‘Forced to preserve a monument’: how the fate of Marilyn Monroe’s LA home became a legal saga

House where Monroe died, which hasn’t been occupied in seven years, is in limbo after current owners wanted to demolish it but were stopped by a public campaign Marilyn Monroe is said to have had more than 50 addresses in her lifetime, but only once, in the final months before she died from a drug overdose at the age of 36, did she have a house she could call fully her own. The Hollywood star, burned out by the failure of her marriage to the playwright Arthur Miller and by health problems that prompted a year-long hiatus from acting, bought herself a quintessential hacienda-style Spanish bungalow with a pool at the foot of the Santa Monica mountains in February 1962. Continue reading... from Film | The Guardian https://ift.tt/QbvRndl via IFTTT

Donald Sutherland was an irreplaceable aristocrat of cinema

The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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