(1926年6月1日～1962年8月5日）出生地：洛杉矶 美国加利福尼亚州星座：双子座生日：1926年6月1日祭日：1962年8月5日身高：166CM三围：89厘米-56厘米-89厘米最爱喝的酒：香槟和伏特加最喜欢唱的歌：钻石是姑娘最好的朋友(Diamond is a girl best friend.)最喜欢的雕塑家：罗丹拥有的汽车：黑色“雷鸟”跑车、 黑色卡迪拉克敞逢车成名作品：《尼亚加拉》(1953年)1926年6月1日玛丽莲·梦露出生于洛杉矶综合医院里，本名诺玛·莫天森（Norma Jean Mortenson），诺玛的身世坎坷，在她出生前，父亲买了一辆摩托车，然后骑上它，直直地往北朝旧金山去，这一去就再也没有回来，留下家人与未出世的诺玛，也因此在她心目中的父亲形象永远模糊。至于母亲葛蕾蒂丝虽然生下了她，却生而不养，不但男女关系复杂，还几乎连孩子的父亲是谁都搞不清。葛蕾蒂丝曾在当时的大片厂当过电影剪接师，却没尽当母亲的责任，九岁的时候，母亲仍然接受不了父亲离去的事实，被关进精神病院。1941年，小诺玛到了加利福尼亚的“安娜姨妈”家。一年后，16岁的诺玛与大自己四岁的詹姆斯多尔蒂结了婚，第一次有了自己的家。不过这是个没有爱情的婚姻，二年后丈夫应征入伍，当时正处第二次世界大战期间，不久丈夫以不满诺玛新职业为由提出了离婚，于是在她20岁时就结束这段婚姻。凭着较好的外型，玛丽莲·梦露当起泳装模特儿，她美丽的倩影四处流传，最后传到一代电影大亨霍华休斯手上，请她参加试镜，她的经纪人却建议她选择更具规模的二十世纪福克斯公司。1946年，诺玛被二十世纪福克斯公司大老板看中拍板雇用，从此有了这个艺名——玛丽莲·梦露。初期的工作并不顺利，她只是在一些影片中跑跑堂，说几句“Hello!”之类的台词，无奈之下为了五十美元，玛丽莲答应拍裸体照，只为了汽车不被典当，成名后此消息被小报爆出，面对舆论玛丽莲却没有否认，使她反而得到大众的同情。1950年约翰大胆启用玛丽莲，让她在《柏油丛林》担任了一两场重头戏。紧接着玛丽莲与蓓蒂黛维斯等几位大明星拍摄了《伊芙的底细》，出场时间虽然很短，但她那天真无邪，使人听了浑陶陶的对白让人留下深刻印象，福克斯公司等影片一结束，便与她签定续订七年合同。 1947年玛丽莲·梦露拍了第一部电影“The Shocking Miss Pilgrim”，但她在片中只是小配角，之后的几部片也不见起色，福克斯公司不愿和她续新约，她只好重回模特儿一行，并开始上表演课。1949年她为《花花公子》杂志拍摄裸照，之后接了“彗星美人”（Al-lAbout Eve）、“夜阑人未静“（The Asphalt Jungle）两部影片，尽管片中的她仍旧是小角色，但已开始受到影迷注意。进入1950年代，“飞瀑怒潮”（Niagara）、“妙药春宵”（Monkey Business）、“绅士爱美人”（Gentlemen Prefer Blondes）、“大江东去”（River Of No Return ）、“七年之痒”（The Sev-en Year Itch）等，一步步奠定她银幕性感女神的形象。而她与棒球明星乔狄马吉欧、现代剧作家阿瑟米勒结了又离的婚姻，加上与总统肯尼迪的绯闻，交织出令人眼花缭乱的情爱世界。在53年之前，玛丽莲在影评界虽时获赞誉，但电影公司总是把她拘囿于演“白痴美人”一类角色，为求发展，她上迈克尔契诃夫剧院听戏剧课，排古典剧。这时，有位记者认出“金色之梦”月份牌上的裸体模特儿即为玛丽莲，消息透露出来，非但没有毁掉她的前程，反而引起观众好奇，对她更为关注。1953年是玛丽莲人生的一个转折点，在电影《尼亚加拉》里第一次担任主角。影片以有名于世的大瀑布为背景，烘托玛丽莲优美的体态。该片上映以来，场场爆满，她不仅一跃成为第一流的明星，而且成了好莱坞一手炮制的最了不起的神话。 1954年玛丽莲与棒球健将乔·迪·马吉奥结婚，无奈这位球界巨人醋劲不小，对她限制极多，两人最终分道扬镳。她第二次婚姻只维持九个月，十月二十七日宣布离婚，十月六日的一场记者会，玛丽莲的律师以 ''事业上的冲突'' 解释离婚的原因。在电影里多次以花瓶角色演出后，玛丽莲开始想追求更进一步的演艺事业及摆脱她 ''浅薄金发美女'' 的形象。 一九五六年开始在纽约演员工作室Lee Strasberg 的教导下进修。 那一年玛丽莲与摄影师Milton Greene开创玛丽莲梦露电影制作公司。 后来制作出的《公共汽车站》（Bus Stop）(1956) 及《王子与舞女》（The Prince and The Showgirl ）(1957) 是两部展现玛丽莲高水准演出能力的电影。Although film actress and Hollywood legend Marilyn Monroe has been the subject of a large number of albums, she rarely stepped into a recording studio to make a commercial recording and only appeared in five real movie musicals (with a few other musical performances in her straight films), making for a total record and soundtrack output of less than three dozen titles that are recycled endlessly along with bits of movie dialogue and radio and TV appearances on the frequent reissues. Nevertheless, she had a good voice that matched her seductive visual appeal, and her limited catalog includes effective interpretations of the work of such songwriters as Harold Adamson and Hoagy Carmichael; Harold Arlen and Johnny Mercer; Irving Berlin; Sammy Cahn and James Van Heusen; Cole Porter; and Leo Robin and Jule Styne. Monroe was the illegitimate daughter of Edward Mortenson (who abandoned her mother before her birth and died in a motorcycle accident when she was three years old) and Gladys Pearl (Monroe) Baker, a film cutter. Her mother was mentally unstable and was institutionalized when the child was five, leaving her to a succession of orphanages and foster homes. At 16 in 1942, she married Jim Dougherty, an aircraft plant worker who soon enlisted in the merchant marine as his participation in World War II. Left alone, she joined the war effort by taking a job as a paint sprayer at the Radio Plane Company. There she was spotted by a photographer on assignment for Yank magazine