CAST AWAYS: Part IX

Is it true that "the song remains the same" if played to a different tune? You decide whether The Way We Were can still outdo What Might Have Been:

Marlene and John Gilbert take on the town.

Marlene Dietrich is remembered in cinematic history as being a stone cold... fox. Yet, off screen, her character was much softer and more maternal than any of her performances could have relayed. She would only play a mother once, in Blonde Venus, despite the fact that "mom" was her favorite role in her personal life. Her natural inclination to nurture soon enough drew her to none other than fallen angel John Gilbert. When Lewis Milestone alerted her over dinner that his neighbor, the handsome Jack, was out of work, melancholy, and just doors away, Marlene-- who strongly adhered to the "no man left behind" mentality-- marched up to his house and announced, "John Gilbert, I have come to save you." The stunned heartthrob made no dispute. In addition to enjoying a romantic affair, Marlene also vowed to kick-start Jack's stalled career by insisting that he be cast opposite her in Knight without Armour. It would have been something to see these two lovers together on screen. Sadly, Jack passed away on Jan. 9, 1936 before production was started, so Greta Garbo maintains the reputation of his greatest screen lover (both on and off). Marlene was devastated at Jack's passing and lit votive candles beneath his picture in memory for several months afterward. Yet, she did not hold it against the debonair Robert Donat when he later took on the role of A.J. Fothergill in Knight. In fact, Marlene turned her mother instincts on him as well. When he became ill, production threatened to have him replaced. Again, Marlene stepped in and insisted that the film be postponed until its leading man was better, or else she too would walk. The brass took the bait, and after the grateful Robert recuperated, Marlene toasted his return.

Robert Donat plays Marlene's Knight without Armour,

 though in life she was the hero.

Despite her brazen, business savvy ways, Marlene too hit some rough patches. In these times, she was resilient enough to take care of herself, but it was always nice when a helping hand was extended in her direction. Such was the case when it came time to cast Destry Rides Again (left). At this time, Marlene was suffering a dip in popularity, having just been labeled as box-office poison alongside soul sisters Katharine Hepburn, Bette Davis, and Joan Crawford. While she still remained adored by fans, love wasn't money, and she needed a great role to re-establish her box-office clout and fill her always dwindling bank account. Luckily, Joe Pasternak had had his eye on her since her silent film and stage days in Germany. He lobbied for her in Destry, despite the fact that the studio wanted Paulette Goddard. Fortune was on Marlene's side, because Paulette turned out to be "unavailable." Marlene got the role, and her "come back" resulted in a box-office sensation-- one of the many films to make 1939 the eternal year of movies. Befittingly, Marlene and Paulette never really got along, especially after Paulette married Marlene's good friend, writer Erich Maria Remarque. Marlene saw him little after the nuptials, but while Paulette may have gotten her pal, Marlene got her career back.

Paulette Goddard could definitely pull off the femme fatale,

but she was no match for Marlene.

George Burns had been acting in movies for over 45 years by the time he was cast in The Sunshine Boys. Co-starring Walter Matthau (together right), this film was a precursor to the aging frenemy films that Walter and Jack Lemmon would make later, such as Grumpy Old Men. In Sunshine, the two heroes are old-- and I do mean old-- show business partners, whose days in vaudeville made them stars in their own time but leave them forgotten in present day. However, an opportunity to earn some bookoo bucks and regain former glory comes when they are offered a performance on a television special. The reunion is an unwelcome one, as the two curmudgeons can't stand each other. Chaos ensues.  The brilliant comic sparring of George and Walter made the film a surprising hit for a world continually described as youth-centric. George with his dry, crotchety delivery, even won an Academy Award for his performance-- a first for a man of 80. This was a very moving moment in his life, particularly since he was not even slated to star in the film originally. In the beginning, his good friend, the much beloved Jack Benny, was to play Al Lewis, but sadly Benny was in poor health and could not accept the project. After making some initial screen tests with Walter, Benny backed out to rest and hopefully recuperate. Always a gentleman, he recommended his friend George for his abandoned role, which George of course accepted. Not long after, Benny passed away. Thus, when George accepted his long-awaited Oscar, he accepted it not only for himself, but on behalf of his dear, departed friend, without whom he never would have embraced the long-awaited statuette.

George Burns and Jack Benny make beautiful music together.

