If you're going to fictionalize the life of one of the movie icons of the 20th century why go there, to the darkest dark. There are some "invented" moments that are, quite frankly, unforgivable. What kept me glued to the screen was Ana de Armas. A tremendous show of talent and fearlessness. I was wondering what the experience would have been to watch it in a theater with other people? I don't know because in the privacy of my own home I was free to stand up and walk away to pour myself a drink and shout at the screen. The awful Kennedy episode for instance. Why? That episode in particular made me question the intention of the filmmakers. So, yes, I can say now that I've seen it. Loved some it and detested some it.
1,114 Reviews
Blonde
CinemaSerf24 September 2022
What a truly disappointing film this is. It offers us a really slow, sterile and disjointed - almost episodic - depiction of just how Marilyn Monroe's life might have panned out. For a start, I couldn't decide whether Ana de Armas was really Lady Gaga or Scarlett Johansson (both of whom would have acquitted themselves better, I'd say) as she offers an admittedly intense, but remarkably uninvolved performance. We move along from chapter to chapter in her life hindered by some fairly weak and uninspiring dialogue and seriously intrusive scoring in what becomes an increasingly shallow and lacklustre fashion. The photography does try hard - it does offer us a sense of intimacy, but the whole thing is presented in such a stylised and un-natural manner that it is frequently difficult to tell whether she is/was a "real" woman. Her marriages are treated in an almost scant manner - and her relationship with JFK is reduced to something rather implausibly one-sided and sordid showing nothing of how their relationship might have come to be. It has no soul, this film. Aside from her glamour - which was, even then, hardly unique we are not really introduced to any of the nuances of her character, we are left guessing a lot of the time as to just how she did become such a superstar, and how she spiralled so inevitably into a maelstrom of booze and pills. It relies to a considerable extent on the viewer's existing knowledge of, and affection for, this flawed lady. Adrien Brody and Bobby Cannavale don't really have much chance to add anything as her husbands and the highly speculative relationship between her and Charlie Chaplin Jnr (Xavier Samuel) and his sexually ambiguous partner-in-crime Edward G Robinson Jr (Scoot McNairy) does suggest something of the rather profligate and debauched existence that some lived in Hollywood, but again their characters are also largely undercooked and again, we are largely left to use our own imagination. It is far, far too long and in a packed cinema, I could see people looking at the ceiling just once too often. Watchable, certainly, but a real missed opportunity to offer us something scintillating and tantalising about this most of iconic of women.
A disjointed, episodic look at Monroe's miseries! [+42%]
arungeorge1328 September 2022
"Blonde" is sadly reduced to the collective tragedies (and horrors) that the iconic actress went through in her short 36-year-old life. Don't get me wrong, Ana de Armas totally owns the role and gives it her all (God bless her cheekbones!). She also gets worthwhile support from the cinematography, production design, costume, and make-up departments. The biggest letdown is the script that heavily lacks connective tissue between what feels like various disjointed episodes in Monroe's life. Again, each of these episodes are stripped down to repetitive plot-points such as the absentee father, the abortions, the failed marriages, and most importantly, the male gaze.
Writer-director Andrew Dominik perceives Marilyn Monroe and Norma Jeane as two distinct personas, the former being a glowy, on-screen cover-up for the distressed latter. Again, because the film is only interested in showcasing the worst of her life, as viewers, we feel disconnected early on, especially given the film goes on for a butt-numbing 160 minutes. Also, I didn't particularly like the transition between black & white and color bang in the middle of certain scenes. What was the underlying point? The film basically leaves Armas to do most of the heavy lifting since the script only attempts to look at her as an object of desire.
Of course, there are more than a few controversial stretches in the film, and if that's barring a scene with a speaking foetus, then I'm probably dreaming it all up. This isn't what Norma would've wanted to be seen as her "legacy", and both entries Netflix has come up with thus far on Marilyn Monroe (yes, I'm looking at you The Mystery of Marilyn Monroe: The Unheard Tapes) are lacklustre.
Writer-director Andrew Dominik perceives Marilyn Monroe and Norma Jeane as two distinct personas, the former being a glowy, on-screen cover-up for the distressed latter. Again, because the film is only interested in showcasing the worst of her life, as viewers, we feel disconnected early on, especially given the film goes on for a butt-numbing 160 minutes. Also, I didn't particularly like the transition between black & white and color bang in the middle of certain scenes. What was the underlying point? The film basically leaves Armas to do most of the heavy lifting since the script only attempts to look at her as an object of desire.
Of course, there are more than a few controversial stretches in the film, and if that's barring a scene with a speaking foetus, then I'm probably dreaming it all up. This isn't what Norma would've wanted to be seen as her "legacy", and both entries Netflix has come up with thus far on Marilyn Monroe (yes, I'm looking at you The Mystery of Marilyn Monroe: The Unheard Tapes) are lacklustre.
buck up for this one
ferguson-628 September 2022
Greetings again from the darkness. For those who have studied Marilyn Monroe's personal and professional life, writer-director Andrew Dominik's (first feature film since KILLING THEM SOFTLY, 2012) interpretative adaptation of the 2000 novel by Joyce Carol Oates may send them into the early stages of shock. In fact, regardless of one's level of knowledge of the details of Marilyn's background, shock and bewilderment are likely reactions. It should be made clear for all viewers that it's a fictionalized account of her life, not a true biography. One should also know that this is cinematic artistic mastery to complement an incredibly in-depth and revolutionary performance from Ana de Armas (KNIVES OUT, 2019, NO TIME TO DIE, 2021).
At times, the film is surreal, while at others, downright hallucinatory. It's certainly never boring. However, it's a disturbing beatdown and a grueling watch for a single sitting at close to three hours long. The film begins in 1933 with a young Norma Jeane (Lily Fisher) living in poverty and misery with her single mom Gladys (a terrific Julianne Nicholson). Mom has obvious mental issues and would much prefer Norma Jeane not be around. It's here where the 'Daddy issues' take hold - issues that stick with the girl for the remainder of her life. After being rejected by her father, her mother, and the friendly neighbors, Norma Jeane ends up in an orphanage. A montage takes us through her teenage modeling years, where we see the beginnings of her being taken advantage of and treated as a commodity.
