In love and in danger dating violence

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He was still smarting from having let Marilyn Monroe slip away: unimpressed by her beauty, he had neglected in 1948 to renew her initial six-month contract.Cohn decided he was going to take the next girl who walked into his office and manufacture a new star for Columbia Pictures, one who would do exactly what he wanted, who wouldn’t walk away until he and the public were finished with her.“We always had a blonde,” George Sidney remembers.He kept a framed photograph of his hero, Benito Mussolini, on his massive desk and had his office decorated to look like Il Duce’s.The reporter James Bacon, fresh out of Chicago, was assigned to cover Hollywood for the Associated Press back in 1948. He used to fire people all the time—usually on Christmas Eve.”Henri Soulé, the owner of Le Pavillon and La Côte Basque in New York, detested Cohn and considered him a déclassé Hollywood hood.Her marriage to Khan, a notorious playboy and womanizer, kept her out of pictures for more than two years, infuriating Cohn and further alienating her fans. Cohn wanted her in one of his pet projects, a biblical epic called until her then husband, Haymes, came into Cohn’s office with a marcelled beard and demanded to be cast as Joseph.“I’ll have that son of a bitch back in Argentina,” Cohn exploded.

You had to see him: the gorgeous shirt, the cuff links, the way everything billowed.Judson; she then married director Orson Welles, Aly Khan, heir apparent to the Ismaili Muslim throne, and singer Dick Haymes.Every time she got married, her box-office standing eroded.He had created the notorious second skin glittering with sequins that Marlene Dietrich wore for her nightclub premiere in Las Vegas in 1953; he would also sew Marilyn Monroe into the sequined formfitting gown she wore when she sang “Happy Birthday” to John F. Novak was installed at the Studio Club, a curfewed dormitory for young starlets where Cohn could have his expensive new possession watched around the clock—even tailed by studio detectives to make sure she didn’t follow the wayward path of Rita Hayworth. At some point in the transformation of Marilyn Novak, her studio-assigned publicist, Muriel Roberts, dreamed up an all-lavender scheme and insisted that they rinse her hair with a pale lavender tint.The studio had wanted a gimmick to distinguish its blonde from the many other new platinum blondes on the block: Jayne Mansfield, Mamie Van Doren, Diana Dors, Joi Lansing—all outsize girls signed to compete with Marilyn Monroe and built like the decade’s big Chevys and Buicks.

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