When it’s a life story or legend as sprawling as Monroe’s, the easiest way to find a new angle is to focus on a specific time period or new source material. My week with Marilyn (2011) magically recorded a seven-day period while filming The Prince and the Showgirl To create a finely tuned portrait of her experiences as an actress and as a woman. Recently, mini series like 2015 The Secret Life of Marilyn Monroe She resorted to books that revealed new information about her mother, Gladys, Gives more insight In her role in Monroe’s life.
Dominic Books Blonde Drawing on Joyce Carol Oates’ 2000 novel. Before it became reactionary social media tweeted it white youth Not publicized enough, Oates was talented at writing emotionally moving books about family dynamics and the feelings of young women—such as Oprah’s approved book. We were Mulvaney (1996).
her attempts to expand on the dark side of Americana with fantasy novels inspired by, for example, Chappaquiddick And the JonBenet Ramsay It was less successful. They don’t add any real perspective to the real life stories. Rather than commenting on their cultural metaphors, these books seemed to be drowning in the media clichés that made these stories famous.
Oates’ fictional account of Monroe is also an attempt to contextualize the delusions associated with it. But it’s actually He trades in something we already knew about stardom – Monroe is a symptom of celebrity predicaments – and he tries to shock us with the idea that even the brightest stars are vulnerable Physical ailments such as menstruation. Dominic’s movie follows suit.
Like the novel, the movie never decides if it wants to be a study of the iconic Monroe, an actor, or a woman. The film begins with Norma Jeane as a young girl (Lily Fisher) raised by a mother with schizophrenia, then an incomprehensible mental illness.
Gladys (Julian Nicholson) stars for an imaginary husband and becomes, along with Norma Jeane’s absent father, one of the many characters who haunt Monroe, emerging in her life even after she’s committed to a long-term hospital stay.
The film’s formal techniques are promising, including its black and white power, tense soundtrack, and the way it avoids linearity, jumping through myth and women in impressionist scenes. Through camera angles – scenes are often filmed from Monroe’s perspective – the film succeeds in having the viewer subdue the young girl’s feelings, provoking the suppression of abuse when Gladys hits her and even attempts to drown her.
We meet aged Monroe Ana de Armas through meticulous recreations of her most famous photography sessions and film auditions, including pinup . era For her role as the tormented Ella in Don’t mind the roads (1952). De Armas looks just like Monroe and makes her soothing voice and eye look to herself, convincingly as Michelle Williams did in My week with Marilyn.
The film’s most coherent theme, if obvious, revolves around how all the men in her life use her. We feel – and feel – the pain and horror as she is raped by the head of the studio who offers her opportunities in a movie. In a theatrical flirtation with Charlie Chaplin Jr. (Xavier Samuel) and his actor friend, and the subsequent marriages of characters referred to as The Ex-Athlete (Bobby Cannavale) and playwright (Adrien Brody), they are all there to eventually betray her.
But the subjects don’t receive the necessary support from dialogue, which can be preachy (like when she calls herself “a piece of meat”) or turn characters into casual commentators (her name is “so fake, like you invented yourself,” Chaplin tells her). Monroe as a symbol of self-invention? leadership.