George Zimbel was there on the street among several photographers to document what would become Marilyn Monroe’s most lasting image: a blowing white halter dress. More than the dress or the scene, Zimbel remembers a Joe Dimaggio that couldn’t take all the bright lights that night: leaving Monroe all alone in a white halter dress.
Voices: Family of photographer Sam Shaw, Norman Mailer, George Zimbel.
- It was called the 'Shot Scene' around the world.
- I think it was Earl Wilson in The Post. Yeah.
- And it was the most major, I mean the whole world knows that photo.
- That night, the street was blocked off.
So you wouldn't have had all this traffic.
It's a very strange feeling, because it was over 50 years ago. Of course.
And there were a lot of little stores then, and there was a jewelry store, and it wasn't quite a movie set.
Because it was still the real buildings and real stuff.
I'm feeling a little strange about it, actually.
I don't know, actually, I'm feeling a little emotional about it.
- The movie camera was set up.
They had the tracks and everything for the shoot.
So what they did was really brilliant.
What they did was they let the still people photograph before, while Billy Wilder was doing the warm up and Di Maggio was floating around a little bit, slowly blowing his cork.
- The scene is more indecent to De Maggio, than he ever conceived.
The sound of New York Snickers takes his ear.
New York Snickers is a jargon based on sewers, whos, and delicatessen.
Look at that pastrami unable to endure anymore.
De Maggio tries to get away.
- Finally, when they started filming, De Maggio walked right off the set, right in the middle of the film shoot, right in front of the camera, everything stopped.
And that's where where I have my favorite photograph of serious Marilyn. She just stopped.
And the light is just coming down, light, light light, light, right on top of her head.
And it's all black except for her.
And it was a heavy moment.
