Marilyn Monroe, the Showgirl, and Colin Clark: A Romantic Interlude - The Casual Observer
Leaving college in the s, Colin Clark got a job as a gofer on the London set of a new motion Olivier's film The Prince and the Showgirl, which was to star Olivier and Marilyn Monroe. . The makeup tests are a revelation. his relationship with Sir Laurence Olivier and the impact Marilyn Monroe had on everybody as. Contrast all this with the Colin Clark of the film adaptation, who's a fresh-faced, “When MM did arrive [for a screen test] we all got a shock—except . of the Harry Potter films), but his relationship with Monroe shuts that down. Clark was Olivier's personal assistant with the title of Third Assistant Director “ Marilyn Monroe is like Desdemona she makes men mad. The intention was to do a film test of Marilyn, first without makeup, Clark noted about Marilyn's relationship with Miller that she seemed “Can you believe it Colin?.
Marilyn Monroe, the Showgirl, and Colin Clark: A Romantic Interlude
Vivien herself had made only one Hollywood film in her career, the blockbuster Gone With the Wind. Scarlet later married another character and became, drum roll Mrs. In yet another irony, Clark Gable co-starred as Rhett Butler. Had Olivier actually left Leigh for Marilyn he would have discovered he was married to yet another woman with manic-depression, as Leigh also suffered from this illness. Coincidences aside, when Marilyn and Arthur Miller arrived in England the film looked promising.
The press surrounded Olivier, Leigh and the Millers. It made such a blinding flash that Marilyn put the glasses back on. Personally i think Marilyn looks dreadful upon her arrival.
Her hair is a disheveled mess. Vivien Leigh, worked hard to keep attention on herself, yet she looked far prettier. Marilyn and Miller could elope quietly but the press surrounded them for an interview about the honeymoon at a time when Marilyn was supposed to be focused on the film.
The set was divided into two rooms in such a manner that when the acting took place in one room, it was being filmed in the other. Clark noted Olivier seemed distant where Marilyn was concerned. She used her own instinct.
COLIN CLARK AND MARILYN MONROE
The stage was set so to speak for the disastrous experience ahead. The intention was to do a film test of Marilyn, first without makeup, then with makeup. The afternoon footage was even more extraordinary. Marilyn looked like an angel, smooth glowing, eyes shining with joy. We all fell in love there and then….
They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places. So often, someone is starting out in the industry and has a freshness and vibrancy and still an excitement with what the process is. That's really refreshing for an actor who is jaded or has perhaps lost that instinctive love. So I can definitely see how those two worlds could meet, yeah. If you could have an affair with any of the old screen legends, who would it be?
Who would it be? That's a really good question. I'm actually so embarrassed about my lack of education as far as old films are concerned, I can't answer it appropriately! The great thing about this film was it gave me the excuse to watch a lot of her work and I definitely was under Marilyn's spell by the end. I think I prefer blondes. In this film in particular, you worked with a lot of film-theater hybrids, and you yourself have a theater background.
Is there a type of work that you're focusing on, or do you enjoy this sort of mix? Making a film or doing a play are completely different experiences and entirely fulfilling, but completely unique. I also think one complements the other. People often say that theater is about flexing your muscles, and is actually real acting, whereas I sort of disagree. I started in theater, and when I got into film I didn't do a play for about four years.
And when I went back to doing a play, the experience I'd had filming had sort of educated [me], because it's when you're doing anything histrionic or excessive, it's so visible that you have to learn to pare all that down. So often people go, "actors have to go back to the theater to remind themselves"… but it's a sort of symbiosis really. Do you feel that film is a little more genuine in that way?
The son of the acclaimed art historian Sir Kenneth Clark, Colin was desperate to obtain a job within the movie business. Marilyn had already starred in a number of movies but mostly not as the leading lady. If this movie was successful, it would place her at the cusp of stardom with a new string to her enlarging bow.
Exacerbating her insecurity was her pill-popping habits which was partially the cause of her unpredictability and inability to concentrate on the task at hand. This meant that he had to accompany her wherever she went. In contrast to the other members of her retinue, Colin had no personal agenda. Marilyn slowly came to regard him as a safe haven, somebody in whom she could confide. Of particular concern for her was to understand what made Laurence tick.
His animosity in particular irked her. At this juncture, Marilyn stormed off the set in tears with Laurence screaming some inanities after her. The production was behind schedule at great cost. Afflicted with marital woes, a rampaging Laurence and a sycophantic coterie, Marilyn sought solace in Colin.
The two were poles apart in so many ways: Marilyn at 30 years of age was on her third marriage and was worldly wise as a world-wide icon whereas Colin at 23 years old still resided with his parents who funded him. To Marilyn however, Colin was like a breath of fresh air, an antidote, after the stifling otherworldly environment that she inhabited.
More importantly Marilyn yearned just to experience the English countryside alone without this distraction. This is where Colin would be alone with Marilyn without her fawning helpers. Like an enthralled child in a candy store under a languid sky she played tag, galloped through the verdant fields and swam naked in a bubbling brook.