The hell that ‘Blonde’ puts Marilyn Monroe through is painful to watch, due in no small part to Ana de Armas’s remarkable performance. But why is this her story at all?
That the Marilyn of the movie regrets this decision is undeniable. She is shown as haunted by her abortion, paralyzed in her dressing room and unable to perform. While surrounded by thunderous applause at the premiere ofshe wipes tears from her eyes and whispers to herself, “For this you killed your baby.
Oates created a character desperate to be a mother and tormented by her inability. Dominik and de Armas’s Marilyn is a faithful adaptation of Oates’s, but that devotion does not translate into a successfully entertaining film. Instead, the horrifying images that illustrate the abortions—close-up shots of the procedure and its ongoing effects on Marilyn’s mental health—come across as promotion of an anti-choice agenda associating abortion with horrific violence and declaring it murder.
It’s undeniable that Marilyn is a victim. She is remarkably sympathetic, which inspires the question of why Dominik chose to shoot the movie as he did. Why torture this Marilyn, and by way of de Armas’s compelling presence, the audience? The pain of Marilyn’s childhood and the horrors of her adulthood have been examined in countless books, movies, and podcasts.’s portrayal of her pregnancies and losses does set it apart from other content, but that status comes with a cost.
“The last few days of her life were brutal,” Oates said of Marilyn. “The real things that happened to Marilyn Monroe are much worse than anything in the movie.” Why should that be experienced again? Oates has praised Dominik and the film on Twitter, writing, “…not sure that any male director has ever achieved anything [like] this.” That may be true, but there may also be reasons why.’s Marilyn is open and exposed. She leaves everything she has onscreen, keeping nothing for herself.
One of the film’s most horrifying moments depicts Marilyn, having fallen on the beach and experiencing a miscarriage, screaming for her husband to help. As he races toward her, he’s surrounded by members of the press, their cameras flashing while they photograph her pain. As Dominik condemns their exploitation of her tragedies for entertainment and profit, he should have included himself in the shot.
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