Read Online Marilyn Monroe by Barbara Leaming - Free Book Online Page A

Johnson for instance, liked to say that Johnny had died like a man. Others remarked that poor Johnny, unable to stay away from Marilyn, had screwed himself to death.
    Zanuck was by no means convinced that Marilyn was ready—if she ever would be ready—to carry a film. He insisted that she take a screen test. If she did well, she could have the part of Nell, the babysitter who nearly murders a child because she believes it poses an obstacle to her love affair. For the moment, the screen test became the focus of Marilyn’s existence. She worked round the clock with Natasha to prepare. On the day of the test, Marilyn, terrified of going through the ordeal alone, sneaked Natasha onto the set.
    The test, as it turned out, was a success. Zanuck quickly threw another obstacle in her path. Citing the test as evidence that Marilyn didn’t need a coach, he refused to allow Natasha on the set of
Don’t Bother to Knock
, telling Marilyn that it would lead to chaos if every actor or actress demanded special coaching from the sidelines. He insisted that Marilyn was quite capable of acting in a film under the sole guidance of the director. “You have built up a Svengali,” he wrote to her in a memo, “and if you are going to progress with your career and become as important talent-wise as you have publicity-wise then you must destroy this Svengali before it destroys you.”
    Natasha was in an exceedingly awkward position. What happened at RKO had been of little concern to her. She worked for Twentieth, Johnny Hyde having arranged for her to be hired when he negotiated Marilyn’s contract. Darryl Zanuck was Natasha’s boss, and she did not want to be in any sort of trouble with him. His references to her as Marilyn’s Svengali were alarming. She did not want to risk her job by being seen to interfere between Marilyn and her director.
    At first, Marilyn agreed to work without her coach, but repeatedly she rushed off the set to call Natasha’s office. They reviewed scenes together before Marilyn actually performed them. Meanwhile, Marilyn barraged Zanuck with letters imploring him to allow her to have Natasha. Finally, Natasha received the call she had been dreading. The production was well under way when Marilyn announced that she would not work another day without her coach. Zanuck, with a good deal of film already in the can, had little choice but to agree. Natasha was ordered to report to the Western Avenue stage at once.
    Roy Baker, pale and slight, was directing his first film in Hollywood, after having made
I’ll Never Forget You
for Fox in England. He was clearly irritated by Natasha, whom he regarded as Marilyn’s security blanket. Natasha took Marilyn aside and reminded her of the difficult position she had put her in. In view of Baker’s resentment, they must tread carefully. If the director was displeased with their work, Natasha would be crucified.
    In the days that followed, Marilyn repeatedly blew her lines. Though she gave the appearance of having come to the set unprepared, in fact, the truth was the very opposite. Marilyn resembled a student who has studied too hard for a crucial test. She knew her lines perfectly well,but when it was time to deliver them, she just blanked out. One had to wonder why Marilyn persisted in putting herself through this anguish. The answer was that her drive to be effective on screen was every bit as strong as her fear and insecurity.
    On the last day of filming, Marilyn appeared utterly unfamiliar with the scene she was supposed to be working on. The more the director shouted, the worse she seemed to tense up. Finally, Marilyn announced that she had to confer with Natasha. Baker, exasperated, pointed out that he was quite capable of providing all the help she required. Marilyn, in front of everyone, replied that he wasn’t. Baker permitted Marilyn to work with her coach. They shot the scene and it was perfect. Then he marched to the telephone and arranged for Natasha to be