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the flesh and spirit of Marilyn Monroe. Review of the film with Ana de Armas

Andre Dominique it took him eleven years to make Blondadaptation of the novel by the writer of the same name Joyce Carol Oates about the (fantastic) life of Marilyn Monroe. The featured movie Ana de …

Andre Dominique it took him eleven years to make Blondadaptation of the novel by the writer of the same name Joyce Carol Oates about the (fantastic) life of Marilyn Monroe. The featured movie Ana de Armas, Blondto come on Netflix on September 28 after the presentation in Competition has Venice 79traces the biography of one of Hollywood’s most timeless iconsof his painful and precarious childhood as Norma Jeane up to fame, the sentimental entanglements and the ghosts that have marked existence.

In a continuous play of shadows and lights, which reflects the conflict between the hypersexualized body of the actress and the soft and fragile spirit of the woman, Blond it breaks down and blurs at the same time any fence between reality and fiction, me public and me private. More than a movie about Marilyn Monroe, it’s a dreamlike meditation on his imagination: a bombastic foray into the contrast between the flesh and soul of the american goddess of love has become a timeless symbol of busty erotica, a journey into girl who never survived the mythbehind the scenes reimagined of one of the most exemplary and self-destructive parables of the flames but also of the ashes whoseAmerican dream.

Blond is, from beginning to endAnd, a dream movie. The pictures of Andre Dominiquetitanic and sumptuous in recreating to the millimeter the aesthetic connotations of numerous photographic portraits of Marilyn over time, and the interpretation charged with abnegation and authentic pain that Ana de Armas imposes on the viewer an intimacy that is both exhausting and breathtaking, cerebral and all mental, but also overwhelming in terms of pure sensory experience: immersion in a uterine nightmare on the impossibility of being a mother, daughter or wife, on the female physique par excellence of the 20th century venerated but also disfigured by male demons, on the shadows and lights that are respectively Norma Jean and Marilyn Monroe and which are here frantically transfigured by the staging, to the point of coinciding with the very substance of which the cinema is made.

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Is it possible to see the world outside of our traumas, outside of our fears and desires? And if an object of desire is embodied, is what the world sees your true self or a projection of your own needs? These are the – crucial – questions from which the Australian filmmaker began to develop his own generous and overflowing frescowhich marks a formidable new step compared to any other attempt to incendiary destruction and fragmentation of the classic biopic dealt with so far.

It is indeed impossible to fit together Blond inside any traditional biographical movie shirt, as the obvious purpose is to offer a film practically all in the foreground, in the image and likeness of Marilyninterested not only and not so much in her look but in what looking at her and having looked at her for so long and so long reveals at the unconscious level of each of us, of the society of the spectacle, of the the spirit of the times of the 20th century, of the infinite reproducibility of an eternal star in the firmament of cinema. The feeling of overabundance, compared to the quasi-experimental apparatus which Blond propose, it’s so breathtaking that it’s as if Marilyn shined on the screen and at the same time died out in our hands while we watched the film, in one poignant and alienating mechanism of cupio dissolve with the stigmata of the blackest of fairy tales Hollywood.

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The apocryphal spirit of the operation, already present in the original novel, is destined to irritate more than one, especially those who approach the film with their eyes. virgins. The insistence on the theme of motherhood and the actress’ “unborn child”, which even leads to a change in the song good bye Baby in making a song about abortion, she is so stubborn that she leaves no room for compromise, but behind these choices there is always the courage of a bet and a never conciliatory perspective. The same goes for the raw and sarcastically pitiless treatment reserved for a few parentheses: from the beginnings of Marilyn to already infamous oral sex sequence with John F. Kennedypassing through the revisitation of death by rats of Some like it hot in the dialogue between the field and the off-field of the set and the trio with son of Charlie Chaplin and Edward G. Robinson (to tear Arthur Miller of Adrian Brody instead, an entirely different tenor and affection are granted).

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All items in accordance with a horror approach that mortified Marilyn Monroe for the sole purpose of delivering a rebirth larger than life And a dazzling palingenesis to the mythsabotaging any certainty of the spectator to move with a powerful autonomy of thought between fragments and dissociations, mental images and projections, nightmares and visions, affirmations of celebrity and denials of one’s own status (I’m not a star, I’m just a blonde). The end result of Blond is an audiovisual symphony of 2h45assembled as an unbroken whirlwind of effective solutions, snapshots of photographers like ruthless snipers, personal circles of light to be preserved and tightened on the chest so as not to be swallowed up by the cones of shadow of despair. It’s just a dreambut there is no dream more terrible than reality.

Photo: Plan B Entertainment, Netflix

Read also Venice 79, Ana De Armas revives Marilyn Monroe in Blonde: “I accepted this role to test myself”



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