The Thin Man is a perfect example of the little movie that could. Based upon the mystery novel by Dashiell Hammett, it was given a modest budget by MGM and was ranked during production as a simple B-feature. Always up to the challenge, director W.S. Van Dyke was able to churn out the comedy classic in the allotted two weeks, but even more impressive than his economy was his casting palette. The dynamite combo of William Powell and Myrna Loy as the playfully bickering Nick and Nora Charles (left) remains one for the ages. Though the two had performed together before, in Manhattan Melodrama, their chemistry reached true perfection once they started pulling punches amidst the hilarity of murder and marital discord. Their onscreen relationship was amplified by their offscreen friendship, and a mutual trust and affection would bring theaters-goers their first glimpse of a modern marriage: oozing sarcasm, often drunken, and forever in love. The pairing too became a triple threat when dog Skippy was added to the mix as Asta, who would become yet another beloved dog performer in the ranks of Rin Tin Tin and Lassie. But this hysterical family was almost broken up when William became ill with cancer, which took him off the screen for a year and put a wrench in Thin Man sequels. Because MGM didn't want to lose money on wasted time, they considered replacing William in the continuing series with another actor. Both Melvyn Douglas and Reginald Gardner were considered. Luckily, the studio didn't follow through. The magic of Nick and Nora couldn't be duplicated by anyone other than Bill and Myrn'. After William recuperated, he returned to his favorite cinematic wife with their reign through six Thin Man films never interrupted.

Keep your paws off: this trio's built to last.

Some Like It Hot has been hailed by many as the greatest comedy of all time, which is ironic considering that behind the scenes there was nothing but drama. Most of this centered around the forever conflicted and perpetually late Marilyn Monroe (right), but even Billy Wilder admitted that all the pain was worth it when he saw the rushes. The great comic teaming of handsome cad Tony Curtis and the devilishly absurd Jack Lemmon perfected the onscreen chemistry, and smaller character roles were filled out synchronously by George Raft and Joe E. Brown. It turned out to be a motley match made in Heaven. Who could imagine a better outcome? It is fortunate for continuing audience members that Billy Wilder did not go with his original casting idea for Joe/Josephine and Jerry/Daphne: Danny Kaye and Bob Hope. Some like it not. While definitely superb in the funny department, this duo would not have delivered the same edge nor the necessary sexuality that made the film such a hit. The more youthful albeit worldly interpretations of Tony and Jack definitely turned up the heat in the script. Billy soon latched onto Jack Lemmon after seeing some of the upcoming actor's work, and after Tony campaigned for the role of Joe and proved his acting ability in Sweet Smell of Success, he too was put in heels. Yet, even then, the pairing was in jeopardy. Billy knew he needed a star to bring in an audience, so when Frank Sinatra considered edging in on the role of Jerry/Daphne, the production was put on hold. Thankfully, the macho Sinatra decided that his image wouldn't survive a picture in which he dressed in drag, and the role was gladly handed back to Jack. As for the role of Sugar Kane, originally Mitzi Gaynor was slated to be the one "runnin' wild" with her ukulele, but having "Marilyn Monroe" on the marquee was a better guarantee for revenue. Marilyn had her reservations about playing another dumb blonde, but despite their experience together on The Seven Year Itch, Billy talked her into it. One of Hollywood's finest directors, he was able to maintain control of his haywire film, even with the infamous Black Bart (Paula Strasberg) lurking around set, though handling Marilyn the woman was a chore no one could accomplish. Nonetheless, the film was a sensation, and Marilyn won the Golden Globe for her endearing performance. Thank movie Heaven!

As fate would have it: apparently Sinatra had the pipes,

but lacked the stems. Tony and Jack rocked stilettos

 and made it work.

CAST AWAYS: Part IX

MENTAL MONTAGE: When First We Met

In the larger-than-life land of La La, one would expect every interaction between celebrities to be as dramatic and cataclysmic as on the big screen. Sometimes, they are, but mostly they are just downright comical. Here are a few of the most infamous and entertaining tales of movie star meetings:

Young ingenue, Marilyn Monroe.

