01/06/2026
Lydia's monthly article is below - A century with Marilyn
On 1 June it will be 100 years since Norma Jeane Mortenson was born – that’s Marilyn Monroe to you and me. Her mother, Gladys, worked behind the scenes in the movie industry as a film cutter, taking original camera negatives and splicing them together to make a reel. It was poorly paid work and Gladys, a single parent who had mental health difficulties, struggled to cope. Consequently, her daughter grew up largely in foster care, but from a young age held onto the ambition to be an actress.
Spotted for her modelling potential in 1944 while she was working in a munitions factory, Norma Jeane spent the next few years transforming herself. Her hair went from brown to blonde, as she crafted a new identity as Marilyn Monroe. She bagged a few small roles in film, but it wasn’t until 1953 when she starred in Niagara, that she came to wider public attention.
Her next part, in Gentlemen prefer Blondes, released the same year, contained all the elements of her trademark ditsy screen persona and with it she stole the show. She had become the Marilyn we all think of when we hear the name.
During her short life she tried to maintain control of her image, even setting up her own production company to avoid being typecast. But since her death at the age of 36, how she is represented has become - if anything – even more fixed. And from the landmark Andy Warhol screen print made soon after she’d died… through the vast supply of T-shirts and mugs… to the many personal items sold at auction, she’s rarely out of our field of vision.
Yet – although her face is everywhere - she remains as much a mystery as ever, with the uncertainty and tragedy surrounding her death contributing to that impression. In her last interview, published the day before she died, she said this:
“When you’re famous you kind of run into human nature in a raw kind of way… It stirs up envy, fame does. People you run into feel that, well, who is she—who is she, who does she think she is, Marilyn Monroe?”
Even to herself, she seems to be in some way unreal, an artefact as much as a person. Her story perhaps invites us to reflect on our own identities: how far who we are is given, how much of us is made (intentionally or otherwise) by our choices.
Best wishes
Lydia
The photo is by U.S. army photographer David Conover's shot - Yank, the Army Weekly, via [1], Public Domain, https://commons.wikimedia.org/w/index.php?curid=73037211