Andrew Dominic‘s Blonde is a powder keg from the movie; He is beautiful, charming, scornful, painful, and extremely volatile. A glass chest of walls closing in, with Hollywood as a fiery hell of merchandise. Perhaps most importantly, Blonde Not a biography about Marlin Monroe But a faithful adaptation of the author Joyce Carol Oates Imagine Monroe’s life as Norma Jean. Although she delves into the inner life of one of the most famous women who ever lived, the closer we got to her, the more penetrating and unsolvable she became. The identifiable moments and relationships of her career are shown, but this is the story of the double personality. When a human front (Norma Jean) is abused, her mind lets her general ploy (Marilyn Monroe) take over – until that’s all there is to it.
anyway Blonde It’s not a biography, it goes from cradle to grave. We get to know the young Norma Jeanne through her mother (Julian Nicholson) mental breakdown. She talks about Norma Jeanne’s cradle being a drawer in the closet and talks about Norma Jeane’s father as a very important man in Tinseltown to speak his name out loud. In one of Dominic’s many mental clips, a fire in the Hollywood Hills strewn embers and ashes in their shoddy apartment. Over the Blonde, the surrounding environment always punctures Norma Jeanne’s world. Her mother told her that during the tremor she couldn’t recognize her as if she was on the ground or in her own body, “in California, you can’t tell if it’s real or you’re on your own.” This line about her mother’s mental illness would of course come to describe the celebrity’s complexion.
After being placed in an orphanage and never learning the identity of her father, Norma Jeane (Ana de Armas) questions herself so much that she can never forge a founding identity beyond what is required of her stage character, Marilyn Monroe. She is broken, first by her mother’s mental illness and absent father, to who others want her to be as opposed to who she wants to be. Men and tabloids want her to be a sexual hotbed and she wants to do it Chekhov. Hollywood wants first. Even her acting class has a nude photo of her as a calendar on their bulletin board. Blonde It is a collage of Monroe’s career along with Norma Jeane’s desire to keep a part of it. Time passes through some of the men you marry and the fetuses you lose, which appear as the fetuses you communicate with. Most of her experiences on display are directed by the trauma she experiences after trusting someone else (generally in search of a “father”). Although the story Blonde Serial, it is primarily a chronicle of the use of her body, from a pinup to an installation by the President of the United States of America.
Blonde It is a shockproof conveyor belt. There is rape and physical abuse, both of which are done in an attempt to control her career. Ultimately, Hollywood prescribes doses of medication to propel her through depression into sustained performance. It is a historical account of the divided self which, through grief, gives every property its image to an outsourced myth; A ghost wrapped in the flesh, with many expectations still hanging over him – even long after she’s gone.
During the first time we see Norma Jeane in an acting class, her coach describes acting as keeping yourself and the character you’re playing separate (“You’re here and your role is here!”). Blonde Provides that this is how Norma Jean lived with Marilyn Monroe until her misery on the set Some like it hot It was so obvious that it gave this person an ultimate possession. In the saddest scene in the movie, and there’s a lot, her make-up artist (Toby Haas) repeats “It’s coming, it’s almost here” as Norma Jean turns into Monroe as if this transformation would make her good. He will keep everyone on their paycheck, but destroy it. Maintaining that character is what sends her mind into a mist and her body into a state of slack. At the height of her stardom, she was carried as a commodity from someone else’s imagination to someone else. It is a curse, not a salvation.
The above descriptions might sound like a stress test. Dominic asks a lot of the audience and if you turn yourself in, you can be completely surrounded. Swallow it whole into the belly of the beast. It’s the kind of movie that manages the viewer through such intense competition that I can understand everyone who hates it, just as I will nod their head with those who think it’s a tricky experience. For me, I spent three hours in awe of how much Dominic had control of his craft, and how confident de Armas was with him. De Armas evokes Marilyn Monroe’s well-known breathless voice, but she uses her natural range as Norma Jean, a choice that helps the thesis in general about when and when the character is played. What we can know for sure (the highlights and performances) and what fills the imagination.
aesthetically Blonde He is charming. Mixing aspect ratios, moving by hand at unexpected moments, using stars, sperm, waterfalls and flying saucers as segments – Blonde Relentlessly evocative. At one point, Monroe vomited on the camera itself. Dominic despises the Hollywood machine and tabloids but not without letting the public know about their role in icons as well. There is a feeling that no human being can become this big in our cultural consciousness and remain an individual. Both editing (by Adam Robinson) and the result (by Nick how And the Warren Ellis) matches Dominic’s style: sometimes oblate, sometimes destructive.
the reason Blonde You’ll stay with me, though, because – despite all the ugliness – Dominic remains sympathetic to Norma Jeane. Although nudity may be excessive, it is mostly in relaxing moments, not posing moments. Only in these moments does her body enjoy comfortable freedom. She pulls on her clothes, the makeup artist puts on her famous face-saving face, and the doctors literally look at her – all at the behest of strongmen needing a movie made or the strongest man in the free world created by skaters Crisis Picture. Even the playwright Arthur Miller (Adrien Brody), by far the best guy you’ll ever come across BlondeHe begins separating her because of her misunderstanding that was pumped up by the Icon Machine: that she couldn’t have a mind.
While Blonde She almost exclusively shows all the terrible things that happened to Marilyn Monroe, and she does so in her defence. It may seem like the movie shows all its points early on and then introduces you to them. But for me, the most amazing part of Blonde is the shift from being able to retain divided personalities to losing oneself; Psychedelic, empty, but still secluded in amber and endowed with immortality through cultural consciousness.
I leave Blonde I feel as if my mind has been shaken, and my nerves are rewiring, as if I have been left huddled in an alley, not knowing how I ended up there. There may be quite a few physical hits (including having her own “Rosebud”) but it’s the constant beating that makes her unrecognizable despite all the photos we’ve dedicated to memory. One area I’ve wanted to critique throughout runtime – the search for paternal love is such a routine thing in biographies – even this thread resolves itself with a grim conclusion: Nothing about Marilyn is really knowable, and she’s been constantly manipulated or in service of other people’s fantasies. And while none of this sounds fun, there were several filmmaking moments that delighted me.
It is the most shocking horror movie of the year. This is an image of an icon made precisely the way it critiques the film industry: by taking what you presented as a single piece of a jigsaw puzzle—which someone else pieced together. The question as to whether what Dominic, Oates and de Armas have collected is useful is intentionally in the same feedback loop you are denouncing. It is exploitative and emotional. That’s why it feels like he’s spitting you down an alley to pick yourself up again. Blonde It’s a disgusting movie. For me, this makes it an effective and disarming experience.
Blonde It will begin a limited theatrical run on September 16 before it hits Netflix on September 28.