Netflix's new MarilynMonroe film, Blonde, is a dreamy, difficult piece of work.
Andrew Dominik’s Blonde opens, quite fittingly, with the flashing of bulbs. In several brief, twinkling moments, we see a rush of images: cameras flashing, spotlights whirring to life, men roaring with excitement , and at the center of it all is her, Marilyn Monroe , striking her most iconic pose as a gust of wind blows up her white dress.
Not your usual biopic Blonde, which is based on Joyce Carol Oates’ divisive 2000 novel of the same name, does not attempt to tell the true story of Marilyn Monroe’s life. Instead, what the film presents is an impressionistic portrait of how Norma Jeane Mortenson, the woman who became the movie star known as Marilyn Monroe, was used and abused by the very people who were supposed to protect and support her.
A technical triumph Dominik, who has always been prone to visual experimentation, also uses practically every aspect ratio known to man throughout Blonde. The film, therefore, not only repeatedly switches back and forth from pristine black and white photography to technicolor, but it does so while also flipping between vast widescreen 16:9 images and smaller 4:3 compositions.
A great lead performance At the center of Blonde’s many surreal images and nightmarish sequences, though, is Ana de Armas, whose performance as Marilyn Monroe feels perfectly calibrated for the film she’s in. The actress looks strikingly similar to Monroe throughout all of Blonde, but much like the film itself, there is an ever-present, often haunting discontent between de Armas and the woman she’s playing.
As Marilyn, de Armas leaves next to nothing on the table, but the film asks too much of her and frequently fails to rise to her level. That’s evidenced by the fact that there are simply too many scenes in Blonde — especially in its second half — that require de Armas to be either topless or fully naked, a detail that threatens to further endorse the over-sexualization that has long plagued Monroe’s legacy.
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