Marilyn Monroe. Part 3. Dead Angel

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Marilyn Monroe. Part 3. Dead Angel
Marilyn Monroe. Part 3. Dead Angel

Marilyn Monroe. Part 3. Dead Angel

Psychoanalysis was extremely popular in the 50s and 60s in America, especially in New York, but it is absolutely useless and even harmful for emotional ladies with such a labile psyche like Marilyn's …

Part 1. A timid mouse from an orphanage

Part 2. I wannbe loved by you

Escape the Dream Factory

An unexpected divorce from Joe, boring monotonous roles, conflicts at the studio forced the actress to leave California and go to the East Coast. After moving to New York, Marilyn took up acting at the fashionable in the theater environment, Lee Strasberg, who declared himself as a student of Stanislavsky. The learning process was based on the Stanislavsky system method, which was based on the famous Russian “school of experience”. To some extent, the system can be compared with Freud's psychoanalysis, both developed according to the same canons.

Psychoanalysis was extremely popular in the 50s and 60s in America, especially in New York, but it is absolutely useless and even harmful for emotional ladies with such a labile psyche like Marilyn's.

The actress became addicted to "conversations on the psychoanalyst's couch" like a drug. Moving from one analyst to another, she visited them up to 5 times a week. It was important for Marilyn to be listened to. In an effort to arouse pity for herself, she answered the same questions, repeatedly retelling her childhood and adolescent experiences related to the mental illness of her mother, being in numerous foster families, where little Norma Jean was intended to be seduced or raped.

Psychoanalysts, for a lot of money, patiently indulged the patient, telling about her unsuccessful marriages, difficult dreams, several attempts at suicide before and after adulthood.

"Immersion in psychoanalysis" did not lead to any improvement and relief of conditions. Marilyn's psychological deficiencies remained. Fleeting meetings and changes of sexual partners did not create strong emotional ties that could bring anxiety, fear, and panic outward.

Swinging in childhood fears forced the actress over and over again in more detail, with a greater degree of reliability, to relive them again. The surge of emotional amplitude gave Marilyn dubious pleasure, briefly filling her voids, leading to a balance in the biochemistry of the brain, causing endorphin addiction.

If these fillers were not enough, and panic and anxiety rolled over again, depriving her of sleep, then she had no choice but to consume excessive alcohol and take pills uncontrolled by anyone.

The only thing that the stellar patient had stable was the tension in which she kept her psychoanalysts, not without pleasure, visually provoking them to talk about death and sharing with them her thoughts of suicide.

Constantly balancing on the brink of life and death, talking a lot about her, Marilyn seemed to be trying on her on herself. Grieving about "Aunt" Ann, an old voluntary guardian whom Marilyn lost as a teenager, she told Arthur Miller: “… I came to her apartment, went to bed where she died … I just took it and lay on her pillow. Then she went to the cemetery. The gravediggers were just digging a grave, standing in a pit. I say, can I go there, they allowed me, I went down, lay on the ground, looking at the clouds. Well, look, I will never forget."


All these fears and panic states, which Marilyn whipped up in herself, turned into hysterics and intensified so much that she stopped sleeping at night. After taking unlimited doses of sleeping pills, Monroe had difficulty waking up, not understanding anything, not knowing what to do and where to go. The actress, unable to remember a couple of lines from her role, catastrophically lost her memory.

Disrupting the shooting of films, disrupting all the work schedules of the film crew, she appeared on the set, stuffing herself with antidepressants and barbiturates - medicines that are now recognized as drugs. Antidepressants, tranquilizers, sleeping pills were prescribed in tons by personal doctors to the actors at their first request. It was easier for doctors and pharmacists to be allowed to dispense pills than to endure the tantrums of mentally unstable Hollywood visual stars.

Tired of Marilyn's suicidal blackmail and taking care of his own professional reputation, one of the psychoanalysts suggested that the actress "rest" in a psychiatric hospital. Not seeing the catch, she agrees. Assuming that she was going to a sanatorium, where she would be able to get rid of drug addiction, Monroe, without reading, signed the documents in the emergency room and ended up in a closed ward for the mentally ill.

