Andrew Dominik's explicit, button-pushing take on the life of the superstar, uses shock tactics to replace insight and depth.
](https://twitter.com/christinalefou/status/1574785874277064706?s=21&t=_uUV2a5I9oTCKHeZGAatPg)It’s a blinkered worldview that infiltrates the film, whose countless attempts to stun and sizzle converge into a paunchily epic fizzle. Her pillow lips and fawn eyes perfectly mirror Monroe’s own (we also see a lot of the actor’s curves, hence the NC-17 rating). Diehard Marilyn fans who want to get a better sense of the woman behind the myth will be equally disappointed. His film, which jerks back and forth between color and black and white, is a litany of degradations and torments, many of which are served up as slow-motion sequences that had such a deadening effect on this home viewer that a two hour and 45 minute film took some 25 hours to finish. Dominik is the New Zealand-born Australian film-maker behind such grizzly works as The Assassination of Jesse James and Chopper, a crime drama based on the life of an Australian serial murderer known for feeding a man into a cement mixer and convincing a fellow inmate to slice his ears off for him. The ever-growing library of biographies includes volumes by avowed fan Gloria Steinem (who said the vulnerable and childlike Monroe represented everything women feared being) and Norman Mailer (his Marilyn was: “blonde and beautiful and had a sweet little rinky-dink of a voice and all the cleanliness of all the clean American backyards”).
Blonde, starring Ana de Armas as Marilyn Monroe, is now available to watch on Netflix, but is the fictionalised biopic worth a watch? Our Blonde review.
Only briefly do we see her play Marilyn as the movie star we know her to be. None of the winking charm she demonstrated in Knives Out is here. The real Marilyn, by many accounts, was undeniably gifted and determined to be a good actress, to better her craft.
The perfect film to watch with a phone and the pause button.
When Monroe is negotiating a higher rate for her role in Gentlemen Prefer Blondes – as she points out, she is the blonde being preferred – we see another personality, one which demonstrates a shrewdness and humour that must have been necessary for her to endure as long as she did at the level she was at. Her performance is a life raft. The film is interesting because Monroe’s life is interesting; most things involving film stars, famous athletes and presidents are. He thought she was hot, but treated her like a kid! Was she actually in a three-way relationship with Charlie Chaplin Jr. And so we come to Blonde, the latest production to take on Monroe, who, as the film poster notes, was “watched by all, seen by none.”
It has been a Year of Marilyn, full of tributes and homages, but "Blonde" explores the darker side of the entertainment icon.
And of course, it comes to the now-familiar conclusion that there was much more to the story than was apparent at the time. But Dominik’s film certainly meets Bolton’s other expectation: “Respect and fidelity to the complexity of the person.” Still, “Blonde” the movie covers many of the major known tragedies and trials of Monroe’s real life, such as her mother’s mental illness as well as her own, her failed marriages, her substance-abuse issues and her unrealized desire to become a parent. (It skips over a few famous beats, too, such as Monroe’s early marriage in her teenage years to a policeman — as well as the fact that she had half-siblings, one of whom she reconnected with later in life. Vogue recently heralded [“Barbiecore”](https://www.vogue.com/article/barbie-fashion-is-everywhere-this-summer) as the hottest trend of summertime, and a TikTok genre known as “BimboTok” was the subject of many a concerned-but-fascinated [trend story](https://www.thecut.com/2021/12/reclaiming-bimbo-bimbotok.html) [in 2022](https://www.rollingstone.com/culture/culture-features/bimbo-reclaim-tiktok-gen-z-1092253/). But the genre does seem to take cues from Monroe’s bubbly public persona — and her apparent enjoyment of being a beautiful, hyperfeminine woman. “Blonde,” however clumsily, attempts to answer that question, as it’s the rare Monroe tribute that looks closely at the mortal person behind the immortal image. Chrissy Chlapecka, 22, is one of the most prominent TikTokers associated with BimboTok, and she names Monroe among her lifelong inspirations. Her image has “come to stand for the very essence of glamour and beauty,” Bolton says, while her life story “stands for the classic hard-luck, rags-to-riches” tale of making it big in Hollywood. “I have noticed once again that clothing is coming around to the ’60s,” says Donelle Dadigan, president and founder of the Hollywood Museum in California (where interest in the Monroe items spikes yearly in June around her birthday). But none of this year’s moments of Marilyn fixation have engaged quite as directly with the latter as “Blonde,” which focuses on Norma Jeane Baker, the woman who became Marilyn Monroe. A few forces have converged this year to create a period of renewed fascination with Monroe — or perhaps more accurately, with Monroe iconography.