There is an extended sequence involving the threesome of Marilyn and the sons of Hollywood legends Charlie Chaplin and Edward G Robinson (Xavier Samuel, Evan Williams, respectively), and a vicious rape scene with a studio head "Mr. Z" (hmmm). Marilyn's first pregnancy leads to an abortion, which is the first of a few tragedies she will experience - and director Dominik finds an entirely new (and bizarre) method of filming these occurrences. The Joe DiMaggio (Bobby Cannavale) and Arthur Miller (Oscar winner Adrien Brody) marriages are noted, yet the men go unnamed, instead referred to as "former athlete" and "playwright" ... as if somehow that will trick us.
Of course, all of these relationships are right in line with her "Daddy issues" ... Marilyn even goes so far as to call these men "Daddy", in hopes that one will finally give her the love and acceptance she so craves. One of the more uncomfortable scenes (and that's saying something) involves her tryst with JFK (also unnamed), played by Caspar Phillipson, whose uncanny resemblance to the former President has resulted in his casting for the role in multiple projects. It's likely this White House moment, replete with Marilyn's inner voice, is responsible for the film's NC-17 rating.
Dominik and cinematographer Chase Irvin recreate some of the most memorable film moments from Marilyn's career ... including the subway vent scene from THE SEVEN YEAR ITCH. After capturing that film magic, the sequence seems to drag on with leering onlookers and what proved to be the final straw with DiMaggio. A recurring feature involves Marilyn receiving and reading letters from the father she's never met - including promises of meeting "soon." The payoff for this is disappointing for us and for her.
Perhaps the main point of Dominik's movie is the enormous gulf and psychological contrast between Norma Jeane, the eternally-scarred young girl, and Marilyn Monroe, the iconic bombshell she created for public consumption. There is a sadness about her most of the time, even when she flips that switch to become Marilyn - the familiar sultress adored by so many. Toby Huss plays Whitey, a version of real-life Allan Snyder, who was Marilyn's long-time make-up artist and confidant. Her famous diary gets a mention, and we see the price she paid for taking drugs to calm anxiety while dealing with the crushing weight of fame.
Ana de Armas delivers a performance for the ages. Of course, the scrutiny she will face playing one of the most famous women of all-time will be senselessly nitpicky, yet from an artistic standpoint, her work is supreme. Costume Designer Jennifer Johnson somehow manages to nail the different stages, films, and moods (of both the film and its subject). Is this exploiting the woman who made a career out of being exploited? Or is it simply telling a story? Norma Jeane was a fragile creature constantly victimized as she desperately searched for love. Has the filmmaker continued that abuse with this vision? From a moviemaking aspect, it's' a thing of beauty. From a human perspective, it's torturous to watch. If you are in need of a 'feel-good' movie, keep searching. On the other hand, if you are in the mood for the work of a cinematic visionary and one of the best acting performances of the year, settle in.
Opens on Netflix September 23, 2022.
At times, the film is surreal, while at others, downright hallucinatory. It's certainly never boring. However, it's a disturbing beatdown and a grueling watch for a single sitting at close to three hours long. The film begins in 1933 with a young Norma Jeane (Lily Fisher) living in poverty and misery with her single mom Gladys (a terrific Julianne Nicholson). Mom has obvious mental issues and would much prefer Norma Jeane not be around. It's here where the 'Daddy issues' take hold - issues that stick with the girl for the remainder of her life. After being rejected by her father, her mother, and the friendly neighbors, Norma Jeane ends up in an orphanage. A montage takes us through her teenage modeling years, where we see the beginnings of her being taken advantage of and treated as a commodity.
There is an extended sequence involving the threesome of Marilyn and the sons of Hollywood legends Charlie Chaplin and Edward G Robinson (Xavier Samuel, Evan Williams, respectively), and a vicious rape scene with a studio head "Mr. Z" (hmmm). Marilyn's first pregnancy leads to an abortion, which is the first of a few tragedies she will experience - and director Dominik finds an entirely new (and bizarre) method of filming these occurrences. The Joe DiMaggio (Bobby Cannavale) and Arthur Miller (Oscar winner Adrien Brody) marriages are noted, yet the men go unnamed, instead referred to as "former athlete" and "playwright" ... as if somehow that will trick us.
Of course, all of these relationships are right in line with her "Daddy issues" ... Marilyn even goes so far as to call these men "Daddy", in hopes that one will finally give her the love and acceptance she so craves. One of the more uncomfortable scenes (and that's saying something) involves her tryst with JFK (also unnamed), played by Caspar Phillipson, whose uncanny resemblance to the former President has resulted in his casting for the role in multiple projects. It's likely this White House moment, replete with Marilyn's inner voice, is responsible for the film's NC-17 rating.
Dominik and cinematographer Chase Irvin recreate some of the most memorable film moments from Marilyn's career ... including the subway vent scene from THE SEVEN YEAR ITCH. After capturing that film magic, the sequence seems to drag on with leering onlookers and what proved to be the final straw with DiMaggio. A recurring feature involves Marilyn receiving and reading letters from the father she's never met - including promises of meeting "soon." The payoff for this is disappointing for us and for her.
Perhaps the main point of Dominik's movie is the enormous gulf and psychological contrast between Norma Jeane, the eternally-scarred young girl, and Marilyn Monroe, the iconic bombshell she created for public consumption. There is a sadness about her most of the time, even when she flips that switch to become Marilyn - the familiar sultress adored by so many. Toby Huss plays Whitey, a version of real-life Allan Snyder, who was Marilyn's long-time make-up artist and confidant. Her famous diary gets a mention, and we see the price she paid for taking drugs to calm anxiety while dealing with the crushing weight of fame.
