REVIEW: Andrew Dominik's “Blonde,” a fictional meditation on the life of Marilyn Monroe, is brutal, bruising — and often beautiful, writes AP's JocelynNoveckAP.
What “Blonde” IS is ambitious. Far-reaching, at times perhaps too far. And frequently gorgeous, especially in expertly rendered scenes of old-fashioned Hollywood glitz, mainly in black-and-white — the endless flashbulbs popping on the red carpet, the fans ogling, their faces sometimes distorted by lust. There are wonderful recreations of scenes from movies like “Gentlemen Prefer Blondes” and “The Seven Year Itch.
We begin at the beginning — and an awful beginning it is. Young Norma Jeane lives alone with her mother who’s slowly descending into madness. On her birthday, her mother shows the little girl a picture of a handsome man who, she says, was her father. The girl will ache for him from that day forward. Life is not safe with her mother, and when the woman finally has a total breakdown Norma Jeane soon ends up at an orphanage.
Like Cannavale, Adrien Brody is wonderfully cast as Marilyn’s next husband, playwright Arthur Miller, a cerebral man who is amazed at her actual intellect — she reads Chekhov! — and offers what she hopes will be a stable life in Connecticut. She gets pregnant but tragedy strikes again. Soon, Marilyn will be hitting the pills, the bottles, and the bottles of pills.
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