants du marais  The Children of the Marshland (Royaume-Uni)   La Fortuna de vivir (Argentine - Espagne)  Children of the Marshlands (Australie)  Elämäni rakkaat ihmiset (Finlande)  I Ragazzi del Marais (Italie)  Sommar vid Loire (Suède)  Ein Sommer auf dem Lande (Allemagne) Jean Becker Adaptation du roman de Georges Montforez Les Enfants du marais (1958) 2001  Un crime au Paradis  A Crime in Paradise (titre anglais pour l'international)  Un Crimen en el paraíso (Espagne)  Omicidio in paradiso (Italie)  Une mort au paradis (France) (titre de travail) Jean Becker D'après La Poison de Sacha Guitry 2004  Un long dimanche de fiançailles   A Very Long Engagement (titre anglais pour l'international)  Amor eterno (Argentine - Chili - Venezuela)   Mathilde - Eine große Liebe (Autriche - Allemagne)  Eterno Amor (Brésil)  Kayip nisanli (Turquie)  En Långvarig förlovning (Suède)  En Lang forlovelse (Danemark)  Largo domingo de noviazgo (Espagne)  Una Lunga domenica di passioni (Italie)  Pitkät kihlajaiset (Finlande)  Väga pikk kihlus (Estonie) Jean-Pierre Jeunet Adaptation du roman de Sébastien Japrisot Un long dimanche de fiançailles (1991) 2013  Trap for Cinderella Iain Softley Adaptation du roman de Sébastien Japrisot Piège pour Cendrillon (1963) Récompenses[modifier | modifier le code] Prix décernés à Sébastien Japrisot, aux œuvres auxquelles il a participé ou aux personnes ayant adapté ses romans. Livres[modifier | modifier le code] 1963 :  Grand Prix de Littérature policière pour Piège pour Cendrillon (Denoël, 1963). 1966 :  Prix de l'Unanimité pour Les Mal Partis (Robert Laffont, 1966 - rééd. de l'éd. de 1950) 1966 :  Prix d'Honneur pour La Dame dans l'auto avec des lunettes et un fusil (Denoël, 1966) 1968 :  Gold Dagger Award for the Best Crime Novel of the Year 1968 (Best Foreign) décerné par la Crime Writer's Association pour The Lady in the Car (Souvenir Press) 1978 :  Prix des Deux-Magots pour L'Été meurtrier (Denoël, 1977) 1981 :  The Martin Beck Award décerné par la Svenska Deckarakademin (Académie suédoise) pour Vedergällningen (L'Été meurtrier) 1991 :  Prix Interallié pour Un long dimanche de fiançailles (Denoël, 1991). 1996 :  Adult Great Read (Honorable Mention) décerné par les Nothern California Independent Booksellers Associated (NCIBA) (USA) pour A very long Engagement Films[modifier | modifier le code] Nominations[modifier | modifier le code] 1971 :  Laurel Award du Meilleur Film étranger (Best Foreign Film) pour Le Passager de la pluie (1969) - 4e place. 1971 :  Edgar Allan Poe Award du Meilleur film (Best Motion Picture) pour Le Passager de la pluie (1969). 1983 :  Palme d'or au Festival de Cannes pour Jean Becker pour L'Été meurtrier (1983). 1984 :  César du meilleur acteur pour Alain Souchon dans L'Été meurtrier (film de Jean Becker, 1983). 1984 :  César du meilleur réalisateur pour Jean Becker avec L'Été meurtrier. 1984 :  César du meilleur film pour L'Été meurtrier (film de Jean Becker, 1983). 1984 :  César de la meilleure musique écrite pour un film pour Georges Delerue avec L'Été meurtrier (film de Jean Becker, 1983). 1984 :  César du meilleur acteur dans un second rôle pour François Cluzet dans L'Été meurtrier (film de Jean Becker, 1983). Victoires[modifier | modifier le code] 1971 :  Golden Globe Award du Meilleur Film Étranger (Best Foreign-Language Foreign Film) pour Le Passager de la pluie (film de René Clément, 1969). 1970 :  David di Donatello Award du Meilleur rôle féminin à Marlène Jobert pour Le Passager de la pluie (1969) décerné par l'Accademia del Cinema Italiano. 1984 :  César de la meilleure adaptation cinématographique pour L'Été meurtrier (film de Jean Becker, 1983). 1984 :  César de la meilleure actrice décerné à Isabelle Adjani dans L'Été meurtrier (film de Jean Becker, 1983). 1984 :  César du meilleur montage décerné à Jacques Witta pour L'Été meurtrier (film de Jean Becker, 1983). 1984 :  César de la meilleure actrice dans un second rôle décerné à Suzanne Flon dans L'Été meurtrier (film de Jean Becker, 1983). 2004 :  Chicago Film Critics Association Award (Best Foreign Language Film) pour Un long dimanche de fiançailles (2004) 2005 :  Edgar Allan Poe Award Meilleur scénario (Best Motion Picture Screenplay) décerné à Jean-Pierre Jeunet pour son film Un long dimanche de fiançailles (2004) 2005 :  American Society of Cinematographers Award décerné à Bruno Delbonnel pour Un long dimanche de fiançailles (2004) 2005 :  César de la Meilleure photographie décerné à Bruno Delbonnel pour Un long dimanche de fiançailles (film de Jean-Pierre Jeunet, 2004). 2005 :  César des Meilleurs costumes décerné à Madeline Fontaine pour Un long dimanche de fiançailles (film de Jean-Pierre Jeunet, 2004). 2005 :  César des Meilleurs décors décerné à Aline Bonetto pour Un long dimanche de fiançailles (film de Jean-Pierre Jeunet, 2004). 2005 :  César du Meilleur second rôle féminin décerné à Marion Cotillard pour Un long dimanche de fiançailles (film de Jean-Pierre Jeunet, 2004). 2005 :  César du Meilleur jeune espoir masculin décerné à Gaspard Ulliel pour Un long dimanche de fiançailles (film de Jean-Pierre Jeunet, 2004). 2005 :  Prix Lumière du Meilleur réalisateur décerné à Jean-Pierre Jeunet pour son film Un long dimanche de fiançailles (2004). 2005 :  World Soundtrack Award (Soundtrack Composer of the Year) décerné à Angelo Badalamenti pour Un long dimanche de fiançailles (film de Jean-Pierre Jeunet, 2004). 2005 :  Vancouver Film Critics Circle Award (Best Foreign Film) décerné à Un long dimanche de fiançailles (film de Jean-Pierre Jeunet, 2004). Dans la culture populaire[modifier | modifier le code] Œuvres influencées par Sébastien Japrisot[modifier | modifier le code] La Vengeresse, bande dessinée de François Rivière et Patrick Dumas (Glénat “Circus aventure”, 1991) rappelle par l'intrigue et son héroïne L'Été meurtrier. Élisa, film de Jean Becker sorti en 1995. Le thème de la recherche des racines rappelle L'Été meurtrier et Juillet en septembre. Pour cette raison, Sébastien Japrisot n'a pas souhaité collaborer à l'écriture du scénario de Jean Becker qui s'est tourné vers Fabrice Carazo. Il existe une novélisation du scénario par Denis Fernández-Recatalá (Archipel, 1995). Emma Locatelli, dans son roman historique Les Haines pures (Albin Michel, 2013) explore à la manière de Sébastien Japrisot et de Philippe Claudel la noirceur de l'âme humaine et les blancs de l'Histoire. Dans leurs "Panthéons" des écrivains, les romanciers Thierry Jonquet, Emmanuel Carrère, Michel Bussi et Jean-Christophe Grangé citent régulièrement Sébastien Japrisot. Pour Michel Bussi, Sébastien Japrisot est l'écrivain qui a fait de lui un écrivain10. Hommages[modifier | modifier le code] Le roman Les Pourritures célestes signé Albedo (Baleine, coll. "Le Poulpe" n° 138, 1998) est dédié à Sébastien Japrisot. Le romancier Philippe Ragueneau a consacré une série de six romans policiers aux éditions du Rocher (de 2001 à 2005). Ils mettent en scène le peintre Sébastien Chaprisot et son chat Tiburce. Une citation de Sébastien Japrisot « La dérision en toute chose est l'ultime défi au malheur » figure en exergue au film Effroyables jardins de Jean Becker (2003). Le Dr Martin Hurcombe du Département de français, à l'Université de Bristol, en Angleterre, a organisé le 7 septembre 2005 un colloque sur Sébastien Japrisot : « Sébastien Japrisot en rétrospective »11.Les actes du colloque ont été publiés : Sébastien Japrisot : The Art of Crime (Rodopi, 2009). Le titre primitif du roman de Sylvie Granotier, Méfie-toi, fillette (éd. la Branche, coll. "Suite noire" n° 32, 2009) était Comportement tueuse et faisait référence au roman de Sébastien Japrisot, Compartiment tueurs. Bien qu'annoncé, le titre a du être changé car le roman de Japrisot n'a pas été publié dans la Série noire12. Le romancier Paul Colize choisit des titres à ses romans qui renvoient à des œuvres de Sébastien Japrisot : Un long moment de silence (La Manufacture de livres, 2013) (Un long dimanche de fiançailles), L'Avocat, le Nain et la princesse masquée13 (La Manufacture de livres, 2014) (La Dame dans l'auto). Le titre du roman de Stéphane Oks, L'Enfant dans la neige avec un cartable et un fusil, renvoie au roman de Sébastien Japrisot : La Dame dans l'auto avec des lunettes et un fusil (Éd. du Toucan, 2017).  **** Marilyn Monroe (/ˈmærɪlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Famous for playing comedic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s and was emblematic of the era's changing attitudes towards sexuality. She was a top-billed actress for only a decade, but her films grossed $200 million (equivalent to $2 billion in 2019) by the time of her death in 1962.[1] Long after her death, she has continued to be a major icon of pop culture.[2] Born and raised in Los Angeles, Monroe spent most of her childhood in foster homes and an orphanage and married at age 16. She was working in a factory as part of the war effort 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. She faced a scandal when it was revealed that she had posed for nude photos before she became 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 focused 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. She played a significant role in the creation and management of her public image throughout her career, but she was disappointed when she was 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 work 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, depression, and anxiety. Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized, and both ended in divorce. On August 4, 1962, she died at age 36 from an overdose of barbiturates at her home in Los Angeles. Her death was ruled a probable suicide, although several conspiracy theories have been proposed in the decades following her death. Contents 1 Life and career 1.1 1926–1943: Childhood and first marriage 1.2 1944–1949: Modeling and first film roles 1.3 1950–1952: Breakthrough years 1.4 1953: Rising star 1.5 1954–1955: Conflicts with 20th Century-Fox and marriage to Joe DiMaggio 1.6 1956–1959: Critical acclaim and marriage to Arthur Miller 1.7 1960–1962: Career decline and personal difficulties 2 Death 3 Screen persona and reception 4 Legacy 5 Filmography 6 Notes 7 References 8 Sources 9 External links Life and career 1926–1943: Childhood and first marriage Monroe as an infant, c. 1927 Monroe was born Norma Jeane Mortenson at the Los Angeles County Hospital in Los Angeles, California, on June 1, 1926.[3] Her mother, Gladys Pearl Baker (née Monroe, 1902–1984), was from a poor Midwestern family who had migrated to California at the turn of the century.[4] At the age of 15, Gladys married John Newton Baker, an abusive man nine years her senior, and had two children by him named Robert (1917–1933)[5] and Berniece (b. 1919).[6] 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.[7] Monroe was not told that she had a sister until she was 12, and met her sister for the first time as an adult.[8] Following the divorce, Gladys worked as a film negative cutter at Consolidated Film Industries.[9] In 1924, Gladys married Martin Edward Mortensen, but they separated only some months later and divorced in 1928.[9] The identity of Monroe's father is unknown, and she most often used Baker as her surname.[10][a] Although Gladys was mentally and financially unprepared for a child, Monroe's early childhood was stable and happy.[14] Gladys placed her daughter with evangelical Christian foster parents Albert and Ida Bolender in the rural town of Hawthorne; she also lived there for the first six months, until she was forced to move back to the city due to work.[15] She then began visiting her daughter on weekends.[14] 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.[16] They shared the house with lodgers, actors George and Maude Atkinson and their daughter, Nellie.[17] In January 1934, Gladys had a mental breakdown and was diagnosed with paranoid schizophrenia.[18] After several months in a rest home, she was committed to the Metropolitan State Hospital.[19] She spent the rest of her life in and out of hospitals and was rarely in contact with Monroe.[20] Monroe became a ward of the state, and her mother's friend, Grace Goddard, took responsibility over her and her mother's affairs.[21] "When I was five I think, that's when I started wanting to be an actress [...] I didn't like the world around me because it was kind of grim, but I loved to play house. [...] 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."[22] —Monroe in an interview for Life in 1962 In the next four years, Monroe's living situation changed often. For the first 16 months, she continued living with the Atkinsons, and was sexually abused during this time.[23][b] Always a shy girl, she now also developed a stutter and became withdrawn.[29] In the summer of 1935, she briefly stayed with Grace and her husband Erwin "Doc" Goddard and two other families,[30] and in September, Grace placed her in the Los Angeles Orphans Home.[31] The orphanage was "a model institution" and was described in positive terms by her peers, but Monroe felt abandoned.[32] 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.[33] Monroe's second stay with the Goddards lasted only a few months because Doc molested her;[34] she then lived brief periods with her relatives and Grace's friends and relatives in Los Angeles and Compton.[35] Monroe found a more permanent home in September 1938, when she began living with Grace's aunt, Ana Lower, in Sawtelle.[36] She was enrolled in Emerson Junior High School and went to weekly Christian Science services with Lower.[37] Monroe was otherwise a mediocre student, but excelled in writing and contributed to the school newspaper.[38] Due to the elderly Lower's health problems, Monroe returned to live with the Goddards in Van Nuys in around early 1941.[39] The same year, she began attending Van Nuys High School.[40] In 1942, the company that employed Doc Goddard relocated him to West Virginia.[41] California child protection laws prevented the Goddards from taking Monroe out of state, and she faced having to return to the orphanage.[42] As a solution, she married their neighbors' 21-year-old son, factory worker James Dougherty, on June 19, 1942, just after her 16th birthday.[43] Monroe subsequently dropped out of high school and became a housewife. She found herself and Dougherty mismatched and later stated that she was "dying of boredom" during the marriage.[44] In 1943, Dougherty enlisted in the Merchant Marine and was stationed on Santa Catalina Island, where Monroe moved with him.[45] 1944–1949: Modeling and first film roles Photo by Conover of Monroe at the Radioplane Company in mid-1944 In April 1944, Dougherty was shipped out to the Pacific, and he would remain there for most of the next two years.[45] Monroe moved in with his parents and began a job at the Radioplane Company, a munitions factory in Van Nuys.[45] 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.[46] Although none of her pictures were used, she quit working at the factory in January 1945 and began modeling for Conover and his friends.[47][48] Defying her deployed husband, she moved on her own and signed a contract with the Blue Book Model Agency in August 1945.