Ana de Armas delivers a performance for the ages. Of course, the scrutiny she will face playing one of the most famous women of all-time will be senselessly nitpicky, yet from an artistic standpoint, her work is supreme. Costume Designer Jennifer Johnson somehow manages to nail the different stages, films, and moods (of both the film and its subject). Is this exploiting the woman who made a career out of being exploited? Or is it simply telling a story? Norma Jeane was a fragile creature constantly victimized as she desperately searched for love. Has the filmmaker continued that abuse with this vision? From a moviemaking aspect, it's' a thing of beauty. From a human perspective, it's torturous to watch. If you are in need of a 'feel-good' movie, keep searching. On the other hand, if you are in the mood for the work of a cinematic visionary and one of the best acting performances of the year, settle in.
Opens on Netflix September 23, 2022.
Monotone and unbalanced piece
PedroPires9028 September 2022
Warning: Spoilers
I knew this was meant to be divisive but I didn't expect to dislike it this much.
Technically it is mostly well crafted (except for the very questionable editing). The acting is good - Ana de Armas is great, in fact -, but this script is terrible. I mean, I can understand what the director tried to achieve with this. I get the goals - he wanted to show all the tragedies in her life and how that culminated in the way she was and she ended her life. But it is so focused on the same single note over and over again that it is tedious and, to be honest, gives you very few reasons to keep watching. We already knew this wouldn't be a happy portrayal of Marilyn, but lacks any kind of balance to be a good work. I have no doubts that this was a big part of who she was, but she was much more than that and this film refuses to acknowledge that even with almost 3 hours of runtime.
Stupidly long for what it tries to say - that is clear with 15 minutes -, tiring and never an engaging piece. One of those films that I am 100% sure I will never revisit it.
PS: That blowjob scene is...uncomfortable, but, above all, pathetic. And, yes, distasteful and exploitative are adjectives we can use to qualify a big part of this film.
Technically it is mostly well crafted (except for the very questionable editing). The acting is good - Ana de Armas is great, in fact -, but this script is terrible. I mean, I can understand what the director tried to achieve with this. I get the goals - he wanted to show all the tragedies in her life and how that culminated in the way she was and she ended her life. But it is so focused on the same single note over and over again that it is tedious and, to be honest, gives you very few reasons to keep watching. We already knew this wouldn't be a happy portrayal of Marilyn, but lacks any kind of balance to be a good work. I have no doubts that this was a big part of who she was, but she was much more than that and this film refuses to acknowledge that even with almost 3 hours of runtime.
Stupidly long for what it tries to say - that is clear with 15 minutes -, tiring and never an engaging piece. One of those films that I am 100% sure I will never revisit it.
PS: That blowjob scene is...uncomfortable, but, above all, pathetic. And, yes, distasteful and exploitative are adjectives we can use to qualify a big part of this film.
Imaginative, sometimes fantastical, take on superstar Marilyn Monroe that misses her soul..
JohnDeSando29 September 2022
"I am not an orphan." Marilyn Monroe (Ana de Armas)
The iconic blonde bombshell is an orphan throughout this unnerving, distancing, disturbing biopic of Marilyn Monroe.
In fact, Blonde is an unremittingly, unhappy imaginative take on the elusive Hollywood superstar who became a template for achieving fame and losing identity. As I remember Renee Zellweger playing Judy Garland, I am reminded how intensely Hollywood depicts its neurotic superstars. Joyce Carol Oates's 2000 free-wheeling study of Marilyn helped writer/director Andrew Dominik fantasize as well.
Blonde is a study in black of the lurid and horrid parts of Marilyn's life, circumscribed by her three romances with the controlling men who themselves seemed lost in their parents' legacy: Hollywood scions Charles Chaplin Jr. (Xavier Samuel) and Edward G. Robinson Jr. (Evan Williams); an abusive Joe DiMaggio (Bobby Cannavale); and an odd marriage to Arthur Miller (Adrien Brody). No one appears to acknowledge her wit and smarts-mostly just her body and elusive allure.
Not one relationship ends right, excepting briefly Miller's; no one takes into account the intelligence under that physically-remarkable woman. The film even voices over her estranged father (Tyghe Runyan), who is never close when he promises to be. Of all the abusers, "Daddy" is constantly on her mind as she hopes for his return. Her mother, Gladys (Julianne Nicholson), descending into madness, is more a horror than a love. Marilyn says about her deadly fragmented life: "It's like a jigsaw puzzle, but you're not the one to put it together."
In one delicate scene, she converses with Miller about the similarity between a Chekov character and Miller's, Miller is astonished at the insight and imputes it to someone else. The audience becomes aware of her hidden depth.
But that intellectual side is constantly hidden by Marilyn's sexual persona, dramatically caught in another beautifully filmed moment when her dress flares over the grate in The Seven Year Itch. This display of her butt provokes DiMaggio's abuse and our prurience, neither in her favor. Dominik himself has exploited Norma Jeane, for there must have been more than sex to that vulnerable star. What he does capture well is her need for love and acceptance, denied her in her short life.
Throughout Dominik uses digital wizardry and unique angles, such as when her raucous threesome bed changes into Niagara Falls, niftily connecting her life with her film, Niagara. At other times he shifts between color and black and white and varies aspect ratios, I suppose, to connect her career with her life because of the many kinds of films she made-think Some Like It Hot, The Misfits, and Gentlemen Prefer Blondes for the range of her film experiences.
The lovely lost soul herself, so heavily handled in the persistent flashbacks of her abusive mother and disengaged father, best expresses the split persona that leads her to an early death:
"Marilyn doesn't exist. When I come out of my dressing room, I'm Norma Jeane. I'm still her when the camera is rolling. Marilyn Monroe only exists on the screen." Norma Jeane
It's the real Norma Jeane who should be the subject of Blonde, with speculation about her mind and talents, not just her body. Dominik has caught her charisma but missed her soul.
On Netflix.
The iconic blonde bombshell is an orphan throughout this unnerving, distancing, disturbing biopic of Marilyn Monroe.
In fact, Blonde is an unremittingly, unhappy imaginative take on the elusive Hollywood superstar who became a template for achieving fame and losing identity. As I remember Renee Zellweger playing Judy Garland, I am reminded how intensely Hollywood depicts its neurotic superstars. Joyce Carol Oates's 2000 free-wheeling study of Marilyn helped writer/director Andrew Dominik fantasize as well.
