Logline:
Based on the bestselling novel by Joyce Carol Oates, Blonde boldly reimagines the life of Marilyn Monroe, exploring the split between her public and private selves.
Art is supposed to make you feel. It can and should provoke an array of feelings from anger, sadness, confusion, empowerment, disillusionment, happiness, and even arousal. Whatever it is that you feel may or how you interpret the work may not be the intended response, but that’s the beauty of it. However, there is a thin line between art and exploitation.
“I never wanna be her again.”
If we have to be transported back into the 50s and 60s, it should only be to learn something or perhaps for the cars. It’s an era you wouldn’t find me in for many reasons. Nevertheless, it’s an era that birthed iconic figures with widely discussed and divisive realities. One of the most known is the blonde of all blondes, Marilyn Monroe. Directed by Andrew Dominik, Blonde is the glamorous tragedy of Norma Jeane. Based on the fictional novel of the same, this is sure to be the most divisive film of the year. Why? It could be the art versus exploitation debate that it will cause, whether every scene with nudity is necessary, or the visceral feeling that the legacy of Ms. Monroe is being dragged. While all are valid points, the truth is rarely pleasant or agreeable—that is if most of what we see actually played out the way it is portrayed. It’s honestly a story that is told frustratingly conflicting fashion. On one hand, one may wish for a story that hoists Marilyn up as a role model and game-changer, instead, it quickly becomes a scarring journey of endless trauma and the condemnation of Hollywood’s Golden Age. If it happened, then so be it, but I never want to hear the word “daddy” again.
“Fuck Marilyn! She’s not here.”
Blonde is not your typical biopic. Instead of a simple chronicling of the former star’s life from beginning to end, the film plugs us into Norma Jeane’s life as if entering the Matrix. We not only experience her worst moments firsthand and in intimate detail, but also the duality of her struggling existence as the powerless Norma Jeane as well as mega-star and sex symbol, Marilyn Monroe. As she grapples with a reality that is slowly consuming everything good in her life, she maintains her everlasting search for unshakeable love, simplicity, and belonging. Make no mistake, this film is not about the Some Like It Hot actress, rather the “dumb blonde” persona is merely a means for Norma to traverse a vicious industry. No matter how you feel as the film comes to a close, you are sure to be affected in a number of ways. Story aside, the film is aesthetically pleasing. From the set design to the costumes, the work is truly transportive. The cinematography coupled with the editing creates outstanding visuals as it recreates celebrated shots and crafts its own unforgettable scenes. Not to mention, the score elevated every scene. Unfortunately, I’m not quite sure about its direction.
The cast is great, but Ana de Armas easily, and rightfully so, shines in color and black and white. She looks incredible and so much like the real Marilyn. Also, Julianne Nicholson as Gladys is a bit terrifying. This is not a peek behind the curtain, there is no curtain. This is a story that is disheartening, jarring, and sometimes hard to watch. There is sexual assault, forced abortions, and manic episodes that you should be prepared for. However, despite the traumatic nature of the film, what we witness is the strength of a person playing the cards they were dealt and attempting to make the best out of unthinkable circumstances. It is definitely not the film that I was expecting. To my dismay, the biggest feeling afterward is an undesirable sadness and a tinge of cringe. Nonetheless, I think the film should be seen as this one for much discussion. Its rewatchability is low.
Pacing & Pop
With an almost three-hour runtime, this film is far from a slow burn, believe it or not. Even while heavily detailed and with multiple moments of intense darkness, at every turn, there is something shocking, beautiful, and infuriating. The story transitions creatively and seamlessly from scene to scene at a tempered pace. What pops out for me, besides the performance of Ana de Armas, is the highly artistic way the film is constructed. While it’s fully immersed in the unfortunate drama of Ms. Monroe’s life, it also plunges us deep into her psyche resulting in fever-dream-like sequences where past, present, and future are happening all at once. It cages us within the throws of manic episodes that result in waking confusion that blurs the line between what is real and what is the result of barbiturates coupled with an emotionally unwell state of existence.
Characters & Chemistry
Starring: Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Julianne Nicholson, Lily Fisher, Evan Williams, Toby Huss, David Warshofsky, Caspar Phillipson, Dan Butler, Sara Paxton, Rebecca Wisocky
This role is Ana de Armas’ coming-out party and I see a few parallels that made her the perfect person to portray the iconic Marilyn Monroe as they are both more than meets the eye. While possessing a catalog of impressive roles, de Armas is often revered solely for her beauty and sex appeal rather than her acting ability despite her being very talented. That in itself is one of the few reasons she was a perfect fit for the role. She is given the opportunity to showcase a wide range of abilities and emotions and that a trunk full of talent accompanies the pretty face. As Marilyn, Ana is electric in her performance as she is able to convey just how disheartening and devastating Monroe’s life was but also how intelligent, strong, and full of love she was. You can’t help but gain a new respect for the blonde of all blondes for all that she had to endure. But mostly, you just feel great pity. With the film being somewhat hard to stomach at times, it is the performance of Ana de Armas that holds your attention and somehow instills hope to an ending that we already know.
Blonde will be in select theaters on September 23, 2022, and will begin streaming on Netflix on September 28, 2022. Stay safe and enjoy.
Rated: NC-17
Runtime: 2h 47m
Director: Andrew Dominik
Writer: Andrew Dominik
Based on novel: Blonde by Joyce Carol Oates
Producers: Brad Pitt, Dede Gardner, Jeremy Kleiner, Tracey Landon, Scott Robertson
Executive Producers: Christina Oh
Director of Photography: Chayse Irvin
Costume Design: Jennifer Johnson
Score: Nick Cave and Warren Ellis
Directed by Andrew Dominik, Blonde is the glamorous tragedy of Norma Jeane.
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GVN Rating 6
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