It’s untidier, dreamier, very much subjective and interpretive. In other words, BLONDE is definitely not your typical biopic with a structure, an arc, where things add up to make a point or make you cry. You also notice that the narrative is far from objective or reliable, as fantasies and memories would bleed into the portrayed reality more and more. The events depicted don’t really amount to a coherent account of a life and the people who enter the picture tend to simply disappear again. We would find Marilyn suddenly in the company of new partners, at a film shoot or premiere, or being made to abort another child. The story unfolds in general chronological order but not in a linear fashion. From then on, the narrative gets increasingly fractured as we are introduced to Marilyn’s various romantic relationships, abortions and miscarriages, substance abuse and eventual demise. After being raped by a studio head, she gets her break and soon becomes Hollywood’s new leading lady.
#Artful agenda movie#
Fast forward to Norma as an adult (Ana de Armas), who’s adopted a fancy stage name and trying to break into the movie industry. Mom’s delusions about a movie star husband who abandoned her because of Norma’s birth not only lead to incessant abuse against the child, but instill deep in her young mind the belief that Daddy will come back one day. The film begins in 1933, where we meet Marilyn (née Norma Jeane Baker) as a 7-year-old and her psychologically unstable mother (Julianne Nicholson in top, unhinged form). Adapted from Joyce Carol Oates’ novel of the same name, it’s an artful reconstruction of Marilyn Monroe’s life that may alienate some viewers for its notably experimental approach, but one that offers an exciting alternative to the traditional biopic driven by a strong auteurist point of view.
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