Blonde is a study in black of the lurid and horrid parts of Marilyn's life, circumscribed by her three romances with the controlling men who themselves seemed lost in their parents' legacy: Hollywood scions Charles Chaplin Jr. (Xavier Samuel) and Edward G. Robinson Jr. (Evan Williams); an abusive Joe DiMaggio (Bobby Cannavale); and an odd marriage to Arthur Miller (Adrien Brody). No one appears to acknowledge her wit and smarts-mostly just her body and elusive allure.
Not one relationship ends right, excepting briefly Miller's; no one takes into account the intelligence under that physically-remarkable woman. The film even voices over her estranged father (Tyghe Runyan), who is never close when he promises to be. Of all the abusers, "Daddy" is constantly on her mind as she hopes for his return. Her mother, Gladys (Julianne Nicholson), descending into madness, is more a horror than a love. Marilyn says about her deadly fragmented life: "It's like a jigsaw puzzle, but you're not the one to put it together."
In one delicate scene, she converses with Miller about the similarity between a Chekov character and Miller's, Miller is astonished at the insight and imputes it to someone else. The audience becomes aware of her hidden depth.
But that intellectual side is constantly hidden by Marilyn's sexual persona, dramatically caught in another beautifully filmed moment when her dress flares over the grate in The Seven Year Itch. This display of her butt provokes DiMaggio's abuse and our prurience, neither in her favor. Dominik himself has exploited Norma Jeane, for there must have been more than sex to that vulnerable star. What he does capture well is her need for love and acceptance, denied her in her short life.
Throughout Dominik uses digital wizardry and unique angles, such as when her raucous threesome bed changes into Niagara Falls, niftily connecting her life with her film, Niagara. At other times he shifts between color and black and white and varies aspect ratios, I suppose, to connect her career with her life because of the many kinds of films she made-think Some Like It Hot, The Misfits, and Gentlemen Prefer Blondes for the range of her film experiences.
The lovely lost soul herself, so heavily handled in the persistent flashbacks of her abusive mother and disengaged father, best expresses the split persona that leads her to an early death:
"Marilyn doesn't exist. When I come out of my dressing room, I'm Norma Jeane. I'm still her when the camera is rolling. Marilyn Monroe only exists on the screen." Norma Jeane
It's the real Norma Jeane who should be the subject of Blonde, with speculation about her mind and talents, not just her body. Dominik has caught her charisma but missed her soul.
On Netflix.
Mixed feelings
adibshahriar28 September 2022
Ana de armas gave an inspiring performance and she really acted her heart out. The story and it's execution was a masterpiece at places and the cinematography and aesthetics were on a new level. As I don't know that much about marlyn I don't actually care how they portrayed her. The main accomplishment of the film is that it shows the horrors of Hollywood masterfully and how sometimes famous people or actors lose themselves as a person underneath the limelight and become somewhat of a lost soul. In some respects they failed to make it feel impactful and it seemed disjointed sometimes. But to see ana de armas act her heart out and netflix do something new is truly refreshing. And it's such a long film but surprisingly didn't seem dragged.
Why Tell Fictional Stories About a Real Person?
lovemichaeljordan30 September 2022
Marilyn Monroe was a great artist and this movie could've been a great opportunity to teach younger audiences about who she was. But for some reason, they decide to tell a fictional story. She has the same name, plays in the same movies, and sings the same songs, but many events are made up. It's so misleading when movies do this. It's not a movie about Marilyn Monroe, it's a movie about a mentally ill actress. Monroe was more than a mentally ill sex symbol. She was intelligent and a great artist - which doesn't come across in this movie.
Ana de Armas is okay in the movie. She looks and sounds like Monroe, but she is naked for an uncomfortable amount of time in the movie. It's not just the fact that she's naked, but she's naked for no apparent reason. If her being naked adds nothing to the story you might as well let her put some clothes on.
Ana de Armas is okay in the movie. She looks and sounds like Monroe, but she is naked for an uncomfortable amount of time in the movie. It's not just the fact that she's naked, but she's naked for no apparent reason. If her being naked adds nothing to the story you might as well let her put some clothes on.
Bold and exceptionally well-made
Jeremy_Urquhart29 September 2022
Blonde was already one of the most controversial and hotly debated films of the year before it hit Netflix, and therefore became available to the public at large. That's happened within the last day or two, and I expect that will blow up the discussion and discourse around it even more. It's probably going to be what most film news sites or discussion groups focus on for the next week or two, and maybe longer if it ends up earning some nominations for the upcoming awards season.
I don't want to talk about the controversy too much, but it's important to address it briefly. Truthfully, I don't understand most of it. This film is shocking in parts, yes, but not as bad as a lot of the early discussions surrounding it made it sound. Almost none of the scenes that involve sex or nudity are presented in a titillating way, and they're all over quite quickly. There's very little about it that's supposed to be erotic, and I think that's evident by how the camera tends to lock onto Norma Jean's face, to emphasize the pain, discomfort, and trauma she feels during those scenes.
So is it exploiting that pain, discomfort, and trauma? That seems to be the other big talking point. I didn't think so. I think the film was sympathetic to her, and aimed to showcase how misogynistic the film industry was at the time Norma Jean/Marilyn Monroe was active within it. It's arguably not much better nowadays, but whether these exact things happened to her or not feels somewhat beside the point. The fact is, things similar to this did almost certainly happen to Monroe and other young actresses. That idea is horrifying, and I think the film successfully painted it as horrifying.
Ana de Armas is fantastic in the lead role. She'll probably get some nominations come awards season. The rest of the cast are solid, the film is visually stunning from start to finish, and I loved the music by Nick Cave and Warren Ellis (at least one track was a repurposed instrumental from Ghosteen, Nick Cave and the Bad Seeds' last album, but it fit so well I didn't mind).
For complaints about the filmmaking itself? The nearly three-hour runtime might be a little indulgent, but for the most part it earns it. There are also some occasionally strange and baffling creative decisions, but for every one that doesn't work, there's at least several strange creative decisions that do.
