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"...Romantic vision and the gift of imagination "...The romantic vision rejects life's limitations However, because of your emphasis on the imaginative and intuitive side of life, you run the risk of forgetting worldly limits. You tend to be on rather poor terms with day-to-day reality and its responsibilities and demands, because these thwart the vision that means so much to you. You may resent the boredom of a routine job, feeling secretly that you are entitled to something more special and glamourous; or you may dislike having to bind yourself to domestic obligations because these stop the flow of the imagination. You may also resist having to select one thing to which you must apply yourself, preferring to feel that you have many potentials open in the future; and this could result in you becoming a "jack of all trades" who dabbles in everything and produces nothing lasting. This is the "one day when I grow up..." syndrome, which may be appropriate in youth but which begins to feel rather uncomfortable with the passing of the years..."
"...Interest in people and need for social involvement dominate
other motivations "...Humanitarian concerns deepen your
sociable nature "...What you are not so good at is difficult emotional confrontations. There is an ethereal, airy and butterfly-like quality about you which some people might call elusive. You can be delightful and charming and witty, but you tend to fade away and vanish in the nicest possible way if too many demands are placed upon you. You like a lot of people a lot of the time, not one person with intensity all of the time; and you tend to keep the emotional doorways and fire escapes clear because you are fundamentally restless at heart and become easily bored - by routines, routine ideas, and routine people..." "...A natural gift for handling the public It is hard for anyone to penetrate past your public face, for the pleasing, friendly and intelligent personality which you project is automatic and never fails you. Whatever you are like when you wake up in the morning, few people ever see it, for you not only need to be liked by people; it is a matter of ethics. You like to be bright and light and positive, and you have considerable pride about dumping your personal problems onto others. After all, to your mind, they have enough of their own. You would do well in fields such as teaching, counselling, group organising or media; or even theatre or film, for you have a natural aptitude for playing to the unconscious needs of the audience and offering them what they did not even realise they wanted. Thus you depend upon others for your livelihood, and you prefer it that way; for your work and your feeling of belonging to a larger human family are inextricably bound together..." "...A hidden need for solitude causes feelings of loneliness
and isolation
You hold within you a dark and rather negative vision of life, which might permit happiness for others but never for you. Thus there is something very inconsistent about your usually positive philosophy, for you cannot seem to apply it to yourself. Because of your unconscious defensiveness, you tend to withhold your real feelings from people, and you are prone to accumulating a certain amount of unspoken resentment because you try to please too much of the time while secretly feeling you are being taken advantage of. Thus your friendly sociability sometimes serves as a mask and a protection against spells of deep depression and loneliness, to which you are curiously prone. Your shadow expects others to reject you, which reflects not only a very destructive image of other people, but, more importantly, reflects your own deep denigration of your worth. Try to face your spells of negative feeling, for you are a moodier and more melancholy person than you like to admit; and you tend to let others take advantage of you, which you call being needed, because you are afraid of rejection and loneliness. Perhaps you need to learn to do a little more rejecting yourself, rather than surrounding yourself with people you do not feel deeply drawn to just for the sake of company..." "...A psychologically absent figure "...Selflessness and self-sacrifice "...A tendency to excess
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![]() Marilyn Monroe's Biography |
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Birth Name: Norma Jean Mortenson An illegitimate child whose father (Edward Mortenson) had deserted her mother (Gladys Baker, née Monroe) before she was born, Norma Jean endured a childhood of poverty and misery, sexual abuse (at the age of eight) and years in foster homes and orphanages after her mother suffered a nervous breakdown and was institutionalized. Escape from this cycle came at the age of sixteen with an arranged marriage to a 21-year-old aircraft plant worker. While working at the Radio Plane Company factory in Burbank, she had her picture taken by a visiting Army photographer. Norma Jean then began modeling bathing suits and, after bleaching her hair blonde, began posing for pinups and glamour photos. Howard Hughes saw some of her photographs and expressed an interest in giving her a screen test for RKO, but Ben Lyon of 20th Century-Fox beat Hughes to the punch, signing Norma Jean Baker to a contract and changing her name to Marilyn Monroe. After appearing in small parts in films including LOVE HAPPY (1949) and ALL ABOUT EVE (1950), Monroe achieved celebrity with starring roles in three 1953 featuresNIAGARA, GENTLEMEN PREFER BLONDES and HOW TO MARRY A MILLIONAIREas well as a series of nude calendar photos, taken in 1948, which appeared in the December 1953 debut issue of Playboy magazine. By the end of the year, Monroe had been voted the top star of 1953 by American film distributors. In all her film roles, from NIAGARA to THE MISFITS (1961), Monroe portrayed an object of desire and exhibition. Her basic character grew out of the dumb blonde archetype, but Monroe's dumb blonde could not be pinned down to any particular origin or social class. She was defined only by what was shown on the screen, with neither a previous history nor seemingly a future. Frequently her characters were nameless (LOVE HAPPY, 1949, THE SEVEN YEAR ITCH, 1955), further accentuating her status as an object. She usually had no discernable job and when she did, it was a female-relegated profession such as chorus girl, actress or secretary. But to the dumb blonde stereotype, Monroe added a sense of innocence, naturalism and overt sexuality. Her sexuality was never seen as a threat, but as something harmless and benevolent. Time magazine's sanguine response to Monroe's Playboy centerfold summed up her appeal: "Marilyn believes in doing what comes naturally." Along with this kindly, innocent sexuality went a vulnerability; Monroe's characters were often humiliated at the expense of a voyeuristic pleasure, whether being lassoed like a cow in BUS STOP (1956) or exposing herself unknowingly in SOME LIKE IT HOT (1959). At the height of her fame, Monroe sensed the limited range of her screen persona and clearly desired to change it: "To put it bluntly, I seem to be a whole superstructure without a foundation." Forming Marilyn Monroe Productions in 1956, she produced BUS STOP and THE PRINCE AND THE SHOWGIRL (1957). But her personal problems, with failed marriages to baseball star Joe DiMaggio and playwright Arthur Miller and increasing reliance on drugs to combat depression and physical ailments, served to forestall any serious change in her career. The public wanted Marilyn as they had discovered
her in 1953, and that was what they got in LET'S MAKE LOVE (1960). She
was still capable of memorable work, especially with top directors like
Billy Wilder (SOME LIKE IT HOT) and John Huston (THE MISFITS), but her
personal demons, or precarious involvement with people in high places,
eventually overwhelmed her. On August 5, 1962, she was found dead of an
overdose of sleeping pills. Monroe's was a tragedy in which her public,
the media and the Hollywood power brokers all share blame. As Laurence
Olivier once remarked, "Popular opinion and all that goes to promote
it is a horribly unsteady conveyance for life, and she was exploited beyond
anyone's means." LADIES OF THE CHORUS LOVE HAPPY ALL ABOUT EVE ASPHALT JUNGLE THE FIREBALL RIGHT CROSS A TICKET TO TOMAHAWK AS YOUNG AS YOU FEEL HOMETOWN STORY LET'S MAKE IT LEGAL LOVE NEST CLASH BY NIGHT DON'T BOTHER TO KNOCK MONKEY BUSINESS O. HENRY'S FULL HOUSE WE'RE NOT MARRIED GENTLEMEN PREFER BLONDES HOW TO MARRY A MILLIONAIRE NIAGARA RIVER OF NO RETURN NO BUSINESS LIKE SHOW BUSINESS THE SEVEN YEAR ITCH BUS STOP THE PRINCE AND THE SHOWGIRL SOME LIKE IT HOT LET'S MAKE LOVE THE MISFITS (Source: www.hollywoodauditions.com)
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