[49] As a model, Monroe occasionally used the name Jean Norman.[50] She straightened her curly brunette hair and dyed it blonde to make herself more employable.[50] Her figure was deemed more suitable for pin-up than fashion modeling, and she was featured mostly in advertisements and men's magazines.[51] According to Emmeline Snively, the agency's owner, Monroe was 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.[52] Through Snively, Monroe signed a contract with an acting agency in June 1946.[53] 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,[54] but he gave her a standard six-month contract to avoid her being signed by rival studio RKO Pictures.[c] Monroe's contract began in August 1946, and she and Lyon selected the stage name "Marilyn Monroe".[56] The first name was picked by Lyon, who was reminded of Broadway star Marilyn Miller; the last was Monroe's mother's maiden name.[57] In September 1946, she divorced Dougherty, who was against her having a career.[58] Monroe posing for a photo during her modeling career Monroe as a 20th Century-Fox contract player in 1947. She had two small film roles while under contract and was let go after a year. (Studio publicity photo) Monroe had no film roles during the first six months and instead dedicated her days to acting, singing and dancing classes.[59] Eager to learn more about the film industry, she also spent time at the studio lot to observe others working and to promote herself.[60] 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).[61][d] 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".[63] Despite her enthusiasm, her teachers thought her too shy and insecure to have a future in acting, and Fox did not renew Monroe's contract in August 1947.[64] She returned to modeling while also doing occasional odd jobs at film studios, such as working as a dancing "pacer" behind the scenes at musical sets.[64] Monroe was determined to make it as an actress, and continued studying at the Actors' Lab. In October 1947, she appeared as a blonde vamp in the play Glamour Preferred at the Bliss-Hayden Theater, but it ended after only a few performances.[65] To promote herself, she frequented producers' offices, befriended gossip columnist Sidney Skolsky, and entertained influential male guests at studio functions, a practice she had begun at Fox.[66] 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.[67] While at Fox, Monroe was given "girl next door" roles; at Columbia, she was modeled after Rita Hayworth.[68] Her hairline was raised and her hair was bleached platinum blonde.[69] She also began working with the studio's head drama coach, Natasha Lytess, who would remain her mentor until 1955.[69] 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 who is courted by a wealthy man.[62] She also screen-tested for the lead role in Born Yesterday (1950), but her contract was not renewed in September 1948.[70] Ladies of the Chorus was released the following month but was not a success.[71] Monroe then became the protégée of Johnny Hyde, the vice president of the William Morris Agency. Their relationship soon became sexual and he proposed marriage, but Monroe refused.[72] He paid for Monroe to have plastic surgery on her jaw and possibly a rhinoplasty, and arranged a bit part in the Marx Brothers film Love Happy (1950), the New York promotional tour of which she also joined in 1949.[73] Meanwhile, Monroe continued modeling. She appeared in advertisements for Pabst beer and posed in artistic nudes for John Baumgarth calendars (using the name 'Mona Monroe'); both sessions were shot by Tom Kelley.[74] Monroe had previously posed semi-nude or clad in a bikini for other artists such as Earl Moran, and felt comfortable with nudity.[75] Baumgarth was initially not happy with the photos, but published one of them in 1950; Monroe was not publicly identified as the model until 1952. Although she then contained the resulting scandal by claiming she had reluctancly posed nude due to an urgent need for cash, biographers Spoto and Banner have stated that she was not pressured (although according to Banner, she was initially hesitant due to her aspirations of movie stardom) and regarded the shoot as simply another work assignment.[75] 1950–1952: Breakthrough years Monroe as gangster's moll Angela in John Huston's The Asphalt Jungle (1950), one of her first performances to be noted by the critics In 1950, Monroe had bit parts in Love Happy, A Ticket to Tomahawk, Right Cross and The Fireball, but also appeared in minor supporting roles in two critically acclaimed films: Joseph Mankiewicz's drama All About Eve and John Huston's crime film The Asphalt Jungle.[76] Despite her screen time being only a few minutes in the latter, she gained a mention in Photoplay and according to biographer Donald Spoto "moved effectively from movie model to serious actress".[77] In December 1950, Hyde was able to negotiate a seven-year contract for Monroe with 20th Century-Fox.[78] He died of a heart attack only days later, which left her devastated.[79] The Fox contract brought Monroe more publicity, and she had supporting roles in four low-budget films in 1951: in the MGM drama Home Town Story, and in three moderately successful comedies for Fox, As Young as You Feel, Love Nest, and Let's Make It Legal.[80] According to Spoto all four films featured her "essentially [as] a sexy ornament", but she received some praise from critics: Bosley Crowther of The New York Times described her as "superb" in As Young As You Feel and Ezra Goodman of the Los Angeles Daily News called her "one of the brightest up-and-coming [actresses]" for Love Nest.[81] Her popularity with audiences was also growing: she received several thousand fan letters a week, and was declared "Miss Cheesecake of 1951" by the army newspaper Stars and Stripes, reflecting the preferences of soldiers in the Korean War.[82] In February 1952, the Hollywood Foreign Press Association named Monroe the "best young box office personality".[83] In her private life, Monroe had a short relationship with director Elia Kazan and also briefly dated several other men, including director Nicholas Ray and actors Yul Brynner and Peter Lawford.[84] In early 1952, she began a highly publicized romance with retired New York Yankees baseball star Joe DiMaggio, one of the most famous sports personalities of the era.[85] Monroe as a mentally disturbed babysitter in the thriller Don't Bother to Knock (1952) Monroe found herself at the center of a scandal in March 1952, when she revealed that she had posed for nude pictures in 1949, which were now featured in a calendar.[86] The studio had learned about the photos and that she was publicly rumored to be the model some weeks prior, and together with Monroe decided that to avoid damaging her career it was best to admit to them while stressing that she had been broke at the time.[87] The strategy gained her public sympathy and increased interest in her films, for which she was now receiving top-billing. In the wake of the scandal, Monroe was featured on the cover of Life as the "Talk of Hollywood" and gossip columnist Hedda Hopper declared her the "cheesecake queen" turned "box office smash".[88] Fox released three of Monroe's films —Clash by Night, Don't Bother to Knock and We're Not Married!— soon after to capitalize on the public interest.[89] Keith Andes and Monroe in Clash by Night (1952). The film allowed Monroe to display more of her acting range in a dramatic role. Despite her newfound popularity as a sex symbol, Monroe also wished to show more of her acting range. She had begun taking acting classes with Michael Chekhov and mime Lotte Goslar soon after beginning the Fox contract,[90] and Clash by Night and Don't Bother to Knock showed her in more nuanced roles.