Considering all the insults and horrors Marilyn Monroe endured in her 36 years, her family tragedy, absent father, abused mother, time in orphanage, time in nursing home, spell of poverty, worthlessness. “Blonde” vulgarity, the latest in necrophilia entertainment to exploit her with movie roles, insults to her intellect, mental illness, substance abuse issues, sexual assault, and insatiable fan attention It’s a relief to know that I didn’t have to suffer.
Hollywood has always eaten itself, including the dead. Given that the industry has always loved making movies about their machines, it’s no surprise that they also love making movies about victims and martyrs. Judy,” Renee Zellweger played Judy Garland, who was near the end of her troubled life. “Blonde” aims for a more comprehensive biographical sweep — lasting about three hours — that begins with Monroe’s unhappy childhood, through her dazzling yet increasingly agonizing fame, and depressingly abusive relationships. , revisiting the myriad of health problems and devastating negative spirals.
After a brief prelude introducing Marilyn at the height of her fame, the film follows a sad, lonely girl named Norma Jeane with her terrifyingly mentally unstable single mother, Gladys (Julian Nicholson). is rewound. Her childhood is a horror her show—Gladys is cold and violent—but Norma her Gene enters adulthood (anade fine if overwhelmed by her almas). She models for Cheesecake magazine and eventually she enters the film industry, which is also a nightmare. Shortly after she stepped on many things, she was raped by a man. It’s called Mr. Z here, and seems to be based on Darryl F. Zanuck, the longtime head of 20th Century Fox studios where Monroe became a star.
“Blonde” is based on the 2000 fictionalization of Monroe’s life by Joyce Carol Oates (original hardcover 738 pages). In the novel, Oates draws from the historical record, but deals with facts as well. She creates a menage a trois for Monroe to convey her ostensible thoughts, including during her ridiculous ordeal with unfriendly President John F. Kennedy. In the book’s preface, critic Elaine Showalter writes that Oates used Monroe as “a symbol of 20th-century America.” Showalter later added with certainty that she was “more than a victim.”