By Nora Lee Mandel
When Canadian poet and singer/songwriter Leonard Cohen died November 7, 2016 at 82, eulogies reverberated with “mystical,” “mysterious,” and “celestial.” A new documentary, Marianne & Leonard: Words of Love (Roadside Attractions), and the exhibition Leonard Cohen: A Crack in Everything, up until September 8 at New York’s Jewish Museum, demonstrate that Cohen, like so many male artists of his and previous generations, fit a pattern of an archetypal Jewish men’s fantasy fulfillment. His muse, Norwegian Marianne Ihlen, was a blonde gentile goddess; a disparaging Yiddish word for the type is no longer PC.
Iconoclastic as he was, Cohen fit the pattern. Irving Berlin was inspired by fair-haired socialite Ellin Mackay to pen “Always” in the 1920s, and more love songs after they married. In the 1960s, Marilyn Monroe posthumously influenced her husband, Arthur Miller to write After the Fall. Diane Keaton was Woody Allen’s icon of golden non-Jewish women in Annie Hall and other 1970s films. This trope is so familiar that Albert Brooks satirized Sharon Stone as The Muse (1999) with flaxen tresses.
For the new Leonard Cohen film, director Nick Broomfield rediscovered home-movie-like footage from the 1960s by the late documentarian D.A. Pennebaker, where Marianne smiles, sails, and swims off the Aegean island of Hydra: “The sun bleached my hair, so in Greece I was very blonde…Leonard did the writing. I ran and did the shopping and brought food. I was his Greek muse, who sat at his feet. He was the creative one…I would say ‘I am an artist. Love is an art’. I was living.” After the luminescent Judy Collins initiated his performing career, Cohen’s road manager and record producer chuckle at how audiences seemed mostly women, particularly blondes, and that Cohen relayed them to his hotel room.