[91] In the former, a drama starring Barbara Stanwyck and directed by Fritz Lang, she played a fish cannery worker; to prepare, she spent time in a fish cannery in Monterey.[92] She received positive reviews for her performance: The Hollywood Reporter stated that "she deserves starring status with her excellent interpretation", and Variety wrote that she "has an ease of delivery which makes her a cinch for popularity".[93][94] The latter was a thriller in which Monroe starred as a mentally disturbed babysitter and which Zanuck used to test her abilities in a heavier dramatic role.[95] It received mixed reviews from critics, with Crowther deeming her too inexperienced for the difficult role,[96] and Variety blaming the script for the film's problems.[97][98] Monroe's three other films in 1952 continued with her typecasting in comic roles that focused on her sex appeal. In We're Not Married!, her role as a beauty pageant contestant was created solely to "present Marilyn in two bathing suits", according to its writer Nunnally Johnson.[99] In Howard Hawks' Monkey Business, in which she acted opposite Cary Grant, she played a secretary who is a "dumb, childish blonde, innocently unaware of the havoc her sexiness causes around her".[100] In O. Henry's Full House, she had a minor role as a sex worker.[100] Monroe added to her reputation as a new sex symbol with publicity stunts that year: she wore a revealing dress when acting as Grand Marshal at the Miss America Pageant parade, and told gossip columnist Earl Wilson that she usually wore no underwear.[101] By the end of the year, gossip columnist Florabel Muir named Monroe the "it girl" of 1952.[102] During this period, Monroe gained a reputation for being difficult to work with, which would worsen as her career progressed. She was often late or did not show up at all, did not remember her lines, and would demand several re-takes before she was satisfied with her performance.[103] Her dependence on her acting coaches—Natasha Lytess and then Paula Strasberg—also irritated directors.[104] Monroe's problems have been attributed to a combination of perfectionism, low self-esteem, and stage fright.[105] She disliked her lack of control on film sets and never experienced similar problems during photo shoots, in which she had more say over her performance and could be more spontaneous instead of following a script.[105][106] To alleviate her anxiety and chronic insomnia, she began to use barbiturates, amphetamines, and alcohol, which also exacerbated her problems, although she did not become severely addicted until 1956.[107] According to Sarah Churchwell, some of Monroe's behavior, especially later in her career, was also in response to the condescension and sexism of her male co-stars and directors.[108] Similarly, biographer Lois Banner has stated that she was bullied by many of her directors.[109] 1953: Rising star Monroe as Rose Loomis in the film noir Niagara (1953), which dwelt on her sex appeal Performing "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (1953) Monroe and co-star Jane Russell after pressing their hands in wet concrete at Grauman's Chinese Theatre Monroe, Betty Grable, and Lauren Bacall in How to Marry a Millionaire, her biggest box office success of 1953 Monroe starred in three movies that were released in 1953 and emerged as a major sex symbol and one of Hollywood's most bankable performers.[110][111] The first was the Technicolor film noir Niagara, in which she played a femme fatale scheming to murder her husband, played by Joseph Cotten.[112] By then, Monroe and her make-up artist Allan "Whitey" Snyder had developed her "trademark" make-up look: dark arched brows, pale skin, "glistening" red lips and a beauty mark.[113] According to Sarah Churchwell, Niagara was one of the most overtly sexual films of Monroe's career.[100] In some scenes, Monroe's body was covered only by a sheet or a towel, considered shocking by contemporary audiences.[114] Niagara's most famous scene is a 30-second long shot behind Monroe where she is seen walking with her hips swaying, which was used heavily in the film's marketing.[114] When Niagara was released in January 1953, women's clubs protested it as immoral, but it proved popular with audiences.[115] While Variety deemed it "clichéd" and "morbid", The New York Times commented that "the falls and Miss Monroe are something to see", as although Monroe may not be "the perfect actress at this point ... she can be seductive—even when she walks".[116][117] Monroe continued to attract attention by wearing revealing outfits, most famously at the Photoplay awards in January 1953, where she won the "Fastest Rising Star" award.[118] She wore a skin-tight gold lamé dress, which prompted veteran star Joan Crawford to publicly call her behavior "unbecoming an actress and a lady".[118] While Niagara made Monroe a sex symbol and established her "look", her second film of 1953, the satirical musical comedy Gentlemen Prefer Blondes, cemented her screen persona as a "dumb blonde".[119] Based on Anita Loos' novel and its Broadway version, the film focuses on two "gold-digging" showgirls played by Monroe and Jane Russell. Monroe's role was originally intended for Betty Grable, who had been 20th Century-Fox's most popular "blonde bombshell" in the 1940s; Monroe was fast eclipsing her as a star who could appeal to both male and female audiences.[120] As part of the film's publicity campaign, she and Russell pressed their hand and footprints in wet concrete outside Grauman's Chinese Theatre in June.[121] Gentlemen Prefer Blondes was released shortly after and became one of the biggest box office successes of the year.[122] Crowther of The New York Times and William Brogdon of Variety both commented favorably on Monroe, especially noting her performance of "Diamonds Are a Girl's Best Friend"; according to the latter, she demonstrated the "ability to sex a song as well as point up the eye values of a scene by her presence".[123][124] In September, Monroe made her television debut in the Jack Benny Show, playing Jack's fantasy woman in the episode "Honolulu Trip".[125] She co-starred with Betty Grable and Lauren Bacall in her third movie of the year, How to Marry a Millionaire, released in November. It featured Monroe as a naïve model who teams up with her friends to find rich husbands, repeating the successful formula of Gentlemen Prefer Blondes. It was the second film ever released in CinemaScope, a widescreen format that Fox hoped would draw audiences back to theaters as television was beginning to cause losses to film studios.[126] Despite mixed reviews, the film was Monroe's biggest box office success at that point in her career.[127] Monroe was listed in the annual Top Ten Money Making Stars Poll in both 1953 and 1954,[111] and according to Fox historian Aubrey Solomon became the studio's "greatest asset" alongside CinemaScope.[128] Monroe's position as a leading sex symbol was confirmed in December 1953, when Hugh Hefner featured her on the cover and as centerfold in the first issue of Playboy; Monroe did not consent to the publication.[129] The cover image was a photograph taken of her at the Miss America Pageant parade in 1952, and the centerfold featured one of her 1949 nude photographs.