Blonde

This review may contain spoilers!

 

Blonde is a very surrealist biopic that examines the life of Marilyn Monroe; specifically the tragedies she experienced. I really liked how this film presented the idea of Marilyn's dual sense of self, her relationship with her own sense of identity. There is a big aspect of this film that questions the divide between Norma Jeane and Marilyn Monroe, which I found very fascinating to see played out. Marilyn Monroe almost consumed Norma Jeane by the end of the film and I found that to be a very interesting take on this particular individual. I also felt that there was a fair level of condemnation of how Hollywood abused Marilyn, worse than this there is a theme of wider condemnation for the sexual abuse that has too often been swept under the rug in the film industry.

 

This film has a very scattered and varied visual style that I found unique; the unexpected ways this film was presented to us really served a story that made us question the reality of Marilyn Monroe. I loved that throughout sequences the aspect ratio, the style of filming could all change at the drop of a hat. The film never adhered to one moment of style, instead choosing to leave you guessing but almost always picking the boldest visual. The way colouring in a scene could jump from black and white to oversaturated lighting was very intriguing, even how in focus a camera was served this approach.

 

Julianne Nicholson, who played Gladys, starts this film off extremely powerfully; Nicholson is a volatile figure who is entirely unpredictable and wild in her scenes. Evan Williams and Xavier Samuel, who played Eddy Robinson Jr. and Cass Chaplin respectively, are very charismatic indivudals who share great chemistry with de Armas; I found Samuel especially to be quite a poignant and reflective performance. 

 

However, the best performance came from Ana de Armas, who played Norma Jeane. This actress is one of my current favourite performers who I'm really enjoying see step into larger parts. Films like Knives Out, Blade Runner 2049 and No Time To Die have cemented de Armas as an actress with a lot of talent and range. Thus far 2022 has seen her in films that have really not given her much opportunity to showcase her talent, features such as Deep Water or The Gray Man. Yet watching this performance highlighted to me why de Armas is so compelling as a lead performer. From the moment she enters the frame de Armas presents Marilyn as this jovial presence wanting to impress, she has an intellect and confidence that dwindles in the assertiveness of others. You watch de Armas start a scene filled with pure happiness and she can be entirely beset into racking sobs by the scenes end. The journey de Armas can take herself on emotionally is chameleon-like, she immerses herself in this role entirely. She brings a light, breezy air to Marilyn; she feels almost ethereal with her delivery. Yet when the film wants Marilyn to break, or launch into outbursts or wrestle with her sense of self you get these heavy punches of emotion. The portrayal of a psyche so changed by years of abuse and neglect is very intricate and respectfully performed by de Armas. This might be far from the best film Ana de Armas has ever been in but she fights tooth and nail to do justice by Marilyn Monroe in her portrayal.

So where does Blonde go wrong? Well from a tone perspective I often appreciate if a film that is three hours long can develop a more multi-faceted approach to storytelling. Blonde is a tragic film that defines Marilyn Monroe by her tragedies and never by her successes or moments of joy. It really reduced the role for me and gave the entire feature quite a two-dimensional take. I was really disappointed that from the second act onwards Marilyn's character was essentially comprised of her issues with her absent father, her history with sexual abuse and her three miscarriages. The very essence of who Marilyn Monroe was became more about the times she was a victim and less about who she was as a person. I really felt the writer failed to grasp something real, instead choosing to cast this more perverted lens over Marilyn Monroe's life to make the film seem provocative. I was largely a fan of the varied visual style but there is no denying that sitting with it for as long as you do becomes somewhat jarring after a time. I was especially surprised that they even included a 9:16 aspect ratio smartphone shot in one scene. The film looked like a film school graduate's attempt to make something very experimental and out there, but there did need to be a little more consistency than there was. Nick Cave and Warren Ellis' score was immediately forgettable; often warbling in the background and absent in the scenes that would have benefitted from an emotional score the most.

Lily Fisher, who played Young Norma Jeane, is a young performer who is clearly still developing her skill; Fisher's overly earnest portrayal just doesn't hit the emotional stakes her scenes require. Dan Butler, who played I.E. Shinn, gives a very muted performance; Butler's mousey and meek demeanour doesn't fit the power dynamic his character has with de Armas' Marilyn. Toby Huss, who played Whitey, is a little strange as far as side performances go; I never really bought Huss as a best friend/confidante to de Armas. Bobby Cannavale, who played The Ex-Athlete, doesn't ever feel very present in this feature; Cannavale's stoic delivery lacks the initial charm required. Adrien Brody, who played The Playwright, gives a remarkably hollow performance; you could have told me his character lacked personality and I would believe you. Caspar Phillipson, who played The President, is just here to play a sexed up brutish version of JFK; there's looking the part and then there's playing the part which I think Phillipson missed here.

I went into this film with very little understanding of Marilyn Monroe and I feel I came out with less. I would give Blonde a 4.5/10.