Ana de Armas

Andrew Dominik's adaptation of Joyce Carol Oates's novel 'Blonde' is out on Netflix.

In Blonde, we gaze de Armas in wonderment rather than with lasciviousness, and forget the movie she is in. One of the foetuses even talks to Marilyn from inside the womb. The 167-minute film is singularly incurious about Marilyn’s involvement in her choices. The director even conceptualises a point-of-view shot of a doctor peering into Monroe’s innards – a pointless, not to mention deeply exploitative moment. The single-most powerful element of Blonde, which sustains it through banality, dime-store psychology and increasingly discomfiting moments of suffering, is its fearless lead actor. There are repeated graphic representations of the foetuses that Marilyn is unable to keep. Monroe continues to be the subject of study and speculation decades after she died of an accidental overdose of barbiturates in 1962. She’s ultimately just a girl, standing in front of a photograph of her lost father, asking him to find her. Blonde, in telling the story of the actor born as Norma Jean Baker, is an attempted study of personhood. The only man shown to treat Marilyn with fairness is her make-up artist Whitey (Toby Huss). Blonde has emerged in the middle of a fierce debate over abortion rights in the United States. Marilyn finds that the “dumb blonde” image insisted upon by producers makes it difficult for her to be taken seriously.

Andrew Dominik's 'Blonde' clocks at 166 minutes and feels almost twice as long. Some of the early reviews disparagingly called the movie 'misery porn' or ...

But as far as films on public figures go, it has nothing substantial or compelling to say that would make it a film worthy of Monroe. 'Blonde' is not a bad film. In short, 'Blonde' is not a biopic, clinging to the alleged truthfulness of the events like many biopics inevitably do. 'Blonde' is also a good-looking movie. Monroe is a figure that a film based on her life would feel lacking if her glorious and tragic life was not depicted in its unvarnished form. Due to accounts of her life, we know that beneath the glittering, smiling exterior, she was a mentally ill, lonely wreck of a woman.

There have been several movies that have recounted the life of iconic actor Marilyn Monroe, but it's hard to think of one that seems to be so disrespectful ...

The ones that are most jarring are Monroe's interactions with the men in her life, from husband Joe DiMaggio (Bobby Cannavale) to President John. But Dominik doesn't even let her enjoy that; instead, this is where the starlet starts to self-destruct. Though that has been a point of contention since the movie's trailer came out, I was completely transfixed on every word she delivered. But despite the movie being top-notch in everything from its production design, costuming, make-up, and cinematography, Dominik doesn't give the movie much of a narrative thread. Dominik leans in heavily on how the early days of celebrity culture and the industry itself ate up Monroe, which is true. If you have little knowledge of her, please do not go into this movie thinking you will find a traditional biopic retelling of her life.

Blonde is uplifted by a passionate performance by Ana de Armas, but it isn't interested in Norma Jeane so much as it is in her pain and suffering.

It’s a film that takes pleasure in Monroe’s pain, indulging in it for too-long periods of time, uninterested in actually pulling back the curtain to study anything more about her. It’s intriguing and compelling, to be sure, and it’s a shame the film is never willing to go beyond the surface. Dominik’s film insists that Norma Jeane’s bad experiences with men is linked to having grown up with an absent father. The film includes her second and third marriages to Joe DiMaggio (Bobby Cannavale, as the Ex-Athlete) and playwright Time away from the spotlight, meanwhile, showcases Norma Jeane at her most vulnerable emotionally, as audiences witness the numerous traumas she experienced. And while Blonde is uplifted by a passionate performance by Ana de Armas, it isn’t interested in the life of Norma Jeane Mortensen so much as it is in the pain and suffering she faced.

The highly anticipated film by Andrew Dominick is based on Joyce Carol Oates's 2000 novel of the same name and explores the troubled star's identities of her ...