[129] 1954–1955: Conflicts with 20th Century-Fox and marriage to Joe DiMaggio Joe DiMaggio and Monroe after getting married at San Francisco City Hall, January 1954 Posing for soldiers in Korea after a USO performance in February 1954 Monroe had become one of 20th Century-Fox's biggest stars, but her contract had not changed since 1950, meaning that she was paid far less than other stars of her stature and could not choose her projects.[130] Her attempts to appear in films that would not focus on her as a pin-up had been thwarted by the studio head executive, Darryll F. Zanuck, who had a strong personal dislike of her and did not think she would earn the studio as much revenue in other types of roles.[131] Under pressure from the studio's owner, Spyros Skouras, Zanuck had also decided that Fox should focus exclusively on entertainment to maximize profits and canceled the production of any 'serious films'.[132] In January 1954, he suspended Monroe when she refused to begin shooting yet another musical comedy, The Girl in Pink Tights.[133] This was front-page news, and Monroe immediately took action to counter negative publicity. On January 14, she and Joe DiMaggio were married at the San Francisco City Hall.[134] They then traveled to Japan, combining a honeymoon with his business trip.[135] From Tokyo, she traveled alone to Korea, where she participated in a USO show, singing songs from her films for over 60,000 U.S. Marines over a four-day period.[136] After returning to the U.S., she was awarded Photoplay's "Most Popular Female Star" prize.[137] Monroe settled with Fox in March, with the promise of a new contract, a bonus of $100,000, and a starring role in the film adaptation of the Broadway success The Seven Year Itch.[138] In April 1954, Otto Preminger's western River of No Return, the last film that Monroe had filmed prior to the suspension, was released. She called it a "Z-grade cowboy movie in which the acting finished second to the scenery and the CinemaScope process", but it was popular with audiences.[139] The first film she made after the suspension was the musical There's No Business Like Show Business, which she strongly disliked but the studio required her to do for dropping The Girl in Pink Tights.[138] It was unsuccessful upon its release in late 1954, with Monroe's performance considered vulgar by many critics.[140] Posing for photographers while filming the subway grate scene in Manhattan for The Seven Year Itch In September 1954, Monroe began filming Billy Wilder's comedy The Seven Year Itch, starring opposite Tom Ewell as a woman who becomes the object of her married neighbor's sexual fantasies. Although the film was shot in Hollywood, the studio decided to generate advance publicity by staging the filming of a scene in which Monroe is standing on a subway grate with the air blowing up the skirt of her white dress on Lexington Avenue in Manhattan.[141] The shoot lasted for several hours and attracted nearly 2,000 spectators.[141] The "subway grate scene" became one of Monroe's most famous and The Seven Year Itch became one of the biggest commercial successes of the year after its release in June 1955.[142] The publicity stunt placed Monroe on international front pages, and it also marked the end of her marriage to DiMaggio, who was infuriated by it.[143] The union had been troubled from the start by his jealousy and controlling attitude; he was also physically abusive.[144] After returning from NYC to Hollywood in October 1954, Monroe filed for divorce, after only nine months of marriage.[145] After filming for The Seven Year Itch wrapped up in November 1954, Monroe left Hollywood for the East Coast, where she and photographer Milton Greene founded their own production company, Marilyn Monroe Productions (MMP)—an action that has later been called "instrumental" in the collapse of the studio system.[146][e] Monroe stated that she was "tired of the same old sex roles" and asserted that she was no longer under contract to Fox, as it had not fulfilled its duties, such as paying her the promised bonus.[148] This began a year-long legal battle between her and Fox in January 1955.[149] The press largely ridiculed Monroe and she was parodied in the Broadway play Will Success Spoil Rock Hunter? (1955), in which her lookalike Jayne Mansfield played a dumb actress who starts her own production company.[150] Monroe at the Actors Studio After founding MMP, Monroe moved to Manhattan and spent 1955 studying acting. She took classes with Constance Collier and attended workshops on method acting at the Actors Studio, run by Lee Strasberg.[151] She grew close to Strasberg and his wife Paula, receiving private lessons at their home due to her shyness, and soon became a family member.[152] She replaced her old acting coach, Natasha Lytess, with Paula; the Strasbergs remained an important influence for the rest of her career.[153] Monroe also started undergoing psychoanalysis, as Strasberg believed that an actor must confront their emotional traumas and use them in their performances.[154][f] Monroe continued her relationship with DiMaggio despite the ongoing divorce process; she also dated actor Marlon Brando and playwright Arthur Miller.[156] She had first been introduced to Miller by Elia Kazan in the early 1950s.[156] The affair between Monroe and Miller became increasingly serious after October 1955, when her divorce was finalized and he separated from his wife.[157] The studio urged her to end it, as Miller was being investigated by the FBI for allegations of communism and had been subpoenaed by the House Un-American Activities Committee, but Monroe refused.[158] The relationship led to FBI opening a file on her.[157] By the end of the year, Monroe and Fox signed a new seven-year contract, as MMP would not be able to finance films alone, and the studio was eager to have Monroe working for them again.[149] Fox would pay her $400,000 to make four films, and granted her the right to choose her own projects, directors and cinematographers.[159] She would also be free to make one film with MMP per each completed film for Fox.[159] 1956–1959: Critical acclaim and marriage to Arthur Miller Monroe's dramatic performance in Bus Stop (1956) marked a departure from her earlier comedies. Monroe began 1956 by announcing her win over 20th Century-Fox.[160] The press now wrote favorably about her decision to fight the studio; Time called her a "shrewd businesswoman"[161] and Look predicted that the win would be "an example of the individual against the herd for years to come".[160] In contrast, Monroe's relationship with Miller prompted some negative comments, such as Walter Winchell's statement that "America's best-known blonde moving picture star is now the darling of the left-wing intelligentsia."[162] In March, Monroe began filming the drama Bus Stop, her first film under the new contract.[163] She played Chérie, a saloon singer whose dreams of stardom are complicated by a naïve cowboy who falls in love with her. For the role, she learned an Ozark accent, chose costumes and make-up that lacked the glamour of her earlier films, and provided deliberately mediocre singing and dancing.[164] Broadway director Joshua Logan agreed to direct, despite initially doubting her acting abilities and knowing of her reputation for being difficult.[165] The filming took place in Idaho and Arizona, with Monroe "technically in charge" as the head of MMP, occasionally making decisions on cinematography and with Logan adapting to her chronic lateness and perfectionism.[166] The experience changed Logan's opinion of Monroe, and he later compared her to Charlie Chaplin in her ability to blend comedy and tragedy.