I watched Blonde and I hated it. 1.5/5
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“Blonde” (2022), Andrew Dominik’s biographical drama based on Joyce Carol Oates’ novel, offers a fictionalized portrayal of Marilyn Monroe’s life, from her humble beginnings as Norma Jeane Mortenson to her meteoric rise as the iconic Marilyn Monroe. The film delves into Monroe’s intricate relationships with her family, spouses, and Hollywood peers, while also shedding light on her battles with mental health and addiction.
Visually, “Blonde” is a tour de force. Dominik and cinematographer Chayse Irvin conjure a dreamlike, almost otherworldly aesthetic that envelops the viewer. Ana de Armas delivers a spellbinding performance as Monroe, capturing her vulnerability, inner strength, and enigmatic allure.
However, despite its visual prowess and de Armas’ captivating portrayal, “Blonde” is not without its shortcomings. Dominik’s screenplay tends towards the protracted and meandering, often leaving the narrative challenging to navigate. Moreover, the film occasionally verges on an exploitative and gratuitous portrayal of Monroe.
The film’s most notable strength lies in its exploration of Monroe’s mental health struggles. Dominik aptly demonstrates how her battles impacted her relationships and career, shedding light on the exploitation she endured.
De Armas’ performance is truly a standout, showcasing her ability to embody Monroe’s complexities. Bobby Cannavale, Adrien Brody, Julianne Nicholson, and Xavier Samuel provide commendable supporting roles, adding depth to the narrative.
Several scenes stand out for their impact. Monroe’s discovery by a Hollywood agent is a visual marvel, perfectly capturing her charisma and allure. Her rendition of “Diamonds Are a Girl’s Best Friend” is a testament to Monroe’s talent and star power, offering a delightful cinematic moment. Additionally, the confrontation with her mother is a raw, emotionally charged scene that exemplifies Monroe’s resilience.
On the flip side, the film’s screenplay is undeniably lengthy, potentially benefiting from a substantial trim. Navigating the narrative can be an exercise in patience, as the timeline weaves back and forth, occasionally leaving viewers disoriented. Furthermore, the film doesn’t shy away from presenting Monroe’s exploitation, a choice that may be difficult for some viewers to watch.
In summation, “Blonde” earns a rating of 1.5 out of 5 stars. While it boasts visually arresting cinematography and a stellar performance from Ana de Armas, the film’s extended runtime, meandering plot, and occasionally exploitative portrayal of Monroe make it a challenging recommendation.
“Blonde” may find its audience among those intrigued by its visual splendor and de Armas’ compelling portrayal. Nevertheless, viewers should approach with awareness of its lengthy runtime, narrative complexity, and potentially distressing content.