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In August 1962, LIFE magazine published Marilyn Monroe’s final interview. Two days later, she died. But behind that publication lay a far larger and more tragic archive that remained unseen by the public for decades.

It consists of 432 photographs taken by photographer Allan Grant and a four-hour audio recording of a conversation with journalist Richard Meryman. These materials were created in June 1962 — less than three months before her death at the age of 36.

The shoot took place at her new home in Brentwood, Los Angeles. Unlike typical studio productions, everything felt different here: quieter, more personal, almost intimate.

Most of the photographs and recordings were never published at the time and remained unknown for decades.

In the interview, Monroe speaks unexpectedly often about her childhood. She recalls being a schoolgirl walking long distances to and from school, feeling the world gradually turning its attention toward her. Boys would wave from cars, strangers would smile, and she describes a strange, almost physical sense of freedom. She vividly remembers moments outdoors — bike rides, laughter, and wind that, in her words, “seemed to caress her.”

But beneath these almost luminous memories, a more complicated life is already visible. Monroe talks about early exposure to attention and jealousy, how her image was shaped by others, and how she gradually began to feel less like a person and more like an image.

One of the most powerful moments in the interview is her reflection on being a sex symbol. She speaks with irony and exhaustion, admitting she never fully understood why she was seen that way. “I never understood what it meant to be a sex symbol. I thought it was something like plates clashing together.” And she adds a line that feels especially striking today: “I don’t want to be a thing.”

At the same time, there is no rejection of her femininity — rather, a protest against what the industry turned her into.

She also recalls an early nude photo shoot done out of financial necessity. At the time, she did not realize how significant this episode would become in her biography. She was paid $50 for the session — simply a way to pay rent.

Despite everything, the final parts of the interview feel surprisingly calm. Monroe speaks of fame as something unstable and external, unable to serve as the center of life. She emphasizes that what matters more to her is work, creativity, and people she trusts. Her words reveal a rare clarity beneath her public image: a desire not to be a “star,” but an actress with inner honesty.

Today, this archive is seen not just as historical material, but as a rare moment when a human being begins to emerge behind the Hollywood image — vulnerable, thoughtful, and alive. And that is what makes Marilyn Monroe’s final images and voice so deeply haunting.

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