[167] Arthur Miller and Monroe at their wedding in June 1956 On June 29, Monroe and Miller were married at the Westchester County Court in White Plains, New York; two days later they had a Jewish ceremony at the home of Kay Brown, Miller's literary agent, in Waccabuc, New York.[168][169] With the marriage, Monroe converted to Judaism, which led Egypt to ban all of her films.[170][g] Due to Monroe's status as a sex symbol and Miller's image as an intellectual, the media saw the union as a mismatch, as evidenced by Variety's headline, "Egghead Weds Hourglass".[172] Bus Stop was released in August 1956 and became critical and commercial success.[173] The Saturday Review of Literature wrote that Monroe's performance "effectively dispels once and for all the notion that she is merely a glamour personality" and Crowther proclaimed: "Hold on to your chairs, everybody, and get set for a rattling surprise. Marilyn Monroe has finally proved herself an actress."[174] She also received a Golden Globe for Best Actress nomination for her performance.[83] Laurence Olivier and Monroe during a press conference to announce their joint project, The Prince and the Showgirl (1957) In August, Monroe also began filming MMP's first independent production, The Prince and the Showgirl, at Pinewood Studios in England.[175] Based on a 1953 stage play by Terence Rattigan, it was to be directed and co-produced by, and to co-star, Laurence Olivier.[161] The production was complicated by conflicts between him and Monroe.[176] Olivier, who had also directed and starred in the stage play, angered her with the patronizing statement "All you have to do is be sexy", and with his demand she replicate Vivien Leigh's stage interpretation of the character.[177] He also disliked the constant presence of Paula Strasberg, Monroe's acting coach, on set.[178] In retaliation, Monroe became uncooperative and began to deliberately arrive late, stating later that "if you don't respect your artists, they can't work well."[176] Monroe also experienced other problems during the production. Her dependence on pharmaceuticals escalated and, according to Spoto, she had a miscarriage.[179] She and Greene also argued over how MMP should be run.[179] Despite the difficulties, filming was completed on schedule by the end of 1956.[180] The Prince and the Showgirl was released to mixed reviews in June 1957 and proved unpopular with American audiences.[181] It was better received in Europe, where she was awarded the Italian David di Donatello and the French Crystal Star awards and was nominated for a BAFTA.[182] After returning from England, Monroe took an 18-month hiatus to concentrate on family life. She and Miller split their time between NYC, Connecticut and Long Island.[183] She had an ectopic pregnancy in mid-1957, and a miscarriage a year later;[184] these problems were most likely linked to her endometriosis.[185][h] Monroe was also briefly hospitalized due to a barbiturate overdose.[188] As she and Greene could not settle their disagreements over MMP, Monroe bought his share of the company.[189] With Tony Curtis and Jack Lemmon in Billy Wilder's Some Like It Hot (1959), for which she won a Golden Globe Monroe returned to Hollywood in July 1958 to act opposite Jack Lemmon and Tony Curtis in Billy Wilder's comedy on gender roles, Some Like It Hot.[190] She considered the role of Sugar Kane another "dumb blonde", but accepted it due to Miller's encouragement and the offer of ten percent of the film's profits on top of her standard pay.[191] The film's difficult production has since become "legendary".[192] Monroe demanded dozens of re-takes, and did not remember her lines or act as directed—Curtis famously stated that kissing her was "like kissing Hitler" due to the number of re-takes.[193] Monroe herself privately likened the production to a sinking ship and commented on her co-stars and director saying "[but] why should I worry, I have no phallic symbol to lose."[194] Many of the problems stemmed from her and Wilder—who also had a reputation for being difficult—disagreeing on how she should play the role.[195] She angered him by asking to alter many of her scenes, which in turn made her stage fright worse, and it is suggested that she deliberately ruined several scenes to act them her way.[195] In the end, Wilder was happy with Monroe's performance and stated: "Anyone can remember lines, but it takes a real artist to come on the set and not know her lines and yet give the performance she did!"[196] Some Like It Hot became a critical and commercial success when it was released in March 1959.[197] Monroe's performance earned her a Golden Globe for Best Actress, and prompted Variety to call her "a comedienne with that combination of sex appeal and timing that just can't be beat".[182][198] It has been voted one of the best films ever made in polls by the BBC,[199] the American Film Institute,[200] and Sight & Sound.[201] 1960–1962: Career decline and personal difficulties Yves Montand and Monroe in the musical comedy Let's Make Love (1960), which she agreed to make only to fulfill her contract with Fox After Some Like It Hot, Monroe took another hiatus until late 1959, when she starred in the musical comedy Let's Make Love.[202] She chose George Cukor to direct and Miller re-wrote some of the script, which she considered weak; she accepted the part solely because she was behind on her contract with Fox.[203] The film's production was delayed by her frequent absences from the set.[202] During the shoot, Monroe had an extramarital affair with her co-star Yves Montand, which was widely reported by the press and used in the film's publicity campaign.[204] Let's Make Love was unsuccessful upon its release in September 1960;[205] Crowther described Monroe as appearing "rather untidy" and "lacking ... the old Monroe dynamism",[206] and Hedda Hopper called the film "the most vulgar picture [Monroe's] ever done".[207] Truman Capote lobbied for Monroe to play Holly Golightly in a film adaptation of Breakfast at Tiffany's, but the role went to Audrey Hepburn as its producers feared that she would complicate the production.[208] The last film that Monroe completed was John Huston's The Misfits, which Miller had written to provide her with a dramatic role.[209] She played a recently divorced woman who becomes friends with three aging cowboys, played by Clark Gable, Eli Wallach and Montgomery Clift. The filming in the Nevada desert between July and November 1960 was again difficult.[210] Monroe and Miller's marriage was effectively over, and he began a new relationship with set photographer Inge Morath.[209] Monroe disliked that he had based her role partly on her life, and thought it inferior to the male roles; she also struggled with Miller's habit of re-writing scenes the night before filming.[211] Her health was also failing: she was in pain from gallstones, and her drug addiction was so severe that her make-up usually had to be applied while she was still asleep under the influence of barbiturates.[212] In August, filming was halted for her to spend a week in a hospital detox.[212] Despite her problems, Huston stated that when Monroe was acting, she "was not pretending to an emotion. It was the real thing. She would go deep down within herself and find it and bring it up into consciousness."[213] Estelle Winwood, Eli Wallach, Montgomery Clift, Monroe, and Clark Gable in The Misfits (1961). It was the last completed film for Monroe and Gable, who both died within two years. Monroe and Miller separated after filming wrapped, and she obtained a Mexican divorce in January 1961.[214] The Misfits was released the following month, failing at the box office.