I thought Blonde was pretty great overall. I understand to a limited extent why it's become controversial, but can't wrap my head around the magnitude of that controversy. Still, if it's got people angry, I don't plan to wade into any discourse or make discussions more heated. I've defended it here and said my piece. I think it's very good.
I don't want to talk about the controversy too much, but it's important to address it briefly. Truthfully, I don't understand most of it. This film is shocking in parts, yes, but not as bad as a lot of the early discussions surrounding it made it sound. Almost none of the scenes that involve sex or nudity are presented in a titillating way, and they're all over quite quickly. There's very little about it that's supposed to be erotic, and I think that's evident by how the camera tends to lock onto Norma Jean's face, to emphasize the pain, discomfort, and trauma she feels during those scenes.
So is it exploiting that pain, discomfort, and trauma? That seems to be the other big talking point. I didn't think so. I think the film was sympathetic to her, and aimed to showcase how misogynistic the film industry was at the time Norma Jean/Marilyn Monroe was active within it. It's arguably not much better nowadays, but whether these exact things happened to her or not feels somewhat beside the point. The fact is, things similar to this did almost certainly happen to Monroe and other young actresses. That idea is horrifying, and I think the film successfully painted it as horrifying.
Ana de Armas is fantastic in the lead role. She'll probably get some nominations come awards season. The rest of the cast are solid, the film is visually stunning from start to finish, and I loved the music by Nick Cave and Warren Ellis (at least one track was a repurposed instrumental from Ghosteen, Nick Cave and the Bad Seeds' last album, but it fit so well I didn't mind).
For complaints about the filmmaking itself? The nearly three-hour runtime might be a little indulgent, but for the most part it earns it. There are also some occasionally strange and baffling creative decisions, but for every one that doesn't work, there's at least several strange creative decisions that do.
I thought Blonde was pretty great overall. I understand to a limited extent why it's become controversial, but can't wrap my head around the magnitude of that controversy. Still, if it's got people angry, I don't plan to wade into any discourse or make discussions more heated. I've defended it here and said my piece. I think it's very good.
Heartbreaking
ghatbkk28 September 2022
I have no idea how accurate this account of Marilyn Monroe's life is. I will say that there are some people in Norma Jean's life that, if this account is even close to accurate, are hopefully rotting in hell. This movie portrays a woman desperately in need of help who is tormented by many of the people that she chose to trust. A lot of "heroes" don't come out of this looking too good. Norma Jean comes out as a woman with massive insecurities and likely mental illness, who is abused and manipulated by many, many people, some of which claimed to love her, others of which simply wanted to make money off her,.
Exploitive and flat
wisewebwoman29 September 2022
Three hours of sheer boredom with the whole focus of the film being on Norma Jean's father who abandoned her mother before she was born. Nothing new on offer. A lot of nude shots, Marilyn calling her husbands "Daddy" the babies she couldn't have, her intelligence got short shrift and her drug taking a huge focus, fed by her handlers.
John F. Kennedy, the womanizer, is depicted in a particularly revolting scene.
Shock value ruled the day and nothing new was added.
Totally disappointing and the words that comes to mind are crude and vulgar. Good imitative performance from Ana.
But not worth a re-watch or an award of any kind.
2/10.
John F. Kennedy, the womanizer, is depicted in a particularly revolting scene.
Shock value ruled the day and nothing new was added.
Totally disappointing and the words that comes to mind are crude and vulgar. Good imitative performance from Ana.
But not worth a re-watch or an award of any kind.
2/10.
Ana de Armas Uncannily Channels Marilyn in an Overlong Movie Infused with Relentless Pain
EUyeshima29 September 2022
Look at her eyes. Look at the spot-on reenactments of her classic movie moments (especially "Some Like It Hot"). Ana de Armas' transformation into Marilyn Monroe is devastating, heartbreaking, and so completely accurate that it comes across less as an imitation and more like an inhabitation of the legendary actress' soul. Lugubriously directed by Andrew Dominik, this overlong 2022 film is not a straight-up biopic but an episodic cautionary tale of pre-Harvey Weinstein abuse and power politics taken from a startling first-person perspective. Based on Joyce Carol Oates' 2001 novel, the story is not only tragic but painful to watch with trauma erupting in almost every scene. Look past de Armas' Oscar-worthy work if you can, and you'll see strong work from Julianne Nicholson as her disturbed mother and Adrien Brody as the Arthur Miller character. Why it received an NC-17 rating became clear toward the end.
A Unique and Visually Riveting Biopic
tkdlifemagazine28 September 2022
I am not a Marilyn Monroe junkie, nor do I know that much about her life and career. I also was concerned that this movie is 3 hours long. This is a an Andrew Dominik film, based on a best selling book of the same title. The film is unusual and brilliantly done. It is a stream of consciousness that plays out more like a dream than a movie. It is visually stunning. The look and the details of this movie are stunning and breathtaking at parts. Ana de Armas is so unmistakeable as Marilyn Monroe that it is eerie. The effects working her into the actual Monroe films are seamless. The supporting case of actors are wonderful. This is a heavy dark movie in so many ways. It is a biography, but it is also the struggle of Norma Jean to distinguish herself from Marilyn Monroe, the character. It is also and ode to love, and to finding peace and identity through love. This movie is unique and brilliant, but it is not for someone looking for an easily digestible, chronological telling of the life of Marilyn Monroe. Much was made of the NC-17 rating; however, these scenes feed the story, not exploit it in my opinion. Netflix was bold in supporting this great project.
All the misery - non of the greatness
petercarlsson-9229728 September 2022
As usual Hollyweird goes overboard and destroys another icon. Instead of telling us about both the bitter and the sweet - they settle on the bad. All the bad, ugly, dark and crazy, that's what they like to show us. No... they want to ram it down the viewers throat, again, and again, and again, and again. You think I'm being repetitive? Oh, that's nothing compared to the movie.