to take pictures of women in the defense industry, and the resulting photographs led her to a career in modeling; she divorced her husband in 1946. The same year, she was signed to a one-year contract at 20th Century Fox, where she changed her name and took acting, singing, and dancing lessons. Monroe was given tiny parts in a couple of Fox films, then dropped. Columbia Pictures signed her in March 1948 and gave her her first important role in a B-picture, the musical Ladies of the Chorus (1949), in which she had two featured songs, "Anyone Can See" and "Ev'ry Baby Needs a Da-Da-Daddy," both written by Allan Roberts and Lester Lee. She was then dropped by Columbia and, in financial straits, accepted an offer to pose nude for a calendar; she was paid 50 dollars. She got small parts in films on a freelance basis in 1949 and 1950, including Love Happy, the last Marx Brothers movie, and the acclaimed dramas The Asphalt Jungle and All About Eve. In 1951, she returned to Fox with a seven-year contract and appeared in supporting roles in nine films over the next two years. She was finally given a substantial part in the thriller Niagra, released in January 1953, and she also got to sing a song in the film, Lionel Newman and Haven Gillespie's "Kiss." In the summer of 1953, Monroe co-starred with Jane Russell in Gentlemen Prefer Blondes, a movie adaptation of the Broadway musical with songs by Jule Styne and Leo Robin. She made a strong impression, singing "A Little Girl From Little Rock," "Diamonds Are a Girl's Best Friend," and "Bye Bye Baby" from the original show score as well as "When Love Goes Wrong (Nothin' Goes Right)," written by Hoagy Carmichael and Harold Adamson for the film. She proved herself up to the vocal demands for the most part, though Marni Nixon, Hollywood's most prominent ghost singer, dubbed in some notes for her. MGM Records released a 10" LP soundtrack album. With the release of the comedy How to Marry a Millionaire in November and the December publication of the inaugural issue of Playboy magazine, which contained her 1949 nude photographs, only adding to her celebrity, Monroe became a major star in 1953. She capped her fame by wedding retired baseball player Joe DiMaggio on January 14, 1954, though the marriage lasted less than a year, ending in divorce on October 27. Monroe's ascent to stardom led to a recording contract with RCA Victor Records. Her next film was the Western drama River of No Return, released in April 1954, but she managed to sing four songs in it, "One Silver Dollar," "I'm Gonna File My Claim," "Down in the Meadow," and the title song, all written by Lionel Newman and Ken Darby. Her studio recording of "River of No Return" for RCA briefly appeared in the singles charts in July. In December, she had a co-starring role in There's No Business Like Show Business, a major movie musical starring Ethel Merman and Dan Dailey and also featuring Donald O'Connor, Mitzi Gaynor, and Johnnie Ray. The movie was an anthology film of the music of Irving Berlin, and Monroe sang the newly written "A Man Chases a Girl" with O'Connor as well as the vintage Berlin songs "You'd Be Surprised," "After You Get What You Want, You Don't Want It," "Lazy," and "Heat Wave." Decca Records released a 10" soundtrack LP from the film, but Monroe's contract with RCA precluded her participation in it; her parts were replaced by Dolores Gray, and RCA released its own EP of