When Marilyn Monroe was a young, hopeful starlet just starting out in Hollywood, she used to make the rounds at various cocktail parties and shindigs. Sometimes, this was merely part of the job description-- being paid to smile at executives while handing out cigarettes-- and other times it was part of her ploy to meet as many important people as possible and get her name and face out there. Well, her gorgeous face did catch the eye of many men, one of whom was so taken with her that he asked her to sit down beside him on the staircase, where he was getting sloppy drunk. After introducing himself in the distinguished and sardonic voice that she recognized, Marilyn told him her name as well. He then surprisingly asked her to marry him, to which she politely answered "No." He took the rebuff admirably, responding that he understood her hesitancy to marry an actor for "An actor is not quite a human being-- but then, who is?" Then, he passed out right next to her in an abrupt snore. Ironically, Marilyn would meet George Sanders again when they performed in All About Eve together, one of her big career-boosting films. In it, they would share another scene on a staircase.

Marilyn and George Sanders relive the old days

in a scene from All About Eve.

Marilyn's meeting with Bette Davis was not as hilarious as her interlude with the humorously snide Sanders. A huge fan of Bette's, Marilyn was nervous to meet her for the first time on Eve, but she tried to impart her deep appreciation for her work. Bette, being Bette, saw only a beautiful tart who, to her, was just one of a zillion pretty faces trying to make it in Hollywood. To a great actress like herself, Marilyn was a hack-- a little girl who just wanted to be famous and had no respect for the art of performance. For this reason, Bette shunned her, although that may too have had a lot to do with her own insecurity and the fact that she was being eclipsed by a younger, more beautiful woman. Throughout the shoot, Marilyn would overhear Bette taking out her wrath, most particularly during the theater lobby scene. Between takes, Bette could be heard saying (purposely loud enough for Marilyn to hear ),"That little blonde slut can't act her way out of a paper bag!" Such altercations depleted Marilyn's confidence and increased her terror of the infamous Bette. In the end, Marilyn had the last laugh, for although Bette churned out another flawless performance, Marilyn stole every scene she was in (as seen left). The camera loved Diva Davis, but it was in love with Monroe.

Ava Gardner (right) had a meeting with Bette that was not completely dissimilar. Ava was also agog at the movie queen's power. When she met her at a particular soiree, she told Bette that she was truly honored to meet her. Again, Bette raised the classic eyebrow, but perhaps sensing that Ava had a great deal more bite than the timid Marilyn, she offered only the crack:  "Of course you are," and walked off. (Bette is perhaps the only woman in history who can be perfectly bitchy and still perfect).

Bad, bad Bette.

Bette's meetings with men were different. A bit of a sexual tigress, Bette enjoyed the company of attractive leading men like Paul Henreid or George Brent. However, during her early film days, she often complained that she was cast opposite lackluster actors-- rising stars who had not yet reached their summit. She felt snubbed and craved an actor with whom she could go mono e mono. For this reason, she was ecstatic when she learned that she would be starring opposite the great Charles Boyer in All This and Heaven Too. Finally! A handsome talent that she could sink her teeth into. However, on the first day she was to perform opposite Charles, Bette was confused. She scanned the set, but didn't see him anywhere. When she saw a pudgy, balding Frenchman intruding on the sound stage, she tried to have him removed, only to discover that he was, in fact, Charles Boyer! Turns out that good ol' Chuck had to wear a toupee and a girdle for his film roles to appear more dashing, making his offscreen appearance almost unrecognizable. Shocked, Bette didn't think she could feign attraction to, well, a schlub! But, in a magical way that only the classy Boyer could do, he was able to transform into a heroic, charming, and handsome romantic as soon as the director called "action." Bette had no further complaints.

Ironically, Bette was to play the more matronly character

in All This and Heaven Too opposite an elegant Boyer.

Another case of mistaken identity occurred for Grace Kelly. She and Cary Grant became great chums on the set of To Catch a Thief (left). For this reason, Cary decided to invite her to a party being thrown by Aristotle Onassis on his yacht. The two arrived together, with Cary looking his usual, elegant self, but Grace looked more like a school teacher in her casual wear and thick eyeglasses. As glamorous as she was onscreen, away from the cameras she was down-to-earth and shy, becoming somewhat of a wallflower. An unaffected person, her beauty was something she merely turned on when necessary, not something she luxuriated in. For this reason, Onassis didn't even recognize the great movie goddess! When she and Cary made their exit, Onassis pulled Cary aside and thanked him for coming. He also told him to feel free to bring his charming "secretary" along again next time. That he did, for Cary and Grace remained close pals until her untimely death.

