Norma Jeane Mortenson, Before She Became Marilyn Monroe

Her successful modeling career brought her to the attention of Ben Lyon, a 20th Century Fox executive, who arranged a screen test for her. Lyon was impressed and commented, "It's Jean Harlow all over again." She was offered a standard six-month contract with a starting salary of $125 per week. Lyon did not like the name Norma Jeane and chose "Carole Lind" as a stagename, after Carole Lombard and Jenny Lind, but he soon decided it was not an appropriate choice. Norma Jeane was invited to spend the weekend with Lyon and his wife Bebe Daniels at their home. It was there that they decided to find her a new name. Following her idol Jean Harlow, Norma Jeane decided to choose her mother's maiden name of Monroe. Several variations such as Norma Jeane Monroe and Norma Monroe were tried and initially "Jeane Monroe" was chosen. Eventually Lyon decided that he wanted her to have a new name as there were many actresses with the name Jean, or a variation of it such as Jean Peters, Gene Tierney, Jeanne Crain, and Jean Arthur. Wanting a more alliterative sounding name, Lyon suggested "Marilyn", commenting that she reminded him of Marilyn Miller, the sexy 1920's Broadway actress. Norma Jeane was initially hesitant because Marilyn was the contraction of the name Mary Lynn, a name she did not like. Lyon, however, felt that the name "Marilyn Monroe" was sexy, had a "nice flow", and would be "lucky" due to the double "M" and thus Norma Jeane Baker took the name Marilyn Monroe.
Marilyn Monroe's first movie role was an uncredited role as a telephone operator in The Shocking Miss Pilgrim in 1947. She won a brief role that same year in Dangerous Years and extra appearances in Green Grass of Wyoming and You Were Meant for Me, she also won a three scene role as Betty in Scudda Hoo! Scudda Hay!. Monroe's part in Scudda Hoo! Scudda Hay! was to be three scenes long, but before the release of the film her part was cut down to a brief one-line scene. Green Grass of Wyoming, You Were Meant For Me, and Scudda Hoo! Scudda Hay!, wouldn't be released until 1948, which was months after Monroe's contract had ended in late 1947. She attempted to find opportunities for film work, and while unemployed, she posed for nude photographs. She was paid $50 and signed the model release form as "Mona Monroe". It would be the only time she would get paid for the nude photos. That year, she was also crowned the first "Miss California Artichoke Queen" at the annual artichoke festival in Castroville.
In 1948, Monroe signed a six-month contract with Columbia Pictures and was introduced to the studio's head drama coach Natasha Lytess, who became her acting coach for several years. She starred in the low-budget musical Ladies of the Chorus. Monroe was capitalized as one of the film's bright spots, but the movie didn't bring any success for Columbia or for Marilyn. During her short stint at Columbia, studio head Harry Cohn softened her appearance somewhat by correcting a slight overbite she had.
She had a small role in the Marx Brothers film Love Happy (1949). She impressed the producers, who sent her to New York to feature in the film's promotional campaign. Love Happy brought Monroe to the attention of the talent agent, Johnny Hyde, who agreed to represent her. He arranged for her to audition for John Huston, who cast her in the drama The Asphalt Jungle as the young mistress of an aging criminal. Her performance brought strong reviews, and was seen by the writer and director, Joseph Mankiewicz. He accepted Hyde's suggestion of Monroe for a small comedic role in All About Eve as Miss Caswell, an aspiring actress, described by another character as a student of "The Copacabana School of Dramatic Art". Mankiewicz later commented that he had seen an innocence in her that he found appealing, and that this had confirmed his belief in her suitability for the role. Following Monroe's success in these roles, Hyde negotiated a seven-year contract for her with 20th Century Fox, shortly before his death in December 1950. It was at some time during this 1949–50 period that Hyde arranged for her to have a slight bump of cartilage removed from her somewhat bulbous nose which further softened her appearance and accounts for the slight variation in look she had in films after 1950.