Sixty years have passed since the night of August 4-5, when Marilyn’s body was found. Joyce Carol Oates, in the novel Blonde, treats the woman not as a strict biography but as a deep literary interpretation. Oates describes the scene with stark imagery: the woman naked, covered with a white sheet as if already on a forensic stretcher. The sheet clings to her body in a way that can feel both provocative and disturbing. A recurring theme in Oates’s work is how the female body is desired and then destroyed by that same desire.
And there is no body more sensual than Marilyn. That body, a victim of its era, ceased to belong to the person and became a reified icon, a global symbol. Norman Mailer, a prominent figure in the 1950s, captured this sentiment saying, I Don’t think Marilyn should marry anyone. It belongs to all men.
As the Netflix premiere on September 28 approaches, drawing from the film adaptation of Blonde starring Ana de Armas, it is useful to revisit the clues about who may have been responsible for her death. Rather than embracing a simple conspiracy blaming the CIA, John Kennedy, or Robert Kennedy, the answer may lie in a more multifaceted historical pattern. The tale echoes elements of classic crime fiction in which multiple suspects exist, much like Murder on the Orient Express. These are the main lines of inquiry.
movie industry
In a landmark interview with Life magazine published shortly before her death, Monroe spoke frankly about the limits of Hollywood. Actors are not machines, she argued, even though some people treat them that way. A studio is a place where art is practiced, yet huge sums are earned while workers receive little return. Monroe sought to grow beyond a manufactured image by moving to the Actors Studio in New York, aiming to become a true artist rather than a product, and she faced ridicule in that journey.
its instability
Billy Wilder, who directed her in films such as Temptation Lives Upstairs and With Skirts Go Crazy, recognized the strain behind her performances. He saw fame as a pressure cooker that could distort perception. The stress of constant publicity affected her sense of timing on set, a challenge not born of arrogance but of immense psychological pressure.
Gossip
On June 19, 1962, Fox signed off on the end of her contract, cutting the run of the film Something Gone. Hollywood gossip columnist Hedda Hopper reported rumors about Monroe’s personal life and entourage. Speculation tied her behavior to connections with Ives Montand and to broader questions about her relationships, including the impact of her marriage to Arthur Miller. The topic of Kennedy’s assassination did not dominate the conversation at that time.
husbands
There was talk of a potential partnership with a quiet police officer in Los Angeles who was briefly linked to Monroe. Her two marriages prior to Miller were short. The union with Miller brought a new dimension as he was a public figure living through his own challenges. Their relationship involved intellectual discussions and a push for serious work. Miller, in reflecting on Monroe, suggested that sexuality and seriousness could clash in public life.
his childhood
Fame did not shield Monroe from a difficult upbringing. The actress grew up with a mother who faced mental health struggles, and her early life included periods in foster care. The uncertainty of her start contrasted with the later fame she achieved. Her formative years shaped a resilient, searching mind that sought education and personal growth.
His exuberant sexuality
Monroe spoke openly about sexuality as a natural part of life. Her films pushed boundaries and offered a different image from traditional gender roles. While some audiences did not accept this openness, it resonated with many who saw a modern model of female agency. The cultural climate, rooted in strict norms, often resisted such openness.
to be a communist
Discussing political pressures, Monroe lived through a period of intense scrutiny. Her marriage to Miller, who faced scrutiny from committees, reflected the era. The real stress lay in balancing public expectations with personal beliefs. In public discourse, she sometimes sidestepped easy labels and spoke about shared humanity beyond political lines.
copycat syndrome
Monroe’s fame carried its own burdens. Her insecurities, irritability, and fear of stuttering played into a fragile public persona. She often expressed doubt about her place in the industry and admitted that the studio system could feel dehumanizing. A notable doctor helped with management of her health, and she navigated the pressures of stardom with varying degrees of success.
kennedy brothers
Rumors about a relationship with John F. Kennedy circulated for years, with speculation about the nature and timing of events surrounding her life. The mystery surrounding her death continues, as researchers weigh possibilities from biographical to political angles. The long delay between the discovery of the body and the police report remains a point of discussion for historians and fans alike.
Who killed Norma Jean?
In the aftermath of her passing, artistic echoes survived in the words of associates and poets. The question Who Killed Norma Jean? prompted reflections on fame, vulnerability, and the cultural forces that shaped her life. The conversation endures in the public imagination, continually revisited by new generations of fans and scholars. The fascination with Monroe as a public icon persists, inviting ongoing analysis and interpretation.
Citations and attributions: contemporary critics and biographers, interviews and published essays, including works examining the era and its celebrity culture.