Groucho Marx (right) also had a bit of trouble recognizing a certain actress the first time they met, but for very different reasons. While in the Thalberg building, Groucho once entered the elevator to find it inhabited by a woman with a very large hat. From what he could make out of her profile, she looked familiar. Was it? Could it be? Not one to be shy, the funny man reached over, lifted the woman's hat, and took a peek. Sure enough, it was Greta Garbo. You couldn't mistake a mug like that! Of course, being the aloof and socially awkward woman that she was, Greta offered little in the way of conversation. Thus, to neutralize the situation, Groucho simply said: "I'm terribly sorry, but I thought you were a fellow I knew from Kansas City."

Greta ponders Groucho's quip.

Some of the most interesting cases of star meetings occur on the set. When paired up for the first-- and sometimes only-- time, the nature of an introduction says a lot about the relationship two actors are to have with each other. When Clark Gable finally and begrudgingly took on the role of Rhett Butler in Gone with the Wind, the punctual pro was irritated that his leading lady was late to their first publicity photo shoot. Pacing back and forth, he muttered to the photographer something to the effect of, "Where the Hell is this lady? If this is the way she works, I'll walk off right now!" Suddenly, ringing out behind him as clear as bell, came a sweet, English voice saying, "I quite agree, Mr. Gable...  I'd tell that Vivien Leigh to go straight back to England and f*ck herself!" Clark turned around to see his stunningly beautiful co-star, Vivien, and offered her a big grin. All anger was forgotten, and after taking her hand, he led her to their place in front of the camera and started the romance to crush all movie romances (left). Their relationship remained contentious: one minute they were locking horns about a scene and the next they were playing Battleship together.

Katharine Hepburn had wanted to act with Spencer Tracy for some time by the time they were both cast in Woman of the Year (right). Kate had great respect for Spencer's straight-shooter acting style, and-- though a confident lady herself-- she was surprisingly nervous the first time the two were to meet. Prior to shooting the film, Kate happened to be on the backlot when she bumped into Spencer and Joseph L. Mankiewicz on the stairs. After an initial "Hello, nice to meet you," Kate, who was in heels, found herself surprisingly tougue tied, and after referencing their upcoming film together, she spit out: "I'm sorry, with these shoes I'm afraid I'll be a bit tall for you." Spencer just mulled her over, not saying a word, trying to make out the strange but intriguing woman in front of him. Finally, Joe piped in with, "Don't worry, he'll cut you down to size." Indeed he did. The confusion and butterflies initially felt turned to love once the cameras rolled.

William Powell and Myrna Loy are remembered as one of the greatest film teams of all time, portraying most infamously the madcap couple Nick and Nora Charles of the Thin Man series (left). Their initial meeting was just as chaotic and hilarious as any of their crime solving buffoonary. Things were moving rapidly their first day of shooting on Manhattan Melodrama. In fact, the two didn't even have time to be properly introduced by W.S. Van Dyke before they were rushed into "take one." In the scene, Myrna's character was to rush into Powell's cab, so William sat waiting in the car for her to enter. Van Dyke called "action," but instead of saying the written lines when Myrna entered, William quipped: "Miss Loy, I presume?" Myrna burst out laughing. The two became fast friends, and the wisecracks and hijinks ensued throughout their numerous films together.

A less gentlemanly handshake occurred when legendary screen siren Joan Crawford met hot new leading man John Garfield. The two were assigned to do Humoresque (right), a film about a wealthy patroness and her kept man/musician. The lusty Joan was excited to work with John, who had become the talk of the town with his bold and earthy characterizations. When introduced their first day on the film, Joan held out her hand saying, "It's very nice to meet you." John responded by reaching out and pinching her breast. A moment of silence passed. Joan then calmly looked up, met John's gaze, and responded: "You know, I think we're going to get on just fine." That they did, performing superbly and sensuously on film and off, enjoying a brief and amicable affair. Only in Hollywood...

MENTAL MONTAGE: When First We Met

MENTAL MONTAGE: What a diff'rence a bouquet makes...

Olivia De Havilland, looking lovely in

a floral garland.

When comparing notes about different celebrities, I can't help but notice a common trend of the floral variety. Flowers between friends isn't an uncommon theme, and for birthdays, Valentine's Day, or (sadly) funerals, they always do the trick to indicate sentiment and appreciation. In any case, here are a few tales of gardenia lore I have encountered, which I thought you too would enjoy. As they say, one should always take time to stop and smell the roses.

