Film Review Blonde




No film this year has intrigued audiences like “Blonde” by director Andrew Dominik.  Premiering at this year’s Venice International Film Festival, the audience's opinions were divided. Add in the film's NC-17 rating, and any preconceptions were thrown out the window once the credits rolled. “Blonde,” tells the fictionalized story of the life of Marilyn Monroe. Those unfamiliar should know that her story is one filled with tragedy. Filled with such darkness, there were reservations that Dominik and leading actor Ana De Armas could accomplish telling the story effectively. Thankfully, the finished product is a resounding and oftentimes pulverizing success.

Do not go into “Blonde” expecting a standard beginning-to-end biopic of Monroe’s life.  Her life is treated like a horror story. Dominik defies the standard biopic tropes to deliver something personal and honest. Based on the biography of the same name, the story's narrative dissects her persona from childhood to peak stardom. Clocking in at 166 minutes, Dominik attempts to put audiences through an emotional gambit. The film deals so heavily with themes of abuse that the story could drain you emotionally. How much you are moved by the story hinges on the lead performance.

Ana De Armas delivers one of the most engaging and compelling performances of the year. Treating the story like a horror film calls for a lot of range out of an actor, and she is up to the task.  The layered and versatile performance pays respect to the icon while also revealing hidden truths. This raw and honest performance forces De Armas to bare all emotionally and physically. From the moment she appears on screen, you are transfixed. She shifts the persona of Norma Jean and Monroe, seamlessly. De Armas amply conveys that with everyone Monroe dealt with, she had to change her essence. 

To make the arch feel truthful, De Armas needs a strong supporting cast. Having actors Julianne Nicholson, Bobby Cannavale, and Adrian Brody, play the roles of her mother and husbands, respectively, allow De Armas to shine. These interactions give the lead performance humanity and a sort of pathos. Dominik wisely never paints the person as a marauder, but as someone who was broken by the world. Applying a fever dream-like quality in the second half makes you feel like you are seeing in Monroe’s head. De Armas commits to these more intense moments, which is something special.

What keeps “Blonde” from being a perfect film is its ambition to exceed its grasp. There are some heavy statements Andrew Dominik wants to make about celebrity culture and instead of simply stating them, he delivers them through visual style. These can include either a nightmarish abortion or an almost blissful threesome sequence. Riddled with other dreamlike and nightmarish sequences is admirable, but the problem is that some feel overly drawn out. Being almost three hours long, there is a feeling that some scenes are rather gratuitous. What is undeniable is that the feeling of dread and longing is something quite effective.

“Blonde” feels like a step forward in the filmmaking of biopics. Dominik understands that there are moments needing portrayals, but they never undermine the performances. De Armas helps by disappearing into the role and letting us forget we are watching an actress. The film's NC-17 rating allows boundaries to be pushed which is necessary.  If you are not prepared for the tragedy, the story can be hard to sit through, which should serve as a warning to prepare yourself mentally before seeing “Blonde.”  It is the combination of ample direction and brilliant performance that make the film a powerhouse tribute to the icon.

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