Blonde, a movie that reimagines the life of the iconic star Marilyn Monroe, starring Ana de Armas, is rated NC-17 on the subscription-based service Netflix.
The views expressed here are that of the respective authors/ entities and do not represent the views of Economic Times (ET). The actress also said that Blonde is supposed to create controversy and discomfort. But why exactly is "Blonde" rated NC-17? ET hereby disclaims any and all warranties, express or implied, relating to the report and any content therein. - What is the movie Blonde about? [Ana de Armas](/topic/ana-de-armas)'s starrer [Blonde](/topic/blonde), in which she plays the role of the iconic [Hollywood](/topic/hollywood)icon [Marilyn Monroe](/topic/marilyn-monroe), is currently rated NC-17 on [Netflix](/news/netflix-news).
It comes towards the end of Blonde, Andrew Dominik's brutal and explicit fictionalisation of the life of Marilyn Monroe.
Watching it back, three weeks after I first saw it — not least in the wake of a press tour in which Dominik has been One certainly hasn't seen such an unflattering portrayal of Kennedy, already the subject of a cornucopia of fictional portrayals and feature documentaries, across media. — there's a Hitchcockian cutaway to the televised craft pointing to the sky, newly erect. But one scene, coming towards the end of Blonde, is especially ripe for debate. Broader commentary on modern celebrity aside, should such a loosely interpreted version of the life of a quintessential cultural figure be presented as reality, as the [Blonde](https://www.gq-magazine.co.uk/culture/article/netflix-blonde-marilyn-monroe) press tour and marketing have seemingly implied? [Blonde](https://www.gq-magazine.co.uk/culture/article/blonde-netflix-review-marilyn-monroe) hits laptop screens across the globe with its premiere on Netflix, the ethical discourse around Andrew Dominik's fictionalised, impressionistic Marilyn Monroe not-a-biopic continues apace.
Andrew Dominik's bludgeoning Marilyn Monroe biopic has all the signs of a passion project, but none of the rewards. By Adam Nayman Sep 28, 2022, 8:30am EDT ...
When Monroe tells the great playwright that her insight into Chekhov isn’t second-hand—that she came up with it herself, after reading the play—the mixture of pride and pain in her statement (and her reaction to his reaction) is palpable. After gaining traction as a pin-up model, she transforms into the platinum-blond Marilyn as a way to leave her sadness behind, only to find that it follows her and deepens in the hairline fractures of her new sexpot persona. Subtlety is a virtue only depending on how it’s used, of course, and Dominik—who’s been a maximalist since the first overcranked frames of Chopper—comes by his allergy to understatement honestly. Dominik doubles and then superimposes her prone, unconscious, naked body with another Monroe in a pin-up pose, deliberately evoking the transcendence-in-death catharsis of David Lynch’s The Elephant Man, complete with end credits that take us hurtling through deep space. Beyond resembling Monroe physically, which, aided by superlative costume and makeup, she does amazingly well, the actress locates something like a character: She’s an emotional center for this vortex of a movie to swirl malevolently around. Dominik films the glitzy premiere of Gentlemen Prefer Blondes in a series of predatory, overhead shots, with the screening itself ramped up to cartoony hyperspeed. The idea that Monroe lived the rest of her life in thrall to this dashing absentee father pervades the film’s ensuing inventory of her personal and romantic relationships. Drawing on and selectively hyperbolizing the historical record—and eliding any moments that might interrupt its highlight-reel-slash-atrocity-exhibition structure—it’s a no-holds-barred exercise in unpleasantness featuring enough graphic scenes of sexualized violence to earn Marilyn is a biography that plays by the rules of fiction, which is to say that it follows no rules at all. Like most of [Roeg’s output,](https://www.theringer.com/movies/2018/11/26/18111989/nicolas-roeg-director-dead-obituary-dont-look-now-man-who-fell-to-earth-walkabout) Insignificance is a strange film, but it’s one with a healthy respect for Monroe’s intelligence and resourcefulness: The scene where Russell breathily (and convincingly) [explains the theory of relativity](https://www.youtube.com/watch?v=lfxcHsioYfM) to an Einstein stand-in using toy trains, balloons, and a flashlight is affectionate, endearing, and surprising. Mailer ended up admitting he made that stuff up because he needed the money; in a fugue of arrogance and desperation, he used the project to write almost as much about himself as his subject. Similarly flouting the rules of biography and working with an extra 30 years’ worth of hindsight, Oates inflated Monroe into a tragic, emblematic figure of 20th-century femininity: a hapless, helpless victim used and abused by her own illusions, and those of millions of others as well.