She has just had a nervous breakdown and is lying on the bed crying; cheekswet, eyes swollen. But then there’s makeup artist Whitey, who leads her to thedressing table. “Please come,” Norma Jeane whispers hoarsely, “don’t leaveme.” Whitey reassures her as he powders her face: “She’ll come. She’s almostthere.’
And suddenly her reflection transforms, like a ghost. Radiant mother-of-pearlcomplexion, eyebrows raised, seductive smile on her coral red mouth. Sureenough, there she is: pop cultural phenomenon, sex symbol, icon. She throwsher head back and smiles broadly. A kiss in the air and the transformation iscomplete. There she is, there’s Marilyn Monroe.
It’s one of the few scenes in the movie blonde (2022) in which actress Anade Armas plays the icon ‘Marilyn Monroe’, the sex bomb as we think we know it.The woman who The Seven Year Itch her white dress flutters sensually abovethe subway grille. Her contours are thus etched into our pop-cultural memory.White blond hair, puffy halter dress. Mickey’s ears, Che’s beret, Marilyn’slegs.
Successful pose
In essence blonde a movie about dissociation. In the film adaptation ofJoyce Carol Oates’s 2000 book, Norma Jeane Baker (born Norma Jeane Mortenson)experiences so much sorrowful misery that she splits herself in two. ‘MarilynMonroe’ here is not only a part of Norma Jeane, that one very successful pose,she is also an armor, the hairdo is a silver helmet. ‘Marilyn’ as a survivalmechanism.
But in blonde we usually see Norma Jeane, a fragile and vulnerable girl whois constantly harassed and hunted. Ana de Armas plays her with nervousgestures, a haunted frown and large, startled eyes, trying to give the ‘icon’her humanity back.
Who is Ana de Armas?
The new Marilyn Monroe is Cuban-Spanish actress Ana de Armas (34). Herbreakthrough role in Cuba was in Una rosa de Francia (2006). She thenstarred in Spain in six seasons of the popular teen TV drama El Internado.In the US she broke through with the crime comedy Knives Out (2019); afterthat she was allowed to give shape to Bond girl Paloma in No Time to Die(2021).
Because how do you play her, how do you play ‘Marilyn Monroe’ (the quotes arethere deliberately)? It seems an almost impossible task to give depth andcredibility to a woman who became a kind of cartoon character in thecollective memory. How do you give such a jigsaw archetype a beating heart?
Theresa Russell in ‘Insignificance’ (1985).Image Getty
It has been done about twenty times in recent film history. From Misty Rowe inthe biopic Goodbye, Norma Jean (1976) to Ana de Armas in blonde with inbetween, among others, Theresa Russell in Insignificance (1985), MiraSorvino in Norma Jean and Marilyn (1996), Poppy Montgomery in blonde(2001, an earlier film adaptation of Oates’ novel) and Michelle Williams in_My Week with Marilyn_ (2011). They played her stupid, sexy, seductive,diabolical, tragic, manipulative or unstable.
Record holder for Marilyn roles is lookalike Susan Griffiths, now 62, whoplayed the blonde sex bomb thirteen times between 1990 and 2007, including in_Quantum Leap_ and Pulp Fiction. But that is mainly a matter of the rightcolor hair dye and an hourglass figure in a cellophane-tight dress.
Karina Smulders in ‘After the Fall’ by Toneelgroep Amsterdam (2012).Image JanVersweyveld
Still, a certain amount of outward imitation is inevitable in a convincingMarilyn rendition. It helps, says actress Karina Smulders (42), who played herat Toneelgroep Amsterdam in After the Fall (2012), a play by Monroe’s exArthur Miller. ‘It’s never a matter of just imitating, of course; as an actoryou always relate to the text. But such a dress, that wig, the red lips, theydo something, they help you on your way. Sometimes I had the feeling that Iwas halfway there with those attachments.’
It is precisely the travesty that exposes the tragedy of ‘Marilyn’, because itis so necessary. Smulders: ‘I was also wearing a dress in which I couldn’t doanything except fall over. That also helps.’