The horror that gripped her from the thought of repeating the fate of her mother, upset Marilyn. Hysteria, aggression, and the real threat of "cutting her veins if she is not released from here" convinced the doctors to allow her to make one phone call. She calls ex-husband Joe DiMaggio. He flies to New York on the next flight and promises not to leave a stone unturned from the hospital if Marilyn is not given to him. But it will be later, but for now …

In New York, Marilyn discovers the world of great literature. She reads Dostoevsky, dreams of the role of Grushenka in The Brothers Karamazov, Anna in Anna Christie by Eugene O'Neill, Blanche from Tennessee Williams' play A Streetcar Named Desire. Gradually, the desire to play all these roles turns into an obsession that she will talk about in numerous interviews.

Grushenka, Anna and Blanche are attracted to the actress for one reason: all these heroines are women of easy virtue. Seduced and seductresses, skin-visual, like the actress herself, they carry a victimological complex, living, according to Yuri Burlan's system-vector psychology, a “murderous scenario”.

Escape from the dream factory ended for Marilyn with a new meeting - with playwright Arthur Miller.

The love of an intellectual and a blonde

If Hemingway believed that the most fruitful time for a writer comes when he falls in love, then in the case of Arthur Miller's marriage to Marilyn, this did not happen. For Monroe, the history of her relationship with the intellectual playwright was the longest. They lived together for about five years.

During this time, Marilyn starred in her best films: "The Misfits" according to her husband's script and "There are only girls in jazz", experienced a whirlwind romance with French singer Yves Montand, went even deeper into psychoanalysis and increased the dose of narcotic drugs mixed with alcohol.

Monroe and Miller have known each other for a long time. Arthur, like any man, could not help but pay attention to bohemian parties, to which he, unlike Joe DiMaggio, Marilyn's first husband, willingly accepted invitations to a gorgeous blonde, usually dressed in frank translucent dresses.


Writer and playwright Arthur Miller became famous and recognized for his play Death of a Salesman, which received many awards and literary prizes. The anal-skin-sound-visual playwright was also staring at the actress out of literary curiosity. As an artist looking for a prototype for a new character, he tried on one or another stage image for her. In the work of the writer himself, a crisis began. His wife, with whom he was married for 17 years, had long ceased to inspire him, and he hoped to find a new muse in Marilyn.

Marilyn Monroe hoped, with the help of her scriptwriter husband, to radically change her acting role as a windy, silly blonde. However, it was “the golden-haired girl, sparkling on the screen like a spray of champagne …” [1] that turned into a real Hollywood commercial “surefire”, which the movie moguls were not going to give up.

The romance of the actress and playwright began with meetings at New York theater and writing parties, where Marilyn, among the intellectual snobs, felt, to put it mildly, not at ease.

The visual snobbery characteristic of representatives of the elite culture, which was mostly Broadway bohemia, forced Marilyn to admit her own ignorance, worthlessness with a touch of Hollywood primitivism. The perceived lacks pushed the visual Marilyn into a connection with the sound Miller. It seemed to her that as soon as she got an intellectual writer as her husband, her creative life would change, and her personal life would be balanced.

People with a visual vector are always drawn to sound people. They complement each other perfectly, but there are difficulties. The fact is that viewers are extroverts and cannot live a day without showing themselves in public. If the visual vector is in fear, like Monroe's, then tantrums and emotional eruptions, under which their husbands and sound partners fall, sooner or later lead to a break in relations.

The first conflicts between Monroe and Miller began during their honeymoon trip to London, where they went to shoot the film The Prince and the Chorus, combining business with pleasure. The reason for the quarrel, as Marilyn believed, was the leading actor and director, the famous English actor Laurence Olivier. He was irritated by the unprofessionalism of the actress, her many hours late for filming and refusals to work. Arthur supported him in this.

If America was delighted with the marriage of Monroe and DiMaggio, then her wedding with Arthur Miller was in shock. “Reporters are frolicking, playing in fifty different ways on the same inexhaustible theme - about what will happen when America's greatest mind merges into one with its finest flesh” [2].

The merger was short-lived. Arthur is used to staying at his farm in Connecticut for long periods of time and working in "sound isolation," honing every dialogue in a play or script with the passion of an anal perfectionist.

Marilyn was bored, she was oppressed by the silence, the absence of her usual surroundings and the busyness of her husband, who was annoyed when she distracted him from work, demanding attention to herself. Miller's deficits grew due to the lack of the creative realization in sound necessary for him, Monroe began to become hysterical due to emotional stress in the visual vector and from a lack of novelty in the skin.