"I tried several foundations to try to replicate Marilyn's glow, but this one was very reflective, so it would bounce the light back and give that sort of period's look, but also that sheen that she had on her face," the makeup artist shares. And certainly we went to Guerlain because that was one of the companies Marilyn used." "We tried several different ones and the black was too black," Kerwin says. "This was a game-changer for this part of her look, so I was really grateful to have found it." Kerwin says she tried a "truckload" of lipsticks to find the perfect shades that not only embodied Monroe, but also worked with the film's color and black-and-white lighting. Once the wigs were set with wet rollers, McIntosh would "brush it out so it was looser and messier, and [would] spritz it down with a little water" to match the reference images for the scenes. "I don't think there's a lip company that we didn't put through the ringer trying to figure it out. "When we were doing research for the wigs, we had to consider Marilyn's hair texture," McIntosh says. "As soon as she put the wig on, we knew we had to change her eyebrows," Kerwin shares. "Because of the fine detail and the lightness of the hairline on those wigs, there was just no other way to hide Ana's dark hair, McIntosh says. "We just had to completely erase Ana's hairline and the depth that was under there." However, it was vital that the hair and makeup didn't read as de Armas wearing a Monroe costume.

Rooted in reality, Blonde wallows in the most tragic aspects of Marilyn Monroe's life—but plenty of what occurs in the film starring Ana de Armas didn't ...

[Bobby Cannavale](https://www.eonline.com/news/bobby_cannavale)) some compromising photos of her, after which he returns home and smacks her in the face. But the set issues were real, and the star had a miscarriage toward the end of filming. Monroe informed the woman calling that she had never met the man in question and he was free to contact her lawyer. Real life: Norma and her mother lived with Albert and Ida Bolender, the couple who took her in as an infant, for almost seven years, which allowed Baker the freedom to be able to work and save some money. When she gets pregnant again during her marriage to Miller, her guilt manifests in a heartbreaking conversation she has with her fetus. The child runs to the neighbors' apartment, her mother is taken away to a mental hospital, and Norma is soon dropped off at an orphanage. That relationship was over by Christmas, and the following June, Baker placed her days-old daughter in the care of neighbors and returned to work. In early 1962, Monroe got a call from a nurse who told her that her father had suffered a heart attack and really wanted to see her. (Mortensen and Baker divorced in 1928 and he died in a car crash the following year.) When Monroe came back to the car, Skolsky recalled, she told him her "son-of-a-bitch" father had said to her, "Listen, Marilyn, I'm married, I have children. She's grappling with, and we're grappling with, the image of her life." Finding out that one of her so-called best friends was sending the letters all along is a final blow as her life skids to its premature end on Aug.

"Blonde" Makeup and hair crew on how they transformed Ana de Armas into Marilyn Monroe.

“The gray is painted into their hair to make them more distinguished.” She adds, “There are silvery streaks painted in, and when you look at the original, you think, ‘Why would they do that?’ So we had to copy that.” In recreating “Diamonds Are a Girl’s Best Friend” from “Gentlemen Prefer Blondes,” Kerwin mixed a fuchsia lip with red. Says Kerwin, “We needed something sturdy that could hold up with the gluing and ungluing of wigs.” “It changed the eye shape,” Kerwin explains. It gave us a chance to figure out what worked better in black and white as opposed to color,” explains Kerwin. The shoot session was done before principal filming began, and it helped immensely since they would have to recreate many of Monroe’s most iconic moments.

Ana de Armas completely transforms into Marilyn Monroe in the film 'Blonde.' The hair, makeup, and costume departments tell ELLE.com how it was done.

Even with all the costume changes, Johnson says it felt like de Armas wore those vintage check pants daily, and since there was only one pair, she “was praying they were not going to dissolve.” The authentic 1950s garment from [Palace Costume](https://www.palacecostume.com/history) “fit like a glove.” “I have photographs of her that day at the Plan B office, and there’s Marilyn,” she says. Kerwin provided the additional makeup artists with lip palettes they had made to deliver a consistent visual: “We had put in all the orange reds, they had all the blue reds, and so when the background came in, we had mapped out what was going to work for color or black and white.” That is the most important thing to get there and not just stick a costume on her.” One area Johnson decided to ditch early on was padded foundation garments. Gowns, furs, and glamorous on-set ensembles are a fraction of the costume story being told in Blonde, which has a “sense of naturalism” that Johnson notes is the focus of the novel and Dominik’s direction. “They had her on the monitor, and the actual footage [from Some Like It Hot] on the monitor next to it,” McIntosh recalls. The two formats impact the choice of makeup, and the “biggest thing to figure out was the lip colors” because some pop, whereas others fade away. A couple of days of testing was required to “find out what worked, what didn’t and to find our Marilyn in Ana,” says Kerwin about her expressive lashes. During production, they were shaved down by Kerwin and then bleached every couple of days, which took some getting used to [for the star](https://youtu.be/BOa89RpMYf0?t=221): “Ana has beautiful brows, and it was a shock for her to see herself in the newly thinned out blonde brow.” Western Costume cobbler Mauricio Osorio came up with a workaround that required excellent quality shoes to use as a foundation that “Ana loves, are comfortable, and have the correct shape and height.” Johnson turned to The RealReal to get a pair of Manolo Blahniks that are “still quite expensive but saved us from having to make the shoe from the ground up.” The guts of the shoe are still Manolos: “He basically rips the whole shoe apart, takes the top off, and rips the leather off the heel. Using prosthetics instead of a bald cap “so we could see scalp through the wigs.” Kerwin explains that after applying the prosthetic pieces, “it was all airbrushed to be the same color, and then the blonde wigs would sit on what was looking like skin.” It is here that Monroe’s hair was dyed its famous shade (ditto Lucille Ball’s signature hue) and this snapshot of Tinseltown was the first stop on “Team Marilyn’s train.” As well as recreating images, Dominik also shot on location at Monroe’s famous haunts, including Musso and Frank’s and the house she shared with Arthur Miller.