Our starlet of the month, Veronica Lake, (left) had quite a history when it came to flowers. When she initially arrived in Hollywood, she found herself a bit left out in the cold, despite the fact that MGM had summoned her to California in the first place. Told that her screen test was being placed indefinitely on the back burner, she kept herself busy attending the Bliss Hayden School of Acting, thereafter obtaining extra roles and bit parts in feature films. While the public was still ignorant of her existence, some people were taking notice, particularly men. Walking around the back lot, the petite but sensual young woman was a tasty bit of eye candy. Even among the throngs of gushing ingenues and "5 o'clock girls," Ronni had a way of standing out, perhaps because she didn't bat her eyes or coo at the men in charge. Her aloof impenetrability made her all the more desirable.

However, Ronni always remained ignorant of her beauty or her charms, so when she started receiving anonymous bouquets of flowers, she was bewildered. Who could they be from??? They started arriving every day for a month. Unable to piece the mystery together, Ronni was relieved when she finally got a phone call from her nameless suitor. John Detlie, an art director at MGM, had been one of the many men whose heart (and loins) had churned at the sight of Ronni. He became intrigued, and instead of being one of the abrupt oafs who simply accosted her and asked her out, he decided to woo her in the style of an old-fashioned Don Juan. Since Ronni thought most men were full of sh*t, she liked John and his approach. Enjoying the attention he lavished on her, she accepted an invitation to lunch at The Brown Derby, which her mother, Constance, attended as well. (By inviting her mother along, John had also endeared himself to the senior party).

Soon, Ronni and John were in love. Throughout their marriage, which began when they eloped during Ronni's first big hit, I Wanted Wings, John would always surprise her with flowers or stuffed pandas, her favorite animal. She had quite a collection filling her house, and even her engagement ring, which Detlie had designed, followed suit: it was a panda with a diamond. Sadly, their marriage didn't last-- after jealousy over Ronni's career interfered-- but during these early romantic days, flowers won John's way into her heart.

Ronni also had a notable encounter with a floral arrangement when she was working with Milton Berle (right) on his television show in the early '50s. After Ronni's film career faltered, as a result of a disastrous second marriage to Andre DeToth, an increasing addiction to alcohol, and a losing battle with schizophrenia, she had to return to her more resourceful ways to provide for herself and her three children: Elaine, Michael, and Diana. Though unnerved by the idea of performing live on television, it seemed to be one of the only viable options for an actress who was on the outs with Hollywood. Milton Berle did her a favor by asking her to participate, due to the fact that she had garnered a notorious reputation as a temperamental and difficult actress. However, during the show, Milton found Ronni to be anything but her alleged diva persona: she was professional, friendly, and most importantly funny. During her skit, Ronni was supposed to seductively walk onstage with her fur wrap, and instead she wrapped it around her head like a babushka. Milton almost lost it in tears of laughter. The next day, Ronni would find a bouquet of flowers at her front door from him. During a difficult time in her life, it was just the thing to pep up her spirits.

When not using flowers to woo, one often sends them just to say "Thank you." Such was the case for William Holden. When picked up to star in his first major role in Golden Boy, the cocky charmer found himself-- for perhaps the first time-- a nervous wreck. Given the lead role in a major motion picture opposite such acclaimed and studied thespians as Lee J. Cobb and Barbara Stanwyck seemed like a dream come true, but once on the set, he lost a little of his swagger. Stiff and awkward, even Bill's handsome looks couldn't save him from the atrocious work the studio was seeing in the rushes every day. His worst fear was being whispered-- he was going to be replaced! And he would have been, had it not been for Barbara Stanwyck (pictured with Bill, left). Beneath Bill's jitters, Babs saw an incredible amount of potential, if only he could learn to harness it. So, she took him under her wing and studied his lines and his character with him each night. Their friendly rehearsals bolstered Bill's confidence and turned his performance around. When the film premiered, it was a huge success, and Bill became an overnight sensation. He never forgot Barbara's generosity, and for the rest of his life, he would send her flowers on the anniversary of the film's first production day. Babs was equally fond of Bill, and when she won her Honorary Oscar for Lifetime Achievement, she paid homage to her by then deceased friend: "Tonight, my golden boy, you got your wish."

Three handsome, drunken rogues... During

From Here to Eternity: Monty, Burt, and Frank.