Mira Sorvino in ‘Norma Jean and Marilyn’ (1996).Image Imageselect
Whoever plays ‘Marilyn Monroe’ plays Norma Jeane and Marilyn, inside andoutside world, person and persona. In the TV movie Norma Jean and Marilyn(1996) this idea of two different women was even taken literally. In it,Ashley Judd plays Norma Jeane, the girl with the disturbed mother and thedifficult childhood. That girl is discovered as a fashion model and pin-up,but when a high-ranking studio boss judges that she “has no appreciable chin”and a nose like a potato, she goes under the knife. And lo, there’s MarilynMonroe, now played by Mira Sorvino. When Monroe doesn’t feel like it anymore,Norma Jeane admonishes her through the mirror.
Striking about the vital portrayal of Sorvino – she was nominated for a GoldenGlobe – is her high-pitched Minnie Mouse voice. Monroe’s striking voice is animportant entry point for actresses, it turns out. Not just as acharacteristic gimmick, but because it says something about her state of mind,her insecurity and her ambition. How she uses her voice reveals something ofher inner world.
For example, Monroe emphatically modeled her voice according to the wishes ofher various acting coaches. In the 1950s she developed the recognizable hoarsegirl whisper; later her use of voice became more natural. Ana de Armaslistened to all the different Marilyns for a year and rehearsed for two hoursdaily with her voice coach. It produces a sound that fits her tormented role:small, thin and hoarse, each syllable a sigh.
Michelle Williams in ‘My Week with Marilyn’ (2011).
Marilyn spoke with a lot of breath under her voice, and that quality isespecially well matched by Michelle Williams: in My Week with Marilyn shespeaks alternately in a girlish whisper or champagne bubbles. Williams won aGolden Globe for her portrayal and was nominated for an Oscar.
Her Marilyn is layered and refined, with searching eyes in a mobile face, onwhich every emotion is immediately apparent. She always feels the face of theother, looking for appreciation, admiration, recognition. Beneath hersensuality there is always a hint of childlike anticipation.
And also in this film there is such a moment of transformation. “Shall I beher?” Williams asks a flirt. Promptly, one hip sinks crookedly and oneshoulder is exposed. Head in the neck, hand pillow in the air. There she is.
Chameleonic
Monroe was chameleonic, says Karina Smulders. ‘She always adapted to otherpeople’s expectations. So I played her as a child woman and as a femme fatale,and everything in between, as someone who changes color all the time.’
What Smulders remembers well from her rendition was the specific walk. ‘Shehas remarkable motor skills, is always a bit unsteady, in a classic ‘save me’pose. I created that by wearing impossibly high heels that I could barely walkin.’
The real Monroe seemed to have a heel chafed, which naturally gave her awobbly step, a sprain in her hips; a walk with a wink.
Misty Rowe in ‘Goodbye Norma Jean’ (1976).Image Getty
Whoever sees images of Monroe now notices that she has a different pace thanthe rest, as if she were moving in slow motion. That may have been seen asseductive at the time, a kind of sexy bedroom languor, but it could also havebeen a result of her pill addiction. Williams shows this duality beautifully,dozing lazily like a cat on the chaise longue, but with a drowsy look and acloudy voice. Her Marilyn can enjoy, but also suffer, always.
With Ana de Armas, that suffering predominates. ‘Marilyn’ has been played inmany ways, but never as fragile as it is now.
Revolutionary interpretation
Where her predecessors always played something of fun, of the fun ofseduction, De Armas completely omits that in the direction of Andrew Dominik.That makes her interpretation in blonde revolutionary, a Marilyn for the#MeToo era. Because wasn’t that “pleasure” of sex bomb Monroe something theworld liked to project on her? After all, if the sex symbol itself enjoys it,the outside world is not to blame.
The Armas wants to give Marilyn back her vulnerability. But in the end that isof course also an interpretation, just as every interpreter projects somethingdifferent onto her in a certain period of time.
That is the most characteristic of ‘Marilyn Monroe’, says Smulders, and alsoher greatest tragedy: she is a woman caught in someone else’s reality. She wasduring her life, and she still is today.