Andrew Dominik adapts Joyce Carol Oates' novel, Blonde, for the big screen, telling a fictionalized version of Marilyn Monroe's life, from her troubled ...

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Transforming Ana de Armas into Marilyn Monroe for Netflix's new biopic Blonde was a team effort. Here's how Tina Roesler Kerwin, Jennifer Johnson, ...

There’s a humor and a whims whimsy to his costumes and a lightness to the spirit of his designs. We were trying to figure out how William Travilla made that moment work in a column dress with a big bow on the back and we learned that when he was working on the dress, he borrowed pool table fabric from the art department at Fox Studios next door. He got a bolt of green felt and backed the dress with that. I actually haven't seen the dress since we made the film in 2019 and I would love to look at it again because I think that it's probably a bit garish in person. Also wearing pants was really important in the movie, so your gaze would be taken away from her body and would be really placed on her interior—on her mental workings, on her intellect, on her psychological state. So I was able to push it a little bit further than Tina was because I didn't have those restrictions." Jamie-Leigh would also help sell some of the more casual looks with the movement and the wave of the hair." Finding that shape, that texture and that hairstyle was a challenge." You still want it to have the hold and the style without losing the softness, so it can look touchable." But overall, very little product because the more product that's in the hair, the more it can tend to start looking helmet-y and not move naturally. The blonde wig did not work on Ana’s hair so I had to put three prosthetic pieces underneath the wigs to give her a half bald cap so that the blonde wigs looked like they were actually sitting on skin. There are so many different Marilyns, so we needed to find a baseline, an image that you see most of her.

Ana de Armas expertly brings forward the excrutiating trauma hidden beneath the bombshell exterior of Marilyn Monroe in Blonde, but Andrew Dominik drowns it ...

Ana is able to consummately bring forward Norma Jeane's pain through the character named Marilyn Monroe, a recurring narrative arc in Blonde, even in times when it seems as though she's at her happiest. Blonde excels, in parts, where the aesthetic doesn't matter and the primary focus is Ana de Armas' Marilyn Monroe. Getting the physicality to a T, right up to her iconic million-dollar smile, even Armas' accent is a tribute to Norma Jeanes' innocence. And equally to blame is the overzealous need to pit Monroe through one horrifying incident with a man, after another, from domestic violence to casting, channelling the very sexual craze Marilyn was subjected to her entire career. In Blonde, Marilyn is constantly stripped through a male-dominated microscope - both physically and mentally - whether it be the Hollywood biggies - like Fox executive Darryl F. Right from her troubled childhood with Lily Fisher being dynamite as a young Norma Jeane, being tortured both physically and mentally by her unstable mother Gladys (a terrific Julianne Nicholson!) - who drives her straight through a fire-ridden Hollywood to almost drowning her in the bathtub - to her constant quest for an abandoned father through the many "creepy, ugly" love interests in her life, you're left feeling uncomfortable for Marilyn Monroe in the two hours and 47 minutes duration with every hypersexualised, provocative scene.

Andrew Dominik's adaptation of Joyce Carol Oates novel is a morbid, leering and tasteless abasement.

