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She brings luminosity and feeling - all of herself, beyond those exposed body parts - to even the bleakest moments. She formed a production company, and negotiated her contract for Gentlemen Prefer Blondes (1953).Ĭuban-American actress de Armas seamlessly re-enacts scenes from Monroe’s classics, including also The Seven Year Itch (1955). Yes is the reply, and not an incorrect one from acclaimed Australian writer-director Andrew Dominik, who indicted fame with acuity in The Assassination Of Jesse James By The Coward Robert Ford (2007).īut what Dominik refuses to appreciate in his vulgar victimisation of his subject is that Monroe’s mind and prodigious gift remained hers. “Am I meat to be delivered?” wonders the blonde bombshell. Viewers “disgusted” by this controversial melodrama are reportedly switching off after 20 minutes. Her graphic fever dream of naked sexual degradation and addiction is a punishing watch. This Monroe, born to an abusive single mother (Julianne Nicholson), is a teary woman-child forever searching for a phantom father to deliver her from her brief, tragic life of rape and male exploitation: by studio chiefs, the public, the paparazzi, the President of the United States, as well as her two husbands, an “Ex-Athlete” (Bobby Cannavale) and “The Playwright” (Adrien Brody) she calls “Daddy”. Gliding between Technicolor and monochrome, Blonde is, all at once, artful film-making, a star-making showcase for de Armas and a lurid biopic that is polarising critics and nauseating just about everyone.

The story: Ana de Armas has the unenviable task of incarnating the Hollywood screen goddess in an expressionistic reimagining of the Marilyn Monroe myth, based on Joyce Carol Oates’ 2000 novel.

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