Off course it's beautifully shot and DeArmas is a decent actress, but mostly overacting in this role. The side characters are bland at best but just not there most of the time. What made Marilyn such a great star? Well... they not gonna tell you in this movie. All they have time to do is give you the misery. And that's how you will be after watching this - miserable.
Off course it's beautifully shot and DeArmas is a decent actress, but mostly overacting in this role. The side characters are bland at best but just not there most of the time. What made Marilyn such a great star? Well... they not gonna tell you in this movie. All they have time to do is give you the misery. And that's how you will be after watching this - miserable.
Unnecessarily Naked...
Xstal28 September 2022
A young woman, disturbed, tortured and scarred by her childhood; abused, exploited and manipulated by those she most trusts; anxious, afraid and troubled by what she really wants and what she actually has, spirals into chaos and despair, cascades into confusion and mayhem, and pays the ultimate price for fame and fortune, for pleasing others above herself, while sacrificing the innocence that endears her to the world.
Longer than your typical movie, it's only through the compelling and gripping performance of Ana de Armas that it gets away with that longevity, although the subject matter of this grim, fictionalised telling generally captures most people's attention, but I'm not sure the exposure she gets throughout really adds to the value.
Longer than your typical movie, it's only through the compelling and gripping performance of Ana de Armas that it gets away with that longevity, although the subject matter of this grim, fictionalised telling generally captures most people's attention, but I'm not sure the exposure she gets throughout really adds to the value.
Disgusting
cthirlby29 September 2022
This was so difficult to get through. It felt so messy and everything was one tone the entire way through, it was disaster after disaster with no room to breathe. I feel like even though this was a long film it didn't show who Monroe actually was, it focused on everything bad which I see what they were trying to do and what led her to taking her life but it was too much. There is also very sexual (sexual assault) scenes and they are so uncomfortable and unnecessary and felt a little disrespectful to show especially for that long! A lot of unnecessary nudity to be honest and abortion scenes which were too long and showed way too much and this happened 2/3 times it was horrific. This movie had these problems the entire way through and it was 3 hours! It was way too long for what we got, not worth the watch at all.
So many cheap imitations
DavidsGuy1 October 2022
First off, if I wanted to listen to someone impersonating MM with a Spanish accent, I'd go to a drag show in Tijuana. Secondly, this film (or whatever it's suppose to be) does a great disservice to MM to the point where I couldn't finish watching. Yes, I know it's FICTITIOUS and it's based on a FICTITIOUS book (which I read) but what's the point? It's simply one more grossly exploitive assault on her life and death and a badly done one at that. There are much better films about MM's life (15 others to be exact) and they don't scrape the bottom of the barrel to generate revenue and controversy. I'd recommend watching one of those instead. And always remember what Marilyn once sang: "every baby needs a da-da-daddy..." I know feminists won't like reading that, but it's true. Just make sure he's a nice daddy who will bounce you on his knee and not abuse and exploit you like this trashy, depressing, disrespectful mess does to MM. All involved should be ashamed and embarrassed.
Marilyn deserved better!
nadkarnisumeet1 October 2022
Blonde review :
A supposed biopic on the Hollywood diva Marilyn Monroe; Blonde has a scene where a group of snobbish oldies ask a young Monroe if her blonde hair is real? To which he hesitantly replies No. The moment is given a surreal touch depicting the insecurities of a star who had faced a troubled childhood and was a lonely loser beneath all that gloss and glamour.
The film's biggest positive is of course Ana De Armas who literally gets in to the skin of the titular character. Her transformation from the diffident Norma Jeane to the movie star Marilyn is truly incredible and full marks to her for getting it bang on...brilliant indeed!
Director Andrew Dominik doesn't shy away from the harsh realities of Monroe's life whether it was her blatant exploitation by the filmmakers of that era or her illicit relationship with the President of United States. It's all there and in all its gory details!! Marilyn's "threesome" relationship is also explored uninhibitantly.
On the flipside, the pacing is super slow and some scenes just don't make any sense. Like Norma hallucinating an abortion. Also, Monroe's (in)famous skirt blowing moment in The Seven Year Itch (1955) is filmed in multiple angles here with her undergarments on full display reeking of cheap titillation. Ooff!
With all its plus and cons, Blonde aint too bad for a Netflix watch. It could've been a far better movie though.
Regards, Sumeet Nadkarni.
A supposed biopic on the Hollywood diva Marilyn Monroe; Blonde has a scene where a group of snobbish oldies ask a young Monroe if her blonde hair is real? To which he hesitantly replies No. The moment is given a surreal touch depicting the insecurities of a star who had faced a troubled childhood and was a lonely loser beneath all that gloss and glamour.
The film's biggest positive is of course Ana De Armas who literally gets in to the skin of the titular character. Her transformation from the diffident Norma Jeane to the movie star Marilyn is truly incredible and full marks to her for getting it bang on...brilliant indeed!
Director Andrew Dominik doesn't shy away from the harsh realities of Monroe's life whether it was her blatant exploitation by the filmmakers of that era or her illicit relationship with the President of United States. It's all there and in all its gory details!! Marilyn's "threesome" relationship is also explored uninhibitantly.
On the flipside, the pacing is super slow and some scenes just don't make any sense. Like Norma hallucinating an abortion. Also, Monroe's (in)famous skirt blowing moment in The Seven Year Itch (1955) is filmed in multiple angles here with her undergarments on full display reeking of cheap titillation. Ooff!
With all its plus and cons, Blonde aint too bad for a Netflix watch. It could've been a far better movie though.
Regards, Sumeet Nadkarni.
Enough of the Marilyn Monroe Exploitation
syd990729 September 2022
Marilyn Monroe was exploited in life, and she's being mega-exploited in death. Blonde is pure unadulterated exploitation of a woman who simply should be left alone to rest in peace. I don't care what Ana De Armas or that bloviating director tries to say about this film or the multitude of excuses they use...it's trash. The entire film is a lesson in exploitation 101. De Armas is not at all convincing as Monroe and the utterly despicable scenes in Blond would make Attila the Hun cringe and look away. There's nothing more to say except...I hope this disrespectful piece of dreck is the last time someone tries to make money on Marilyn Monroe by constantly exploiting her and dragging her out of her grave just because they can. Enough is enough.