This goes double during a scene when Monroe is filming the subway-grate shot in “The Seven Year Itch,” during which his camera lingers and leers with unsavory insistence. There are short clips of her work in such classics as “All About Eve,” “Gentlemen Prefer Blondes” and “Some Like It Hot,” but Dominik never allows de Armas to convey her character’s exquisite comic timing, superb physical grace or shrewdness. She certainly deserves more than a dumb “Blonde.” That scene ends with a rape that can’t help but conjure images of Harvey Weinstein and the “casting couch” tradition he so brutally perpetuated. Kennedy (Caspar Phillipson), who features in one of the film’s many tasteless scenes, in this case of Monroe performing oral sex while he watches a rocket launch on TV. The rest of “Blonde” continues apace, with Monroe encountering creepy, dismissive or outright violent men who continually underestimate and betray her.

Blonde, based on Joyce Carol Oates's fictionalised interpretation of the star's tragic life, is the first movie due for release on a streaming service ...

At the risk of perpetuating a fallacy sustained by commentators of the day and conflating Monroe with the characters she portrayed, allow me to quote Lorelei Lee, her gold-digging seductress from Gentlemen Prefer Blondes. That Norma Jeane spends a sizeable chunk of her time at home in nothing but white bloomers only strengthens the impression that Blonde takes an infantilising view of its subject. Of her limited vocabulary, the word in heaviest rotation is "daddy". In the bedroom as on the sound stage, Norma Jeane appears constantly on the verge of tears, her big, beautiful eyes welling with emotion and widened with some stressful mixture of fear and wonder. There's the increasingly hallucinogenic storytelling style, evoking its leading lady's descent into madness and addiction, the strangely stilted dialogue, and a score (by Dominik regulars Nick Cave and Warren Ellis) that cribs freely from Angelo Badalamenti (distractingly so in one climactic sequence, set to a dead ringer for the Twin Peaks theme song). The growing chasm between these two selves – public-facing and private – could only resolve in tragedy; whether by an intentional or accidental act of self-destruction, Monroe was dead at 36.

The fictional biopic of Marilyn Monroe has steadily accumulated its fair share of controversy--and now you can see for yourself what the buzz has been ...

She also recently discussed the future of the James Bond series, saying [Bond should not be played by a woman](https://www.gamespot.com/articles/there-is-no-need-for-female-bond-ana-de-armas-says/1100-6505704/). [Empire](https://www.empireonline.com/movies/news/marilyn-monroe-movie-blonde-create-controversy-says-ana-de-armas-exclusive/) over the summer, "It's a film that is supposed to create controversy and discomfort." "It's supposed to make you think about what happened--and what is still happening," de Armas said. It tells the story of how a woman, Norma Jeane Baker, became the incredibly popular celebrity Marilyn Monroe in the '50s and '60s. The movie is not a traditional biopic however, as it blurs the lines between fact and fiction, Netflix said. Netflix's Marilyn Monroe movie, Blonde, which stars Ana de Armas in the lead role, is now available to stream.

Costume designer Jennifer Johnson explains how her team re-created Marilyn Monroe's wardrobe for Ana de Armas's costumes in Netflix's Blonde.

"It's easy enough to copy something verbatim, it's another thing to bring something so iconic that is imbued in the world's psyche back from the dead. But she made an exception for diamonds, as all of Monroe's jewelry was real. In terms of her style point of view, Monroe was a minimalist. Award-winning costume designer [Jennifer Johnson](http://www.jenniferjohnsoncostume.com/) ("I, Tonya") re-created Monroe's iconic outfits with the help of patternmaker Jose Bello at [Western Costume](https://www.westerncostume.com/). "Getting the construction details just right was important, but so was being flexible with certain details and fabric choices to work for Ana," Johnson tells POPSUGAR. If you buy a product we have recommended, we may receive affiliate commission, which in turn supports our work.

You may know Ana de Armas from Hollywood films, including her new role as Marilyn Monroe in "Blonde." But her style in real life is just as daring.

She completed the look with a black tie and heeled black boots. The ensemble did include some detailing including a pink floral boutonnière, a ruffled undershirt, and heels. [satin gown featured handmade pleats](https://www.vogue.com/slideshow/ana-de-armas-blonde-premiere-marilyn-monroe) and was constructed from over 60 meters of fabric, according to Vogue. According to Grazia, the shoulder straps were embellished with Chopard diamonds. [a Louis Vuitton ensemble](https://graziamagazine.com/us/articles/ana-de-armas-joey-king-yara-shahidi-uniform-trend/) that consisted of a pleated navy knee-length skirt and a matching monogrammed blazer over a white shirt, according to Grazia. [Marilyn Monroe](https://www.insider.com/marilyn-monroe-daring-looks-that-made-her-hollywood-fashion-icon-2022-5) where she plays the titular character, de Armas wore a floor-length pink Louis Vuitton gown.