[215] Its reviews were mixed,[215] with Variety complaining of frequently "choppy" character development,[216] and Bosley Crowther calling Monroe "completely blank and unfathomable" and stating that "unfortunately for the film's structure, everything turns upon her".[217] It has received more favorable reviews in the twenty-first century. Geoff Andrew of the British Film Institute has called it a classic,[218] Huston scholar Tony Tracy has described Monroe's performance the "most mature interpretation of her career",[219] and Geoffrey McNab of The Independent has praised her for being "extraordinary" in portraying the character's "power of empathy".[220] Monroe was next to star in a television adaptation of W. Somerset Maugham's Rain for NBC, but the project fell through as the network did not want to hire her choice of director, Lee Strasberg.[221] Instead of working, she spent the first six months of 1961 preoccupied by health problems. She underwent a cholecystectomy and surgery for her endometriosis, and spent four weeks hospitalized for depression.[222][i] She was helped by ex-husband Joe DiMaggio, with whom she rekindled a friendship, and dated his friend, Frank Sinatra, for several months.[224] Monroe also moved permanently back to California in 1961, purchasing a house at 12305 Fifth Helena Drive in Brentwood, Los Angeles in early 1962.[225] Monroe on the set of Something's Got to Give. She was absent for most of the production due to illness and was fired by Fox in June 1962, two months before her death Monroe returned to the public eye in the spring of 1962; she received a "World Film Favorite" Golden Globe Award and began to shoot a film for Fox, Something's Got to Give, a remake of My Favorite Wife (1940).[226] It was to be co-produced by MMP, directed by George Cukor and to co-star Dean Martin and Cyd Charisse.[227] Days before filming began, Monroe caught sinusitis; despite medical advice to postpone the production, Fox began it as planned in late April.[228] Monroe was too sick to work for the majority of the next six weeks, but despite confirmations by multiple doctors, the studio pressurized her by alleging publicly that she was faking it.[228] On May 19, she took a break to sing "Happy Birthday, Mr. President" on stage at President John F. Kennedy's early birthday celebration at Madison Square Garden in New York.[229] She drew attention with her costume: a beige, skintight dress covered in rhinestones, which made her appear nude.[229][j] Monroe's trip to New York caused even more irritation for Fox executives, who had wanted her to cancel it.[231] Monroe next filmed a scene for Something's Got to Give in which she swam naked in a swimming pool.[232] To generate advance publicity, the press was invited to take photographs; these were later published in Life. This was the first time that a major star had posed nude at the height of their career.[233] When she was again on sick leave for several days, Fox decided that it could not afford to have another film running behind schedule when it was already struggling with the rising costs of Cleopatra (1963).[234] On June 7, Fox fired Monroe and sued her for $750,000 in damages.[235] She was replaced by Lee Remick, but after Martin refused to make the film with anyone other than Monroe, Fox sued him as well and shut down the production.[236] The studio blamed Monroe for the film's demise and began spreading negative publicity about her, even alleging that she was mentally disturbed.[235] Fox soon regretted its decision and re-opened negotiations with Monroe later in June; a settlement about a new contract, including re-commencing Something's Got to Give and a starring role in the black comedy What a Way to Go! (1964), was reached later that summer.[237] She was also planning on starring in a biopic of Jean Harlow.[238] To repair her public image, Monroe engaged in several publicity ventures, including interviews for Life and Cosmopolitan and her first photo shoot for Vogue.[239] For Vogue, she and photographer Bert Stern collaborated for two series of photographs, one a standard fashion editorial and another of her posing nude, which were published posthumously with the title The Last Sitting.[240] Death Main article: Death of Marilyn Monroe Front page of the New York Mirror on August 6, 1962 During her final months, Monroe lived at 12305 5th 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.[241] Murray awoke 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, Dr. Ralph Greenson, who arrived at the house shortly after and broke into the bedroom through a window to find Monroe dead in her bed.[241] Monroe's physician, Dr. Hyman Engelberg, arrived at around 3:50 a.m.[241] and pronounced her dead at the scene. At 4:25 a.m., the LAPD was notified.[241] Monroe died between 8:30 p.m. and 10:30 p.m. on August 4,[242] and 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.[243] Empty medicine bottles were found next to her bed.[244] The possibility that Monroe had accidentally overdosed was ruled out because the dosages found in her body were several times over the lethal limit.[245] The Los Angeles County Coroners Office was assisted in their investigation by the Los Angeles Suicide Prevention Team, who had expert knowledge on suicide.[244] 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.[245][246] Due to these facts and the lack of any indication of foul play, deputy coroner Thomas Noguchi classified her death as a probable suicide.[247] Monroe's crypt at Westwood Memorial Park in Westwood Village Monroe's sudden death was front-page news in the United States and Europe.[248] 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",[248] and the Chicago Tribune reported that they had received hundreds of phone calls from members of the public who were requesting information about her death.[249] 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 stated that she was "one of the most unappreciated people in the world".[250] Her funeral, held at the Westwood Village Memorial Park Cemetery on August 8, was private and attended by only her closest associates.[251] The service was arranged by Joe DiMaggio and Monroe's business manager Inez Melson.[251] Hundreds of spectators crowded the streets around the cemetery.[251] Monroe was later entombed at Crypt No. 24 at the Corridor of Memories.[252] 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.[253] 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.[254] No evidence of foul play was found.[255] Screen persona and reception Jean Harlow was a platinum blonde 1930s film star who was a major inspiration for Monroe's star image. 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.[256] According to film scholar Richard Dyer, Monroe's star image was crafted mostly for the male gaze.[257] 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.[258][259] 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.[260] In addition to Grable, she was often compared to another iconic blonde, 1930s film star Jean Harlow.[261] 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.[262] Monroe's screen persona focused on her blonde hair and the stereotypes that were associated with it, especially dumbness, naïveté, sexual availability and artificiality.[263] 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".[264] For example, when she was asked what she had on in the 1949 nude photo shoot, she replied, "I had the radio on".[265] Monroe portrayed a sexually attractive and naïve "dumb blonde" in Gentlemen Prefer Blondes (1953) In her films, Monroe usually played "the girl", who is defined solely by her gender.