Two Personalities in one Body
Alexander_Blanchett29 September 2022
I really liked it a lot. Andrew Dominik showed us the dark side of Marilyn Monroe simply becuase nobody dared to do this before and there was (for sure) a dark side of her. I liked how he portrayed Monroe as two differnt characters that try to allign with each other. Ana de Armas perfeclty portrayed this rollercoaster of emotions. Showed us a pitch perfect - by the standards - Marilyn and her alter ego Norma Jean perfectly in ambiance. She truly gave one of the best performances I have seen all year and hopefully will get the deserved attnetion coming awards season for it.
I do no understand all the scandal buzz around that film as there was not really anything scandalous about it execpt that it showed us the probably most famous Hollywood icon in a completely different light.
The only thing you can blame Andrew Dominik for is that he still did not let us as close to Marilyn as I hope it would be. Yes he gave us a different version of that known personaity however we never felt close to her. But i guess this might have been intentionally. Because can you be close to such an icon and legend - to the symbol of Hollywood?
The length of the film did not bother me at all - in fact I was afraid a bioic that long that just focuses on one person could have lenghts. Not this one. I was captued to the screen the whole time, thanks to the perfect performances by Ana de Armas but also the creative technical decisions that were chosen. Fantastic cinemtography and score, linked with a very intersting editing.
All in all the experiment worked out in my opinion.
I do no understand all the scandal buzz around that film as there was not really anything scandalous about it execpt that it showed us the probably most famous Hollywood icon in a completely different light.
The only thing you can blame Andrew Dominik for is that he still did not let us as close to Marilyn as I hope it would be. Yes he gave us a different version of that known personaity however we never felt close to her. But i guess this might have been intentionally. Because can you be close to such an icon and legend - to the symbol of Hollywood?
The length of the film did not bother me at all - in fact I was afraid a bioic that long that just focuses on one person could have lenghts. Not this one. I was captued to the screen the whole time, thanks to the perfect performances by Ana de Armas but also the creative technical decisions that were chosen. Fantastic cinemtography and score, linked with a very intersting editing.
All in all the experiment worked out in my opinion.
Only the negative side of Miss Monroe
li09044269 October 2022
The movie "Blonde" is based on the fictional novel about Marilyn Monroe's life by writer Joyce Carol Oates. Director and also writer Andrew Dominik adapted it for the screen. Like a fictionalized chronicle, Oates mixes actual facts with imaginary ones to depict a troublesome woman being used and abused by Holywood.
The movie is very depressing as it describes in detail Marilyn's dark past and how it affected her self-esteem, character, and vulnerability to all her predators. The movie "Blonde" is based on the fictional novel about Marilyn Monroe's life by writer Joyce Carol Oates. Director and also writer Andrew Dominik adapted it for the screen. Like a fictionalized chronicle, Oates mix actual facts with imaginary ones to depict a troublesome woman being used and abused by Holywood.
The movie is very depressing because it describes in detail Marilyn's dark past and how it affected her self-esteem, character and vulnerability to all her predators. Also shocking are the scenes that show how Marilyn wanted to have children and her miscarriages. This is the biggest problem with the movie, by choosing only the negative side of Marilyn's life, there is a point it becomes repetitive. From the first scene till the credits roll, we witness the cruel and sad life of another star who at the height of his career cannot bear the pressure of living in a glamor bubble.
The movie is very depressing as it describes in detail Marilyn's dark past and how it affected her self-esteem, character, and vulnerability to all her predators. The movie "Blonde" is based on the fictional novel about Marilyn Monroe's life by writer Joyce Carol Oates. Director and also writer Andrew Dominik adapted it for the screen. Like a fictionalized chronicle, Oates mix actual facts with imaginary ones to depict a troublesome woman being used and abused by Holywood.
The movie is very depressing because it describes in detail Marilyn's dark past and how it affected her self-esteem, character and vulnerability to all her predators. Also shocking are the scenes that show how Marilyn wanted to have children and her miscarriages. This is the biggest problem with the movie, by choosing only the negative side of Marilyn's life, there is a point it becomes repetitive. From the first scene till the credits roll, we witness the cruel and sad life of another star who at the height of his career cannot bear the pressure of living in a glamor bubble.
This is not a movie, it's an exploitation film
GomezAddams6661 October 2022
Warning: Spoilers
This is not a movie, this is a snuff film passed as a movie because the subject was a real person.
Norma Jean Baker, also known as Marilyn Monroe is played by Ana de Armas in this exploitation film, where they faithfully recreate events that never happened, as if the writers were thinking "What else could we do to this woman"?
Don't get me wrong, Marilyn Monroe suffered a lot in life, she was abused as a younger child, and suffered all kinds of psychological, sexual, and physical abuse in her adult life, her story is already tragic without these "writers" just adding more unnecessary trauma for shock value.
Whoever made this snuff film should never make another movie again.
Norma Jean Baker, also known as Marilyn Monroe is played by Ana de Armas in this exploitation film, where they faithfully recreate events that never happened, as if the writers were thinking "What else could we do to this woman"?
Don't get me wrong, Marilyn Monroe suffered a lot in life, she was abused as a younger child, and suffered all kinds of psychological, sexual, and physical abuse in her adult life, her story is already tragic without these "writers" just adding more unnecessary trauma for shock value.
Whoever made this snuff film should never make another movie again.
