Collier was one of many professional admirers who saw that she was not really an actress at all, that her exquisite grace on screen derived from her instinctive projection of her real self. Constance Collier, who tutored Marilyn briefly before she fell into the clutches of the Strasbergs, likened her to a hummingbird in flight. The other portrait Miller drew of his bride was Roslyn in The Misfits, driven by her animal recoil from any form of suffering.
As Sammy Davis Jr put it: ‘She hangs like a bat in the minds of the men that knew her.’ Kissing Marilyn, said Tony Curtis, was like kissing Hitler. Soon after, in the nicest possible way, she dumped him he is still an invalid today. A singing coach who gave her honest devotion was so hounded by the jealous DiMaggio that he tried to end things with a draught of cleaning fluid.
For her tuition as an actress Marilyn depended utterly on two women whom she first exalted then pitilessly destroyed.
The silence of those whom Anthony Summers failed to catch suggests that the facts about that death are even now divulged at mortal risk. Silence of a different sort descended on Robert Kennedy’s Justice Department when journalists started probing after her death: Marilyn had been a phone call away from killing Bobby’s career, and possibly brother Jack’s as well. Joe DiMaggio, his baseball-star predecessor, loved her faithfully despite the years of public insult from her, and today still grinds his teeth in silence, no interviews, no comment. Miller survived the long suicide of Marilyn Monroe, but his muse fell silent.
Maggie replies by eating a handful of pills, and the scene then twists and turns between Quentin’s acknowledged guilt and his defiant belief that she would have done it anyway. That’s what it’s for.’ Thus Quentin, the tormented Prospero-figure in Arthur Miller’s autobiographical play After the Fall.
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