Monroe singing her songs from the film. Monroe worked less frequently after 1954, attempting to take greater control of her career. After the spring 1955 release of the comedy The Seven Year Itch (in which she played "Chopsticks" on the piano with co-star Tom Ewell), she didn't work for a year. In the interim, she married playwright Arthur Miller on June 29, 1956. She gave one of her strongest performances in Bus Stop, released in the summer of 1956, in which she played a saloon singer who performed a sultry version of Harold Arlen and Johnny Mercer's 1942 song "That Old Black Magic." The Prince and the Showgirl, released in the spring of 1957, gave her the opportunity to sing Richard Addinsell and Christopher Hassall's "I Found a Dream." Another lengthy layoff ensued before Monroe returned to outright musical comedy with Paramount's Some Like It Hot in 1959. The film's 1929 setting and Monroe's casting as band singer Sugar Kane gave her three musical numbers, all period songs: A. Harrington Gibbs, Joe Grey, and Leo Wood's 1922 tune "Runnin' Wild!"; Harry Ruby, Herbert Stothart, and Bert Kalmar's 1928 standard "I Wanna Be Loved by You"; and Matt Malneck, Fud Livingston, and Gus Kahn's slightly anachronistic 1931 hit "I'm Through With Love." United Artists Records released a soundtrack album and even issued a Monroe single of "I Wanna Be Loved by You"/"I'm Through with Love." Monroe returned to Fox for Let's Make Love, released in the summer of 1960. She played an off-Broadway actress wooed by a billionaire played by Yves Montand in her final movie musical, and got to sing a trio of Sammy Cahn-James Van Heusen songs, "Let's Make Love," "Specialization," and "Incurably Romantic," in addition to a revival of Cole Porter's "My Heart Belongs to Daddy." Columbia Records released the soundtrack album. Monroe next filmed The Misfits, a drama written by her husband, but she and Miller divorced in January 1961 shortly before the movie was released. Her next and last musical appearance occurred in May 1962, when she led the audience at Madison Square Garden in a rendition of "Happy Birthday" to President John F. Kennedy. She had flown in from Los Angeles where she was shooting Something's Got to Give with Dean Martin, and it was absences like that which led Fox to fire her from the picture. On August 5, 1962, she was found dead of an overdose of barbiturates that may have been either an accident or suicide. In the fall of 1962, 20th Fox Records released Marilyn, an album of soundtrack recordings from her films There's No Business Like Show Business, River of No Return, and Gentlemen Prefer Blondes. It spent more than two months in the charts. The album was reissued in 1972 in a TV offer under the title Remember Marilyn. Around the same time, the Legends label released an album called Marilyn Monroe that included everything from film excerpts to a television commercial and Monroe's performance of "Happy Birthday." The album was reissued by Sandy Hook Records under the title Rare Recordings 1948-1962 in the 1980s. Starting in the 1990s, many small labels, especially overseas, released CDs that repackaged the same material. Monroe's fame has only increased since her death, making such albums popular despite their repetitiousness and often inferior quality. In 1998, Varese Sarabande released a version of the soundtrack of There's No Business Like Show Business including Monroe's performances for the first time; the same year, Rykodisc reissued an expanded version of the soundtrack to Some Like It Hot. Marilyn Monroe's singing constitutes a limited but significant part of her overall appeal as a performer. Especially because there is a tendency to focus on her fame and her troubled life over her actual work, it is worth listening to as an example of the real talent she brought to her performances. 