Ana de Armas’ fearless performance deserves a better film than ‘Blonde’


Rarely has the gap between a star performance and the film that captures it been more stark than in “Blonde,” in which Ana de Armas captures the stunning look and essence of Marilyn Monroe in the service of a pretentious, heavy-handed, long-winded film. fatigue point Netflix will get the attention it deserves thanks in part to its restrictive NC-17 rating, but the film’s merits end long before its credits roll.

Adapted from writer-director Andrew Dominik’s novel about the Hollywood icon Joyce Carol Oates (“The Assassination of Jesse James by the Coward Robert Ford”), the film relies solely on the fact that the star frozen in time did not suffer. for the men around her, but also for the society she looked at in the pre-internet era (that is, us). It’s not a new or wrong take, but the tone is so self-aware and surreal as to dampen those insights.

Blurring fact and fiction, “Blonde” begins with young Norma Jeane and her relationship with her mentally disturbed mother (Julianne Nicholson), who was forced to give up her relationship, returning again and again to the fact that she never intended to leave. she didn’t know her father, while she wanted to replace him with famous men who pronounced her, married her and exploited her.

Norma Jeane eventually becomes Marilyn Monroe, yet she consistently speaks of her star persona in the third person, as if the image is separate and completely separate from the human behind it.

It’s ironic that as the New Zealand-born director works to humanize Marilyn – after numerous films based on her life, including several made for television – this version does her best to depict the familiar image that repeats scenes from her films. De Armas and the incredible hair/makeup/costume work present these moments so strangely (occasionally interspersed with footage of Monroe’s co-stars) that you have to blink to make sure it’s not real.

– Source: CNN Business

Ana de Armas becomes Marilyn Monroe in Netflix’s ‘Blonde’

Beyond that, the film stretches unhappily between color and black-and-white images of the actor being used and abused in a way that feels arbitrary. Dominik also begrudgingly confronts Monroe’s missed pregnancies by looking at the fetus inside her, which makes too much of the film symbolic.

Those exaggerations can’t quite drown out the fearless and vulnerable nature of de Armas’ portrayal, and he’s probably right to say that it doesn’t deserve an NC-17 rating (the adult-only guideline) because of its lackluster fare. do not receive Once again, the label seems to be on safer footing with the film’s overall bleakness than its sexuality.

Several supporting roles are also impressive, with Bobby Cannavale and Adrien Brody playing Monroe’s husband Joe DiMaggio (again flashing through the filming of “The Seven Year Itch”) and playwright Arthur Miller, respectively.

Still, “Blonde” is almost entirely a de Armas show, and as much as it’s worth sitting through, give it every ounce of credit. When she tells DiMaggio in Monroe’s honeyed voice, “I’ve been happy all my life,” the lie isn’t as convincing as it is moving.

Netflix is ​​giving the film its now-regular short theatrical run after its Venice Film Festival premiere, but homes are surely the best place to watch it, especially given its 2 hour and 46 minute running time.

In the private setting, the audience will be able to take all the breaks they need to deal with the experience, but they will not be able to escape the film’s relentlessly harrowing point of view. In fact, once you get past admiring de Armas’ role, that’s the only itch that “Blonde” knows how to scratch.

“Blonde” opens in select US theaters on September 16 and on Netflix on September 28. It is rated NC-17.