[257] Her roles were almost always chorus girls, secretaries, or models; occupations where "the woman is on show, there for the pleasure of men."[257] Monroe began her career as a pin-up model, and was noted for her hourglass figure.[266] She was often positioned in film scenes so that her curvy silhouette was on display, and often posed like a pin-up in publicity photos.[266] Her distinctive, hip-swinging walk also drew attention to her body and earned her the nickname "the girl with the horizontal walk".[100] Monroe often wore white to emphasize her blondness and drew attention by wearing revealing outfits that showed off her figure.[267] Her publicity stunts often revolved around her clothing either being shockingly revealing or even malfunctioning,[268] such as when a shoulder strap of her dress snapped during a press conference.[268] 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.[269] Stories of her time spent in foster families and an orphanage were exaggerated and even partly fabricated.[270] 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.[271] Monroe arriving at a party celebrating Louella Parsons at Ciro's nightclub in May 1953 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 an obstacle when she wanted to pursue other kinds of roles, or to be respected as a businesswoman.[272] Academic Sarah Churchwell studied narratives about Monroe and has stated: The biggest myth is that she was dumb. The second is that she was fragile. The third is that she couldn't act. She was far from dumb, although she was not formally educated, and she was very sensitive about that. But she was very smart indeed—and very tough. She had to be both to beat the Hollywood studio system in the 1950s. [...] The dumb blonde was a role—she was an actress, for heaven's sake! Such a good actress that no one now believes she was anything but what she portrayed on screen.[273] Biographer Lois Banner has written that Monroe often subtly parodied her status as a sex symbol in her films and public appearances,[274] 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."[275] 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".[276] 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.[277] 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.[278] "I never quite understood it, this sex symbol. I always thought symbols were those things you clash together! That's the trouble, a sex symbol becomes a thing. I just hate to be a thing. But if I'm going to be a symbol of something I'd rather have it sex than some other things they've got symbols of."[279] —Monroe in an interview for Life in 1962 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).[280] 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.[281] 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."[282] 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".[283] According to Haskell, due to her status as a sex symbol, 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.[284] 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.[285] 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).[286] 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.[287] Monroe in a Lustre-Creme shampoo advertisement in 1953 Monroe was perceived as a specifically American star, "a national institution as well known as hot dogs, apple pie, or baseball" according to Photoplay.[288] 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".[289] 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.[290] Film historian Laura Mulvey has written of her as an endorsement for American consumer culture: If America was to export the democracy of glamour into post-war, impoverished Europe, the movies could be its shop window ... Marilyn Monroe, with her all American attributes and streamlined sexuality, came to epitomise in a single image this complex interface of the economic, the political, and the erotic. By the mid 1950s, she stood for a brand of classless glamour, available to anyone using American cosmetics, nylons and peroxide.[291] Twentieth Century-Fox further profited from Monroe's popularity by cultivating several lookalike actresses, such as Jayne Mansfield and Sheree North.[292] Other studios also attempted to create their own Monroes: Universal Pictures with Mamie Van Doren,[293] Columbia Pictures with Kim Novak,[294] and The Rank Organisation with Diana Dors.[295] Legacy Main article: Marilyn Monroe in popular culture Publicity photo of Monroe, 1953 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."[296] Art historian Gail Levin stated that Monroe may have been "the most photographed person of the 20th century",[106] 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",[297] 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.[298][299] Hundreds of books have been written about Monroe. She has been the subject of films, plays, operas, and songs, and has influenced artists and entertainers such as Andy Warhol and Madonna.[300][301] She also remains a valuable brand:[302] 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.[303][304] Monroe's enduring popularity is linked to her conflicted public image.[305] On the one hand, she remains a sex symbol, beauty icon and one of the most famous stars of classical Hollywood cinema.[306][307][308] 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.[309] She has been written about by scholars and journalists who are interested in gender and feminism;[310] these writers include Gloria Steinem, Jacqueline Rose,[311] Molly Haskell,[312] Sarah Churchwell,[304] and Lois Banner.[313] Some, such as Steinem, have viewed her as a victim of the studio system.[310][314] Others, such as Haskell,[315] Rose,[311] and Churchwell,[304] have instead stressed Monroe's proactive role in her career and her participation in the creation of her public persona. Left panel from pop artist James Gill's painting Marilyn Triptych (1962) Due 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.[316] 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".[316] Similarly, Banner has called Monroe the "eternal shapeshifter" who is re-created by "each generation, even each individual ... to their own specifications".[317] Monroe remains a cultural icon, but critics are divided on her legacy as an actress. David Thomson called her body of work "insubstantial"[318] 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".[319] In contrast, Peter Bradshaw wrote that Monroe was a talented comedian who "understood how comedy achieved its effects",[320] 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".[321] 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 superfeminine women weren't supposed to be smart".[322] Filmography Main article: Marilyn Monroe performances and awards Dangerous Years (1947) Scudda Hoo! Scudda Hay! (1948) Ladies of the Chorus (1948) Love Happy (1949) A Ticket to Tomahawk (1950) The Asphalt Jungle (1950) All About Eve (1950) The Fireball (1950) Right Cross (1951) Home Town Story (1951) As Young as You Feel (1951) Love Nest (1951) Let's Make It Legal (1951) Clash by Night (1952) We're Not Married! (1952) Don't Bother to Knock (1952) Monkey Business (1952) O. Henry's Full House (1952) Niagara (1953) Gentlemen Prefer Blondes (1953) How to Marry a Millionaire (1953) River of No Return (1954) There's No Business Like Show Business (1954) The Seven Year Itch (1955) Bus Stop (1956) The Prince and the Showgirl (1957) Some Like It Hot (1959) Let's Make Love (1960) The Misfits (1961) Something's Got to Give (1962–unfinished) .   ebay1300/28

 

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