1956年7月1日她又与剧作家阿瑟米勒另缔良缘，他们是在1951年拍《青春常驻》一片时就认识的，1961年的The Misfits 是米勒写给梦露，也是她最后完成的一部电影。玛丽莲的第三次婚姻结束于1961年的1月20日。婚前玛丽莲的每部影片都超乎寻常的卖座，特别是在《七年之痒》这部片中她站在地铁口的镂空铁板上，下面刮上来的风把她的裙子吹得鼓涨起来，成了她影片里最著名的镜头。不过梦露已经不满足于傻瓜美人这种角色了，紧接着演出的《公共汽车站》里，她把自己的生活经历融汇进人物身上，而且演戏才能达到了前所未有的高度，在片中，她出现在小酒吧时，真有光彩华艳、蓬荜生辉之感。1957年与劳伦斯奥立佛合作的《王子与舞女》遭受从未有过的失败，淡出二年后，玛丽莲很小心地接下了这部《热情似火》，影片拍摄很辛苦，她为此两次小产，不过这一切都值得——《热情似火》成为她票房收入最高的影片。 1960年玛丽莲与克拉克盖博合演了《不合时宜的人》，谁也不曾料这分别是他们俩的最后一部影片，停机没几天，克拉克盖博因心脏病猝发而不治身死。同年十一月她与丈夫阿瑟米勒正式分开，这次离异造成的感情创伤始终未能平复。她神经衰弱严重起来，只得进精神病院作一短期疗。一年后神采飞扬的玛丽莲接拍新片《濒于崩溃》，这是她自那张杂志裸照以来，第一次同意在片中拍裸体镜头。1962年6月1日，她在剧组摄影棚里，庆祝她三十六的生日。为了证明自己丰腴如初，风韵依然，玛丽莲在伯特斯特恩的摄影机前取一幅透明纱巾略事遮掩，拍下生平最后一组极有魅力的照片。八月四日一个周末的星期六，是梦露悲剧一生的高潮。这一天早晨，人们还看见她脸庞鲜艳。谁也没有料到，这是临终前的最后光彩。1962年玛丽莲·梦露在工作与身体状况都不佳情况下，为了拍“双凤奇缘”（Something's Got to Give）和电影公司闹得不愉快，5月19日她竟然不顾工作径自应邀为总统肯尼迪献唱“生日快乐”。这一年8月5日她突然辞世，“双”片未完成，反而留下一句经典的“Happy Birth-day Mr. President”在人间。1962年8月5日清晨，玛丽莲的女管家发现她卧室的灯还亮着，她一丝不挂地躺在床上，在她在加利福尼亚的洛杉矶刚购置的房中离开了人世。她的私人医生断定她死于凌晨3点40分。洛杉矶的验尸官后来说，她的死是因为“过量用药，是急性巴比妥酸盐中毒”。梦露去世前几天，她的医生给她开了一种烈性的安眠药巴比妥酸盐。因为在这之前，她由于未能担任一个电影角色而感到有些压力，并且有点心神不安，但很快就恢复正常了。尽管她以前曾试图自寻短见，但玛丽莲之死出现许多自相矛盾的地方，使自杀之说令人生疑。Although film actress and Hollywood legend Marilyn Monroe has been the subject of a large number of albums, she rarely stepped into a recording studio to make a commercial recording and only appeared in five real movie musicals (with a few other musical performances in her straight films), making for a total record and soundtrack output of less than three dozen titles that are recycled endlessly along with bits of movie dialogue and radio and TV appearances on the frequent reissues. Nevertheless, she had a good voice that matched her seductive visual appeal, and her limited catalog includes effective interpretations of the work of such songwriters as Harold Adamson and Hoagy Carmichael; Harold Arlen and Johnny Mercer; Irving Berlin; Sammy Cahn and James Van Heusen; Cole Porter; and Leo Robin and Jule Styne. Monroe was the illegitimate daughter of Edward Mortenson (who abandoned her mother before her birth and died in a motorcycle accident when she was three years old) and Gladys Pearl (Monroe) Baker, a film cutter. Her mother was mentally unstable and was institutionalized when the child was five, leaving her to a succession of orphanages and foster homes. At 16 in 1942, she married Jim Dougherty, an aircraft plant worker who soon enlisted in the merchant marine as his participation in World War II. Left alone, she joined the war effort by taking a job as a paint sprayer at the Radio Plane Company. There she was spotted by a photographer on assignment for Yank magazine to take pictures of women in the defense industry, and the resulting photographs led her to a career in modeling; she divorced her husband in 1946. The same year, she was signed to a one-year contract at 20th Century Fox, where she changed her name and took acting, singing, and dancing lessons. Monroe was given tiny parts in a couple of Fox films, then dropped. Columbia Pictures signed her in March 1948 and gave