Andrew Dominic’s Blonde Review About Marilyn Monroe

Ana de Armas plays Norma Jean / Marilyn Monroe in Andrew Dominic's Blonde.

Ana de Armas as Norma Jean / Marilyn Monroe in Andrew Dominic’s White,
photo, Netflix

Based on Joyce Carol Oates’ Pulitzer Prize finalist novel of the same name, White Possibly uses a work of biographical fiction to seek deeper truths about Marilyn Monroe’s life. Unfortunately, director Andrew Dominic (murder of jessie james) faults depict the brutal and relentless ways the world abused Monroe for the sake of her—and while CVS Receipt’s long list of atrocities certainly tells one version of her story, in 166 minutes the film audiences also gives them a slogan that is more likely to make them tune. She said, Ana de Armas (knives out) delivers truly exceptional performances as platinum superstars and icons, while Dominic and his collaborators find endlessly inventive ways to recreate highlights from Monroe’s iconography.

Played by De Armas as an adult and Lily Fisher as a child, Norma Jean Mortensen grows up in a state ward after her mother Gladys (Julian Nicholson) is institutionalized for mental health issues. Considering her absent father to be a power player in Hollywood, Norma Jean pursues a career as a model and actor, and Darryl F. Zanuck (David Warshofsky), which inevitably leads her to make other studio decisions—Norma Jean takes on the steamy sexuality of her ego, despite the producer diligently studying her craft. Massive business opportunities abound, and she takes solace in attention by falling into a comfortable three-way relationship with fellow cast members and low-status celebrity Charles “Cass”. Chaplin Jr. (Xavier Samuel) and Edward “Eddie” G. Robinson Jr. (Evan Williams).

Two husbands, retired baseball player Joe DiMaggio (Bobby Cannavale) and playwright Arthur Miller (Adrien Brody), come and go, as do two pregnancies. But as she experiences more success with films the seven Year Itch And some Like It HotAn infrastructure of doctors and makeTo make sure she looks like Monroe, and when she needs painkillers, she feels like him too. Now a bigger star than ever before, she receives more opportunity and attention than ever before, making contact with President John Kennedy (Casper Phillipson), who, perhaps surprisingly, has more to do with her than her previous lovers. Fails to behave softly. But years of physical abuse and substance abuse coping mechanisms take their toll, sending him down a dark path of addiction, loneliness, and ruin.

to say that is ana de armas everything There’s no exaggeration in this film: without her soulful, controlled performance, Monroe’s conception of Dominic could easily turn into disastrous history. Oates’ book is revisited, but intentionally does not intend to give an accurate portrayal of who Monroe was and what she went through. But this adaptation—the second, followed by a TV version right after the novel’s 2000 publication—is likely to be definitive, just as De Armas manages to create a real and believable Norma Jean, Whose adult life became a wrestling match for the way the world recognized him and the way he saw himself.

It’s not uncommon for women to feel obligated to put a better public face on their behavior in private, but for Norma Jean, Monroe was that face—tender, ruthless, cheerfully accepting the humiliations to which she was subjected. He is subordinate. That her blonde alter ego becomes so lovable, so obsessed by the media that she feels like no one sees anything about the real person behind it, it becomes a painfully relatable struggle. And despite Dominic’s endless list of suffering, which includes sexual assault, almost constant control and abuse from her romantic partners, and two miscarriages from the point of view of her fetus, D’Armas injects depth and dimension into some scenes where the audience gets to see her. One gets to see Norma Jean as a person who is unrestrained by the perception of the world as a game and object, with complex thoughts and feelings.

In an opening scene, she pours her heart out at an audition for the film. don’t bother to knock, only for the auditioning filmmakers to virtually ignore the pain of her own life that she so clearly projects through the role of an unhealthy babysitter. In another, she makes a suggestion about one of Arthur Miller’s plays that brings Miller (and us) to tears as it highlights her conception as an artistic collaborator, at one time only for her beauty. is not seen for. Whether or not the rest of the film resonates with Norma Jean, de Armas establishes her place among the most promising actresses of her generation, so well that the occasional creepy accent of her Cuban heritage becomes unimportant to the authenticity of her sentiments.

blonde | From writer and director Andrew Dominic | Official Trailer | Netflix

It also helps immensely that Dominic is working with cinematographer Chase Irwin (blackKlansmanBeyonce lemonade Special), recreates moments from the actress’ catalog of films and images so specifically and accurately that it’s easy to forget D’Armas isn’t actually Monroe. during the shooting of some Like It HotFor example, the filmmaker splits his star in a scene opposite Tony Curtis, and then cuts to a wider angle, precisely lit, to create the feeling that Monroe is from a Billy Wilder film. popping out.

Costume Design by Jennifer Johnson (I, Tonya) and make . a phalanx ofUp artists further adapt d’Armas for scenes where it’s nearly impossible to differentiate from the original, which has become the boilerplate of our collective memories of Monroe. Meanwhile, an issue by longtime Dominic collaborators Nick Cave and Warren Ellis found a mesmerizing middle ground between Vangelis’ dreamy, futuristic work and Angelo Badalamenti’s haunting, skeletal nightmare, the different parts of this odyssey. Keeping the parts together, the expose, and the character study rolled uncomfortably into one.

Ultimately, Dominic assembles a film that has plenty to admire, but not enough that Marilyn Monroe, much less lost, works to bring the younger Norma Jean to full attention. Like David Lynch say, Twin Peaks: Fire Walk With Me, Dominic apparently hoped to show the world what his tragic heroine endured before her demise – the man who suffered before her polished face became immortal. Instead, he reiterates what Monroe did, blames us for subjugating him, and then leaves us without a clear picture of what we should have paid better attention to, which is who he is. was, much less than its overall understanding.

What does Ana de Armas do White Nothing less than transformative, but unfortunately, the film will do little to change the way people view Marilyn Monroe—once again, people prey on what they think is best for them, perhaps consensual. But certainly not enough consideration.

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