Frank Sinatra was a crooner who was notorious for his unique and powerful vocals, as well as his reputation with the ladies. In his day, he knocked boots with some of the greatest beauties of the silver screen: from Ava Gardner, to Angie Dickinson, to Mia Farrow. Needless to say, he knew how to show a girl a good time and shower her with gifts, however it was a man who was on the receiving end of Frank's floral generosity. During the shooting of From Here to Eternity, the boys club of Frank, Montgomery Clift, Ernest Borgnine, et al hung out, drank, swore, and rose hell. Strangers became fast friends and lifelong buddies. Burt Lancaster too got in on the action, and as a powerhouse actor and dominating personality, it was no wonder that the rest of the crew looked up to him. He became a sort of leader in the group, engaging in all night benders yet brushing off the effects like he had been sipping tea. Indeed, he could roll out of bed and head to set with ease, but he had to put a little elbow grease into sobering the rest of the fellows up. Because he was well-liked and even maternal in his treatment of Frank and the others, they started calling him "Mom." The joke didn't end when the shoot did, for Frank always used to send Burt a bundle of flowers on Mother's Day.

William Powell and Myrna Loy established one of the most memorable screen duos in cinema. Witty and romantic lovers onscreen, offscreen they were simply pals. Their natural chemistry translated well into the world of Nick and Nora Charles in The Thin Man series (right), where they volleyed off each other like squabbling siblings one minute and then kissed like sweethearts the next. Making fourteen movies together, they became staunch allies and the greatest pair of lovers who were never in love. It certainly helped that they enjoyed each other's senses of humor, which kept them laughing between takes as well. When Myrna Loy was voted the #1 actress in 1938, making her and Clark Gable the "King and Queen of Hollywood," William was proud of her, even though he had only ranked #4 in the same poll. To express his happiness for her, but also maintain their dueling humors, William decided to send Myrna a little congratulations. He had a bouquet of dead, atrocious twigs, leaves, and sour grapes sent to her in a huge box with the greeting, "With Love, from William the Fourth." Myrna had a good chuckle.

William continued his relationship with flowers with Jean Harlow, albeit on a more somber note. Jean was madly in love with William (together, left) and desperate to get married, but he had his reservations. He had already been wed twice: first to Eileen Wilson and then to Carole Lombard. Though the second union had ended in a still strong friendship, he wasn't quite certain that another trip down the aisle was in the cards. That didn't stop him from loving Jean, nor from buying her a nearly golfball-sized sapphire ring, which she wore during the production of Personal Property. When Jean suddenly and tragically died of uremic poisoning at the age of 26, William was devastated. He regretted not being there for her more, nor doing the one service for her she had truly wanted: to make her his wife. In her memory, he had fresh flowers placed on her grave at Glendale Forest Lawn for several years, so that "Our Baby" would know that she was still remembered and loved.

Jean: the "Baby" and a bouquet.

Marilyn Monroe had a great love of flowers. Her favorite photo-- taken by Cecil Beaton at the Ambassador Hotel in 1956 (right)-- is the vulnerable and sexy shot of her lying in bed, pressing a carnation to her chest. She frequented her favorite florist, Parisian Florist, at 7528 West Sunset Blvd, ordering beautiful bouquets to dress up her home or to send to her beloved friends. Sometimes, Joe DiMaggio, her ex-husband, would accompany her to the shop, where he autographed a baseball for the owners. (The flower shop still stands, usually displaying a picture of their favorite customer. If you ask, they will too show you the infamous baseball). Joe and Marilyn's union was an emotional and devoted one. Unable to live together due to Marilyn's fragile yet independent nature and Joe's old-fashioned and jealous tendencies, they still cared deeply for each after the collapse of their marriage. Marilyn remained on good terms with stepson Joe Jr, and whenever she needed someone she could trust, she called on Joe Sr. for help. Indeed, he was there to get her out of the Payne Whitney psyche ward of NY Hospital in 1961 when she was wrongly confined-- she had merely checked in for bedrest.

Joe and Marilyn in happier times.

When Marilyn died, Joe was destroyed. All the wrongs he had done her wore on his heart like a weight. If only he had done this, if only he had done that... But it was too late. One of the women he had loved most in the world, perhaps most of all, was gone and there was nothing he could do this time to save her. But he, like William Powell, would honor her memory, sending flowers to her grave at Westwood Memorial for the next twenty years-- always bright, red roses. He ordered them from Parisian. The cold, marble wall where she was interred seemed far too stale. But with fresh flowers, the delicacy and beauty that Marilyn represented to the world was more accurately communicated, even in her death. To this day, fans still bring her flowers and cover her grave with a garden of lipstick kisses.

Gone, but not forgotten...

MENTAL MONTAGE: What a diff'rence a bouquet makes...