Los Angeles City Council Acts to Spare Marilyn Monroe House from Demolition

The official poster of the 65th Cannes Film Festival featuring US actress Marilyn Monroe is seen on the facade of the Festival Palace in Cannes May 14, 2012. (Reuters)
The official poster of the 65th Cannes Film Festival featuring US actress Marilyn Monroe is seen on the facade of the Festival Palace in Cannes May 14, 2012. (Reuters)
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Los Angeles City Council Acts to Spare Marilyn Monroe House from Demolition

The official poster of the 65th Cannes Film Festival featuring US actress Marilyn Monroe is seen on the facade of the Festival Palace in Cannes May 14, 2012. (Reuters)
The official poster of the 65th Cannes Film Festival featuring US actress Marilyn Monroe is seen on the facade of the Festival Palace in Cannes May 14, 2012. (Reuters)

The Los Angeles City Council voted on Friday to launch a process to designate actress Marilyn Monroe's former home, where she died of a drug overdose in 1962, a historic and cultural monument, blocking plans to demolish the property.

The motion to initiate consideration of the Spanish Colonial-style house in L.A.'s Brentwood section for historic preservation was introduced by Councilwoman Traci Park and approved unanimously the same day, according to her spokesperson Jamie Paige.

In response to the 12-0 vote, the city's Board of Building and Safety Commissioners immediately revoked a demolition permit that had been issued a day earlier. The City Council motion itself also bars major alterations to the property while review of its potential status as a landmark is under way.

Paige said she visited the house on Thursday and that no work had been done at the site, currently owned by a little-known entity called Glory of the Snow Trust.

Monroe purchased the single-story, 2,900-square-foot (270-sq-meter) house in the early 1960s for $75,000 after the end of her third marriage, to playwright Arthur Miller, according to the Los Angeles Times. It was the only residence the actress, who spent part of her childhood in an orphanage and foster care, ever independently owned.

The screen legend, star of such films as "Gentlemen Prefer Blondes," "Some Like It Hot" and "The Misfits," was found dead in a bedroom of the home in August 1962 at the age of 36. The cause of death was ruled to be acute barbiturate poisoning.

The Times reported that the half-acre (0.20-hectare) property, which included a swimming pool and guest house, was purchased in 2017 for $7.25 million by Glory of the Snow LLC, then managed by a hedge fund executive. It was sold to the Glory of the Snow Trust for $8.35 million earlier this year.

No representatives for the trust have been identified by Councilwoman Park, and the reason for the planned demolition remained unclear, Paige said. The Times said the trust is not listed in property records alongside any person's name.

Word that the gated, four-bedroom hacienda at the end of a cul-de-sac was slated to be torn town sparked expressions of outrage on social media, the Times reported. Park, whose council district includes Brentwood, said her office had received hundreds of calls urging her to take action to spare the house.

"For people all over the world, Marilyn Monroe was more than just a movie icon," Park said at a news conference, calling the performer "a shining example of what it means to overcome adversity.

The actress named the home Cursum Perficio, a Latin phrase meaning "My journey ends here," which adorned tiles on the home's front porch.



So You Saw ‘Conclave’ the Movie. Here’s What It Got Right – And Wrong – About Real-Life Conclaves

This image released by Focus Features shows Ralph Fiennes, left, and Stanley Tucci in a scene from "Conclave." (Focus Features via AP)
This image released by Focus Features shows Ralph Fiennes, left, and Stanley Tucci in a scene from "Conclave." (Focus Features via AP)
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So You Saw ‘Conclave’ the Movie. Here’s What It Got Right – And Wrong – About Real-Life Conclaves

This image released by Focus Features shows Ralph Fiennes, left, and Stanley Tucci in a scene from "Conclave." (Focus Features via AP)
This image released by Focus Features shows Ralph Fiennes, left, and Stanley Tucci in a scene from "Conclave." (Focus Features via AP)

Speculation surrounding a conclave to elect a pope is a time-honored tradition. But for the impending conclave following the death of Pope Francis, the ranks of armchair Vatican experts have swelled thanks to Hollywood.

“Conclave” the film, a moody 2024 political thriller, introduced many laypeople to the ancient selection process with its arcane rules and grand ceremony, albeit with a silver screen twist packed full of palace intrigue and surprise.

Though it has its critics, the film treats the gravity of a papal election with respect and accurately portrays many rituals and contemporary problems facing today’s Catholic Church. But Vatican experts warn the movie doesn’t get everything right.

Here's a look at what “Conclave” does get right — and wrong — about conclaves. (Spoilers ahead.)

Scenery and aesthetics The movie excels at re-creating the look and feel of a conclave.

“The film gets a lot right. They tried to reproduce the mise-en-scene of the Vatican accurately,” William Cavanaugh, a Catholic studies professor at DePaul University in Chicago, said in an email. “They show that a lot of the drama is around the preconclave conversations among cardinals.”

It’s not a perfect re-creation, according to the Rev. Thomas Reese, a senior analyst with the Religion News Service and a Vatican expert.

He called the movie’s production values “marvelous,” but noted slight discrepancies in the cardinals' dress.

“The red in the cardinals’ garments was a deep red, while the reality is more orange. Frankly, I like the Hollywood version better,” Reese, a Jesuit priest who wrote “Inside the Vatican: The Politics and Organization of the Catholic Church,” said in an email.

Papal protocols The movie aligns with real-life expectations for a quick conclave, said Massimo Faggioli, a historical theology professor at Villanova University in Pennsylvania.

“A long conclave would send the message of a Church divided and possibly on the verge of a schism. The history of the conclaves in the last century is really a story of short conclaves,” he said via email.

Reese pointed out other discrepancies. While the voting process was depicted accurately, he said, the ballots are burned not after each vote, but after each session, which is typically two votes.

Holy plot holes There are a few particularly egregious errors that, if corrected, would lead to a very different movie.

A key character in the film, the archbishop of Kabul, Afghanistan, arrives just before the conclave with paperwork declaring the late pope had made him a cardinal "in pectore" — “in secret” — allowing him to vote for the next pope.

“The biggest mistake in the movie was the admission of a cardinal in pectore into the conclave,” said Reese. “If the name is not announced publicly by the pope in the presence of the College of Cardinals, he has no right to attend a conclave.”

Cavanaugh agreed and noted that while the movie's twist about the Kabul archbishop was far-fetched, it does point to a certain truth about conclaves.

“The cardinals do not always know who they’re getting when they elect a pope,” he said. “If the cardinals knew how (Jorge Mario) Bergoglio would be as Pope Francis, many of them wouldn’t have voted for him. Pius IX was elected as a liberal and turned into an archconservative. John XXIII was supposed to be a jolly caretaker pope, and he unleashed Vatican II,” a series of modernizing reforms.

Another of the movie's more outlandish storylines involves the dean of the College of Cardinals breaking the seal of the confessional by revealing to another cardinal what a nun confessed to him, said Reese.

“He committed a mortal sin and would be automatically excommunicated. Such an action would be egregiously wrong,” Reese said.

In addition to that, a cardinal paying for votes, as shown in the film, is unheard of in modern times, said Cavanaugh, and the politicking is exaggerated.

And so are the politics.

The movie errs in making cardinals into either liberal or conservative champions, said Kurt Martens, professor of canon law at the Catholic University of America in Washington.

“Those labels don’t help us,” he said because cardinals are very cautious in expressing their opinions and “even someone we think is a liberal cardinal is pretty conservative by secular standards.”

And he added that even in an unusually large conclave like this year’s, the rule requiring the next pope wins at least a two-thirds majority of the vote ensures that “whatever we call extreme” likely won’t get enough votes.