"The Prince and the Chorus Girl" artist

During the period of Monroe's relationship with Miller, there was one curious incident that in a special way characterizes an actress who is ready to skin, without hesitation, it is easy to change partners, according to their rank.


The cunning Aristotle Onassis, who owned most of the gambling business in Monte Carlo, decided to marry Marilyn to Prince Rainier Grimaldi of Monaco. With this marriage, Ari hoped to give a new image to his own gambling business, which was beginning to decline, to attract wealthy American tourists to casinos on the picturesque slopes of the Mediterranean Sea, to take control of the dwarf state and the prince's personal life.

The offer, made to the actress in a whisper and coming from the intermediary Onassis, made Marilyn very excited. For some time her skin ambitions built in her head castles in the air, through the halls of which the newlywed walked with her European prince. She told the mediator: "Give me only a couple of days alone with him, and I assure you that he (Prince Rainier) will want to marry me."

The anal-visual prince made his choice in favor of another American actress, a skin-visual beauty, brought up, educated, developed Grace Kelly. In those days, evil tongues gossiped that every man dreams of spending the night with Marilyn Monroe, and with Grace Kelly - to stay for life.

“A whole line of grinning men chewed it and spat it out. Her very name was saturated with the stench of locker rooms and the cigar smoke of the saloon cars,”Arthur Miller would say in his play After the Fall many years later.

Sir Laurence Olivier's film "The Prince and the Chorus" helped Marilyn to feel herself in the role of the bride of a person of princely blood. The great British actor, who shot the film for the money of Marilyn Monroe, treated his partner with hostility, and at times - “with a touch of contemptuous condescension” [2].

JFK and MM

The unfulfilled dream of a prince from Monaco was reflected in the relationship with the "red-haired prince of America," as John Francis Kennedy (JFK), the 35th President of the United States was called.

Saddened by her divorce from Arthur Miller, and most importantly, by his new marriage, Marilyn relies on alcohol and pills. Rumors of drug addiction, alcoholism and the approaching decline of her career are spreading throughout Hollywood. She is not shy about showing up drunk at the Golden Globe Awards, disrupting filming and talking about her close relationship with the President and his brother.

Urethral-visual John F. Kennedy had many connections on the side. Marilyn fell under his fantastic charm, about which biographers and researchers write. For her, this was the only man who guaranteed the very feeling of security and safety that the urethral transmits to the entire flock and the skin-visual woman next to him through its smells and pheromones. The question is which woman should be next to the urethral leader.

The place of a developed skin-visual female, which should be the muse of the main person in the state, was taken. John would never have thought to divorce Jackie and make Marilyn the first lady. Continuing to live with a drugged consciousness in the semi-realities of her world, Monroe continually called the White House, now demanding, now begging to connect her with Mr. Kennedy, assuring everyone she met in their future family union.


The situation with the inappropriate behavior of the actress got out of control. John's relationship with Marilyn, and later her relationship with Robert Kennedy, could have caused unwanted resonance. I had to do something. Then something happened that usually happens to skin-visual women-victims of victimization, if they, taking a place near the leader, by their behavior have a negative impact on him and the flock.

On August 5, 1962, Marilyn Monroe was found dead at her home in Los Angeles. She was clutching a telephone receiver in her hand, an empty pill pack on the bedside table. The official conclusion of the investigation reads: "Overdose of sleeping pills."

The ambiguity of Marilyn Monroe's death will usher in other bloody events from that decade. It will mark the dramatic decline of many American political and public figures, it will take the lives of President John F. Kennedy, his brother, who swung at the big fish of the American mafia, presidential candidate Robert Kennedy, the leader of the civil rights movement for blacks in the United States, Martin Luther King …

Is there a connection between all these events? It is not excluded. It remains only to live until 2039, the officially announced publication date of the archives of John F. Kennedy, to find out the truth.

And if you are interested in starting to deeply understand the events that have occurred right now, you can master systems thinking, which is a very accurate tool for analyzing any situation. Registration for free online lectures on Systemic Vector Psychology by Yuri Burlan at the link:

List of references

  1. Arthur Miller The influx of time. The history of life
  2. Norman Mailer. Marilyn

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