Ana de Armas shines in this polarizing arthouse film
Netflix has become a platform for filmmakers to release their work, with a wide variety of genres and lengths. The company has also made it easier for viewers to watch their films by offering them on demand as well as through its own streaming service.
‘Blonde’ is a deeply personal exploration of the feminist movement and the power dynamics between women and men in the early 20th century. It is also a scathing indictment of studio heads who were exploiting Monroe for their own gain. The film is almost 3 hours long, but it feels like there is still so much left to see. Although the promos and marketing point toward a Marilyn Monroe biopic, ‘Blonde’ is anything but. It plays out like a nightmare with feverish modern sensibilities focused around the feminist movement and critique of predatory studio heads of the times. But it is also a revealing, honest, and critical portrayal of and look into Monroe’s personal life off camera. The only shortfall is the chaotic execution that might be too artsy for some viewers.
In ‘Blonde’, we see the distillation of a global superstar – a sex symbol and the dream of every man on earth – from the troubled personality of a simpleton with a terrible childhood. The latter, when settled at the bottom, is magnified and brought into focus by Dominick. The darker parts of Monroe’s life were never hidden, courtesy of the obsessive unrequited love affair between her and the press.
In the late 1950s and early 1960s, Marilyn Monroe was one of the most popular and well-known celebrities in the world. She was loved by many for her beauty, charm, and acting skills. However, there were also many people who wanted to get close to her because they believed she had magical powers or they thought she could help them with their problems. This was especially true during the time of her death, when many people believed she had passed away due to suicide. ..
The film’s structure is its most important feature. The film starts with a flashback to Armas’ childhood, which is followed by his meeting with Monroe. The flashbacks are interspersed with present-day scenes to create a sense of momentum and urgency. This structure allows the audience to be constantly on the edge of their seats, as they wait for the next event to happen. The substance of the film is also important. The film does not shy away from controversial topics, and this makes for an interesting and unpredictable experience. This makes for a more engaging experience than if the content were to be sugar-coated or watered down. Lastly, the style of the film is also important. The film’s kinetic nature allows it to stand out from other films in its genre. This makes for an interesting and unique experience that can be difficult to replicate elsewhere.
Dominick referred to Norma by the former, distinguishing her from the source of his inspiration and perception of her. However, in doing so he veers off his vision some way in the middle, when ‘Blonde’ squarely descends into chaos and more of a passion project than a fully fleshed-out portrait. ..
Dominick Dominick’s use of camera work and narrative in “Blonde” is certainly neat. There is no doubt that the imposition of his style aggrandizes the aesthetic appeal of the film. Continuously changing aspect ratios and color themes effectively sort the different phases of Monroe’s life sketch. It extracts and contracts like a beating heart. Although the appeal does not come as a surprise, given Dominick’s searing previous works like The Assassination of Jesse James by the Coward Robert Ford and Killing Them Softly, this was something we all were looking forward to. On both those occasions, the director has been guilty of over-scrutinizing the literary subject matter and falling for his wonderous eye for details. ..
Although he would want his talents to give the works a more refined look – and they do – it makes watching them a bit more tedious. That is where ‘Blonde’ probably bites the dust. While artistically, ‘Blonde’ has all the elements of a winner, when you actually sit down to watch it, the decision to continue is made within minutes. The probability of a “miss” sits strong but I guess that is a risk that the makers have intentionally taken.
In the film, Monroe is portrayed as a victim of ballyhoo and sensation. Sir Laurence Olivier deemed her “the complete victim of ballyhoo and sensation”, and “one of the most unappreciated people in the world”.
Dominick’s style in “Blonde” felt experimental but his command and grasp over his narrative, at least for the first half, are exhibited in the fine strokes of genius. There is indeed a lyrical quality to “Blonde” that is very likable. Make no mistake: it is an art-house film made on the budget of a mainstream commercial blockbuster. But in the critical terms of movie reviewing, “Blonde” comes across as more frustrating than awe-inspiring. You will know if it is for you or not when you watch it. That is the best advice anyone could give you going into it. ..