Most will miss the point here.
threenails101 October 2022
As I've seen others review this simply based on being offended by the whole thing, thinking this is just a fictitious telling of the tragedies of Marilyn Monroe or thinking it's exploitative and disgusting and disturbing. This, I believe is part of the point painted in this film. It's not meant to paint a glamorous or nice telling of her story because her story was not a Disney fairytale. Whether these things happened to her or not on the other hand, I don't believe anyone can truly know for certain what happened exactly and what didn't. That being said, all these things in this film have without a doubt happened to other beautiful rising stars throughout the years Hollywood has been a thing. I dare anyone to prove otherwise. I don't think everything that happened on screen didn't happen to Marilyn though. There is a very sad unfortunate possibility that most, if not more terrible things like what happens to her in this did in fact happen to her. I'm certain that there were more happy times that aren't highlighted throughout this piece but that wasn't the point here. This was meant to take a look into the dark side of Hollywood. If what you're looking for is a Disney fairtale, this is not the movie for you. Otherwise, I have not been moved to tears or effected as much emotionally by any other movie this year or most years as of late. Ana De Armas deserves best female actor of the year for this. The film itself deserves all the awards it's qualified for. I loved how it was all told in a David Lynch esq. Type of way. Highly recommended to anyone that is a fan of well made films giving a true glance into the evils of Hollywood and it's not sugar coated.
Not for the idealists
drownsoda9030 September 2022
"Blonde", based on Joyce Carol Oates's fictionalized meditation on Marilyn Monroe, follows the iconic actress through various milestones in her life and career, some true, and some conjectural--and mostly all dark.
While this film has been met with great ire over its depictions of various graphic and exploitative elements of Marilyn Monroe's life and legacy, I found it to be a fairly strong (and at times relentless) tone poem not to be taken at face value. We know this is fictionalized, but the film melds truth and conjecture in attempt to find some strand of truth about its central character, who herself was a living, breathing human who was subject to such speculation and fascination both during and after her life.
The film admittedly does not have much of a plot to speak of, but I think it moves nicely and is best watched in such a way that the viewer allows the cavalcade of scenes and imagery to wash over them. Each vignette, be it emotionally excruciating or beautiful, builds a tragic portrait that is hard to look away from. Though a bit long in the tooth at nearly three hours, "Blonde" boasts stellar performances from all involved, and Ana de Armas's portrayal of Monroe is at times uncanny. The cinematography is stylish and there is plenty of cinematically playful imagery, such as shifting colors and aspect ratios that, though not necessarily profound, lend the film a hypnotic visual flair.
While the content here is certainly too grim for idealists (especially the camp of Monroe fans who fetishize her beauteous image), I felt the film overall came together as a bitter, splintered portrait that hit on the tragedy of Monroe's life, both in truth as well as in our imaginations. The fact is that none of us will ever really know Norma Jeane, and attempts to protect and covet any image of her, be it light or utterly mirthless, are futile. Like the book it is based upon, "Blonde" functions as a dark fantasy based on a complicated woman whose cultural presence exists in a magnitude that few do. The film stares long and hard into the darkness, but it should not be forgotten that this is not really a reflection of Monroe's entirety as a person--nor is it an attempt at finding the complete and utter truth. 7/10.
While this film has been met with great ire over its depictions of various graphic and exploitative elements of Marilyn Monroe's life and legacy, I found it to be a fairly strong (and at times relentless) tone poem not to be taken at face value. We know this is fictionalized, but the film melds truth and conjecture in attempt to find some strand of truth about its central character, who herself was a living, breathing human who was subject to such speculation and fascination both during and after her life.
The film admittedly does not have much of a plot to speak of, but I think it moves nicely and is best watched in such a way that the viewer allows the cavalcade of scenes and imagery to wash over them. Each vignette, be it emotionally excruciating or beautiful, builds a tragic portrait that is hard to look away from. Though a bit long in the tooth at nearly three hours, "Blonde" boasts stellar performances from all involved, and Ana de Armas's portrayal of Monroe is at times uncanny. The cinematography is stylish and there is plenty of cinematically playful imagery, such as shifting colors and aspect ratios that, though not necessarily profound, lend the film a hypnotic visual flair.
While the content here is certainly too grim for idealists (especially the camp of Monroe fans who fetishize her beauteous image), I felt the film overall came together as a bitter, splintered portrait that hit on the tragedy of Monroe's life, both in truth as well as in our imaginations. The fact is that none of us will ever really know Norma Jeane, and attempts to protect and covet any image of her, be it light or utterly mirthless, are futile. Like the book it is based upon, "Blonde" functions as a dark fantasy based on a complicated woman whose cultural presence exists in a magnitude that few do. The film stares long and hard into the darkness, but it should not be forgotten that this is not really a reflection of Monroe's entirety as a person--nor is it an attempt at finding the complete and utter truth. 7/10.
REVOLTING!
Her-Excellency30 December 2022
Never again should Andrew Dominik be allowed to pervert anyone else's screen with the garbage he tries to sell as art. To say that this film is exploitative is like saying McDonalds is a little hamburger joint. "Exploitative"" doesn't even begin to cover it.
Seriously, even sixty years after her death Marilyn Monroe cannot seem to escape the perversion that some people felt (and obviously still feel) was their god-given right to impose on her, or apparently, the cruelty of some within the entertainment industry.
More so, horribly so, Ana de Armas was not only also complicit in exploiting Monroe and her life, but in allowing herself to be debased and defiled as well. This "film", although it pains me to even call it that, is nothing more than an overacted, overly-long, drawn out, prepubescent torture fantasy with which Dominik could get his rocks off, and which de Armas thought would solidify her as an industry icon.
If all you are interested in seeing is de Armas or her numerous topless scenes, may I suggest Deep Water? She is just as adorable, seductive and unclothed in that. Plus, even with its low critical acclaim, scores and ratings, it will save you from the assault that is Blonde.
Seriously, even sixty years after her death Marilyn Monroe cannot seem to escape the perversion that some people felt (and obviously still feel) was their god-given right to impose on her, or apparently, the cruelty of some within the entertainment industry.
More so, horribly so, Ana de Armas was not only also complicit in exploiting Monroe and her life, but in allowing herself to be debased and defiled as well. This "film", although it pains me to even call it that, is nothing more than an overacted, overly-long, drawn out, prepubescent torture fantasy with which Dominik could get his rocks off, and which de Armas thought would solidify her as an industry icon.
If all you are interested in seeing is de Armas or her numerous topless scenes, may I suggest Deep Water? She is just as adorable, seductive and unclothed in that. Plus, even with its low critical acclaim, scores and ratings, it will save you from the assault that is Blonde.
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