‘Blonde’ Director Says His Movie Didn’t Exploit Marilyn Monroe: ‘She’s Dead’

Andrew Dominik has no regrets about creating one of many 12 months’s most polarizing movies.

Throughout an look at Saudi Arabia’s Purple Sea Worldwide Movie Pageant over the weekend, the Australian filmmaker addressed the heated backlash that ensued following the autumn launch of “Blonde,” his Marilyn Monroe biopic.

Noting that American viewers had principally “hated” the movie, Dominik stated he was “really pleased” that the movie’s remedy of Monroe had “outraged so many people.”

“Now we’re living in a time where it’s important to present women as empowered, and they want to reinvent Marilyn Monroe as an empowered woman,” he stated, in line with The Hollywood Reporter. “That’s what they want to see, and if you’re not showing them that, it upsets them.”

Primarily based on Joyce Carol Oates’ 2000 novel, “Blonde” has an NC-17 score and is, by accounts, a graphic interpretation of Monroe’s life, together with scenes of miscarriages, sexual assault and substance abuse.

Director Andrew Dominik (left) and actor Ana de Armas, who performs Marilyn Monroe in “Blonde.”

Michael Buckner by way of Getty Pictures

Oates has described the guide model of “Blonde” as a fictionalized retelling of Monroe’s life that shouldn’t be learn as a biography. To viewers accustomed to extra celebratory biopics like “Bohemian Rhapsody,” nevertheless, Dominik’s movie adaptation felt gratuitous and woefully out-of-step. Although critics praised actor Ana de Armas’ portrayal of Monroe, the film as an entire was broadly panned.

“What’s missing is any sense of what made Monroe more than just another beautiful woman in Hollywood: her genius,” The New York Occasions wrote, whereas Leisure Weekly deemed the movie a “jumbled, misogynistic melodrama.”

Later in his Purple Sea Worldwide Movie Pageant chat, nevertheless, Dominik famous that the final consensus amongst “conservative” U.S. audiences was that “Blonde” had “exploited” Monroe, who died in 1962.

“Which is kind of strange, because she’s dead. The movie doesn’t make any difference in one way or another,” he stated. “What they really mean is that the film exploited their memory of her, their image of her, which is fair enough. But that’s the whole idea of the movie. It’s trying to take the iconography of her life and put it into service of something else, it’s trying to take things that you’re familiar with, and turning the meaning inside out.”

“But I don’t want to make bedtime stories,” he added.