The Genius and the Goddess by Jeffrey Meyers Read Free Book Online Page B

Marilyn's self-consciousness,
intensified her anxiety and increased her childlike dependence on her
teacher. In stressing the actor as an individual, rather than part of an
ensemble, she encouraged Marilyn's intense self-concentration, which
seemed to her co-workers like narcissism and selfishness. At the same
time, Lytess, like many others, was content to enjoy sex with Marilyn
without considering Marilyn's feelings. Despite her intense obsession
with herself, Marilyn curiously dissociated her body from her emotions
and allowed others to have their way with her in exchange for
emotional support.
    In the fall of 1951 Marilyn began lessons with Michael Chekhov
at the same time as, but secret from, Lytess. The sixty-year-old
Chekhov had impeccable credentials. Nephew of the great Russian
playwright Anton Chekhov, he had worked with Stanislavsky at
the Moscow Art Theater. He was also writing the widely used
book, To the Actor: On the Technique of Acting (1953), which became
Marilyn's bible. Chekhov "devoted himself to the fulfillment of the
actor's personality – not only in the profession but also in their personal
lives." Like all her teachers, he practiced a kind of amateur
psychotherapy. He spoke ex cathedra and confused her, since she was
obsessed by her own body, by declaring that "our bodies can be either
our best friends or worst enemies. You must try to consider your body
as an instrument for expressing your creative ideas. You must strive
for complete harmony between body and psychology" – though few
actors ever managed to achieve this ideal.
    Annoyed by Marilyn's habituallateness and absence – which was
caused by nervousness and fear of failure, and would later destroy her
career – Chekhov felt she was not serious and advised her to leave
his classes. Marilyn, suitably chastised, begged for understanding. "Please
don't give up on me yet," she pleaded. "I know (painfully so) that I
try your patience. I need the work [with you] and your friendship
desperately. I shall call you soon." 5 After this abject apology, she was
forgiven and continued her classes. Marilyn had also taken lessons,
before she met Lytess, fromMorris Carnovsky and his wifePhoebe Brand
at the Actors Lab in Los Angeles. She continued to take instruction
in movement and body language, after she left Chekhov, with
the mime artistLotte Goslar at the Turnabout Theater in L.A. All
these teachers – as well as Lee Strasberg andJoshua Logan later on
– were strongly influenced by the ideas of Stanislavsky.
    Marilyn's principal teachers were supplemented by a cadre of minor
instructors. Lytess had tried to build up Marilyn's bruised ego and
make her believe she could some day become a star. At the same
time,FredKarger was giving her voice lessons and doing his best to
undermine her self-confidence. He too became an influential mentor,
teaching her about clothing and manners, books and music. He also
sent her to an orthodontist who improved her bite and bleached her
teeth. Separated from his wife, Karger was living with his young son
in his mother's house. Marilyn fell deeply in love with him, and moved
in with the family for several months.
    Marilyn said that Karger, preying on her vulnerability and trying
to dominate her, savagely condemned her intellectual and moral weaknesses:
"He criticized my mind. He kept pointing out how little I
knew and how unaware of life I was. . . . 'Your mind isn't developed.
Compared to your breasts it's embryonic.'" He refused to marry her
because, as he insultingly told her, if he died he wouldn't want his
son "to be brought up by a woman like you." Elia Kazan attributed
Karger's hold over Marilyn to his sexual prowess: "Fred was a musician,
scrawny but able in love. She came as many as three times with
him in one go. He was vulgar and coarse and scornful with her. He
said she was no good for anything but fucking. He found her dress
'cheap.' He told her her breasts were too big. He didn't like to sleep
in the same bed