her her first important role in a B-picture, the musical Ladies of the Chorus (1949), in which she had two featured songs, "Anyone Can See" and "Ev'ry Baby Needs a Da-Da-Daddy," both written by Allan Roberts and Lester Lee. She was then dropped by Columbia and, in financial straits, accepted an offer to pose nude for a calendar; she was paid 50 dollars. She got small parts in films on a freelance basis in 1949 and 1950, including Love Happy, the last Marx Brothers movie, and the acclaimed dramas The Asphalt Jungle and All About Eve. In 1951, she returned to Fox with a seven-year contract and appeared in supporting roles in nine films over the next two years. She was finally given a substantial part in the thriller Niagra, released in January 1953, and she also got to sing a song in the film, Lionel Newman and Haven Gillespie's "Kiss." In the summer of 1953, Monroe co-starred with Jane Russell in Gentlemen Prefer Blondes, a movie adaptation of the Broadway musical with songs by Jule Styne and Leo Robin. She made a strong impression, singing "A Little Girl From Little Rock," "Diamonds Are a Girl's Best Friend," and "Bye Bye Baby" from the original show score as well as "When Love Goes Wrong (Nothin' Goes Right)," written by Hoagy Carmichael and Harold Adamson for the film. She proved herself up to the vocal demands for the most part, though Marni Nixon, Hollywood's most prominent ghost singer, dubbed in some notes for her. MGM Records released a 10" LP soundtrack album. With the release of the comedy How to Marry a Millionaire in November and the December publication of the inaugural issue of Playboy magazine, which contained her 1949 nude photographs, only adding to her celebrity, Monroe became a major star in 1953. She capped her fame by wedding retired baseball player Joe DiMaggio on January 14, 1954, though the marriage lasted less than a year, ending in divorce on October 27. Monroe's ascent to stardom led to a recording contract with RCA Victor Records. Her next film was the Western drama River of No Return, released in April 1954, but she managed to sing four songs in it, "One Silver Dollar," "I'm Gonna File My Claim," "Down in the Meadow," and the title song, all written by Lionel Newman and Ken Darby. Her studio recording of "River of No Return" for RCA briefly appeared in the singles charts in July. In December, she had a co-starring role in There's No Business Like Show Business, a major movie musical starring Ethel Merman and Dan Dailey and also featuring Donald O'Connor, Mitzi Gaynor, and Johnnie Ray. The movie was an anthology film of the music of Irving Berlin, and Monroe sang the newly written "A Man Chases a Girl" with O'Connor as well as the vintage Berlin songs "You'd Be Surprised," "After You Get What You Want, You Don't Want It," "Lazy," and "Heat Wave." Decca Records released a 10" soundtrack LP from the film, but Monroe's contract with RCA precluded her participation in it; her parts were replaced by Dolores Gray, and RCA released its own EP of Monroe singing her songs from the film. Monroe worked less frequently after 1954, attempting to take greater control of her career. After the spring 1955 release of the comedy The Seven Year Itch (in which she played "Chopsticks" on the piano with co-star Tom Ewell), she didn't work for a year. In the interim, she married playwright Arthur Miller on June 29, 1956. She gave one of her strongest performances in