Marilyn's Last Sessions
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- 7,49 €
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- 7,49 €
Descripción editorial
4.25 am, 5 August 1962, West Los Angeles Police Department
‘Marilyn Monroe has died of an overdose’, a man’s voice says dully. And when the stunned policeman asked ‘What?’, the same voice struggled to repeat ‘Marilyn Monroe has died. She has committed suicide.’
If life were scripted like the movies, this extraordinary phone call would have been made by the most important man in Marilyn Monroe’s life – Dr Ralph Greenson, her final psychoanalyst. During her last years Marilyn had come to rely on Greenson more and more. She met with him almost every day. He was her analyst, her friend and her confessor. He was the last person to see her alive, and the first to see her dead.
In this highly acclaimed novel, Marilyn’s last years – and her last sessions on Dr Greenson’s couch – are brilliantly recreated. This is the story of the world’s most famous and elusive actress, and the world she inhabited, surrounded by such figures as Arthur Miller, Truman Capote and John Huston. It is a remarkable piece of storytelling that illuminates one of the greatest icons of the twentieth century.
PUBLISHERS WEEKLY
Journalist Schneider works hard to imitate nonfiction in this choppy, circular, yet intriguing depiction of Marilyn Monroe's relationship with her last psychoanalyst. Focusing on the final three months of Monroe's life in the summer of 1962 when she was seeing analyst-to-the-stars Dr. Ralph Greenson daily, professionally and socially, the book uses real and fictional quotations and an overbearing homage to film structure, lingo, and framing to portray the pair's co-dependence. Though Monroe and Greenson were not lovers, their lives became deeply entwined: by the end, Greenson assumed the roles of father figure, manager, physician, and acting coach to the troubled star he hoped to help complete the film she was working on. Greenson was the last person to speak with Monroe before she died, the first to see her dead, and one of many suspects fingered by the press in a variety of conspiracy theories; when she died, she pulled the doctor into her vortex. Schneider evokes beautiful images and a clear sense of Monroe's wounded, haunting presence, but in the end, it's voyeurism more than anything else that draws the reader through the book.
