USA today wrote: “While there are insightful moments and surreal bits that pop up, it’s overall a bizarre – and at nearly three hour, bloated – film that attempts to honor its subject and leaves it to fall.”
The ChicagoTribune was also disillusioned: “Virtually all the scenes tend towards the same goal, at the same lugubrious and narcotic pace. Marilyn, defending herself against an actual or potential exploiter or aggressor.
Whereas The New York Times didn’t take any beating: “Considering all the indignities and horrors that Marilyn Monroe has endured for her 36 years…it’s a relief that she didn’t have to endure the vulgarities of Blondthe latest necrophiliac entertainment to exploit it.
Personally, I thought Blond provided a new perspective on a story that has been told countless times, letting the viewer consider society’s obsession with celebrity and the impact of such sexualized objectification on the individuals – almost entirely women – who fall in its path.
But, as Dominik has now discovered, he’s a brave filmmaker who dares to tinker with such a beloved historical icon, not to mention Monroe’s brilliance.
When the Bendigo Art Gallery held an exhibition on Monroe’s life in 2016, curators insisted that no material dealing with the many conspiracy theories about his death would appear. Although the gallery is not interested in this aspect of her story, it also turned out that many Monroe collectors would not lend objects to exhibitions that explore her disappearance.
Born in New Zealand, raised and trained in Australia, filmmaker Dominik is well known to local audiences and controversy, having directed the crime film Chopper (2000) before achieving international success.
In an interview with the British Film Institute Sight and sound magazine, the director talked about the detailed background work he did to adapt Joyce Carol Oates‘ 2000 novel also titled Blond.
“I did a lot of research. But in the end, it’s about the book. And adapting the book is really adapting the feelings that the book gave me.
Although her decision to film the scene of Monroe’s death in the room where she died sparked heated debate on social media, with some calling it “trauma porn.”
He was also criticized for ignoring Monroe’s accomplishments, such as becoming a vocal critic of the American anti-Communist Red Scare witch hunts during her marriage to playwright Arthur Miller. She joined Shelley Wintersa former roommate, at rallies protesting the violation of civil liberties.