Bus Stop, released in the summer of 1956, in which she played a saloon singer who performed a sultry version of Harold Arlen and Johnny Mercer's 1942 song "That Old Black Magic." The Prince and the Showgirl, released in the spring of 1957, gave her the opportunity to sing Richard Addinsell and Christopher Hassall's "I Found a Dream." Another lengthy layoff ensued before Monroe returned to outright musical comedy with Paramount's Some Like It Hot in 1959. The film's 1929 setting and Monroe's casting as band singer Sugar Kane gave her three musical numbers, all period songs: A. Harrington Gibbs, Joe Grey, and Leo Wood's 1922 tune "Runnin' Wild!"; Harry Ruby, Herbert Stothart, and Bert Kalmar's 1928 standard "I Wanna Be Loved by You"; and Matt Malneck, Fud Livingston, and Gus Kahn's slightly anachronistic 1931 hit "I'm Through With Love." United Artists Records released a soundtrack album and even issued a Monroe single of "I Wanna Be Loved by You"/"I'm Through with Love." Monroe returned to Fox for Let's Make Love, released in the summer of 1960. She played an off-Broadway actress wooed by a billionaire played by Yves Montand in her final movie musical, and got to sing a trio of Sammy Cahn-James Van Heusen songs, "Let's Make Love," "Specialization," and "Incurably Romantic," in addition to a revival of Cole Porter's "My Heart Belongs to Daddy." Columbia Records released the soundtrack album. Monroe next filmed The Misfits, a drama written by her husband, but she and Miller divorced in January 1961 shortly before the movie was released. Her next and last musical appearance occurred in May 1962, when she led the audience at Madison Square Garden in a rendition of "Happy Birthday" to President John F. Kennedy. She had flown in from Los Angeles where she was shooting Something's Got to Give with Dean Martin, and it was absences like that which led Fox to fire her from the picture. On August 5, 1962, she was found dead of an overdose of barbiturates that may have been either an accident or suicide. In the fall of 1962, 20th Fox Records released Marilyn, an album of soundtrack recordings from her films There's No Business Like Show Business, River of No Return, and Gentlemen Prefer Blondes. It spent more than two months in the charts. The album was reissued in 1972 in a TV offer under the title Remember Marilyn. Around the same time, the Legends label released an album called Marilyn Monroe that included everything from film excerpts to a television commercial and Monroe's performance of "Happy Birthday." The album was reissued by Sandy Hook Records under the title Rare Recordings 1948-1962 in the 1980s. Starting in the 1990s, many small labels, especially overseas, released CDs that repackaged the same material. Monroe's fame has only increased since her death, making such albums popular despite their repetitiousness and often inferior quality. In 1998, Varese Sarabande released a version of the soundtrack of There's No Business Like Show Business including Monroe's performances for the first time; the same year, Rykodisc reissued an expanded version of the soundtrack to Some Like It Hot. Marilyn Monroe's singing constitutes a limited but significant part of her overall appeal as a performer. Especially because there is a tendency to focus on her fame and her troubled life over her actual work, it is worth listening to as an example of the real talent she brought to her performances.