Ana de Armas' performance in "Blonde" could get an Oscar nomination for best actress, and be the only Latino representation in the race, if it can survive ...

[ADAPTED SCREENPLAY](https://variety.com/feature/2023-oscars-best-adapted-screenplay-predictions-1235327856) [ORIGINAL SCREENPLAY](https://variety.com/feature/2023-oscars-best-original-screenplay-predictions-1235327855) [SUPPORTING ACTRESS](https://variety.com/feature/2023-oscars-best-supporting-actress-predictions-1235327853/) [SUPPORTING ACTOR](https://variety.com/feature/2023-oscars-best-supporting-actor-predictions-1235327852) Billie Holiday” (2021) and Oscar-winner Renée Zellweger for “Judy” (2019). [Netflix](https://variety.com/t/netflix/) may throw its full weight behind De Armas, who has emerged as the streamer‘s leading contender for major acting attention.

Ana de Armas has defended Blonde's explicit scenes, claiming they're harder for people to watch than they were for her to make.

“I knew exactly what the shot was going to be. I felt like I was in a safe environment. “I didn’t feel exploited because I was in control.

Cast: Ana de Armas, Adrien Brody, Bobby Cannavale, Julianne Nicholson, Tygh Runyan, Michael Draye, Sara Paxton, Evan Willliams and Xavier Samuel.

The film has a line spoken in the context of Marilyn Monroe's fate: the soul does not always show on the face. Over the next decade and a bit - that is all she was allowed by a brutally self-serving world - Marilyn seeks happiness and fulfilment only to find grief waiting for her at every turn. In a timorous monologue addressed to her own self in the middle of the act, she wonders why she has ended up where she has. The irony of these utterances is self-evident in the light of what has gone before and what is to come in a life buffeted by waves of misfortune. All that her mother lets on is that he was "a titan in the industry'. In a role that tests her to the fullest, Armas is stunningly good, giving the lie to the doubts expressed over the wisdom of casting a Cuban-Spanish actress as Marilyn Monroe.

Ana de Armas is scintillating in a film that tells the story of pop-culture icon Marilyn Monroe, but 'Blonde' hardly explores who Norma Jeane truly is ...

(Evan Williams) and Cass Chaplin (Xavier Samuel), the son of Charlie Chaplin, are also dwelt upon. It dips into the imagined psyche of a woman who represented different things to people of all races, gender and sexual orientation. While wanting to look at the life of Marilyn Monroe and the reason for her enduring legend, Blonde lingers on the luscious curves, the tear-filled eyes, the wet pout, and the many men who exploited her, but not telling us anything about the woman inside.

The brand new Netflix movie 'Blonde' stars Ana de Armas and features some very explicit, NSFW scenes. The film is directed by Andrew Dominik...

I knew exactly what was going to be seen, what was not going to be seen, and it felt like it was the right thing to do”. It was just a part of a whole story…I knew exactly what the shot was going to be. “I understood what I was doing and I felt very protected and safe,” she told the publication, adding, “I didn’t feel exploited because I was in control.

Blonde star Ana de Armas spent two and a half hours in hair and makeup each day to play famed Hollywood actress and sex symbol Marilyn Monroe.

The movie has been the subject of much interest in the months leading up to its release due to de Armas' popularity, the well-known figure at its center, and the much-discussed NC-17 rating. [Variety](https://variety.com/2022/artisans/news/ana-de-armas-transformation-marilyn-monroe-blonde-movie-1235377281/), detailing how they transformed de Armas for the film, which took two and a half hours each day. Since breaking out in the much-adored mystery Knives Out in 2019, de Armas has evolved into a bona fide star.

Ana de Armas mesmerizes as the tortured icon in 'Blonde,' a relentless telling of Marilyn Monroe's life that will challenge viewers.

This is a horror film of sorts and like a horror film, this is about what viewers will tolerate. Adding to the length is the loose narrative. Is it fair to the source material? As tough as it is to watch, so much worked for me in this film. Perhaps the simple solution to present the film’s ideas was to base it on a fully fictional character that only reminds viewers of Monroe – even if that would defeat the director’s intentions. That is why this film is not a failure. From a technical standpoint the film is very strong. This is a situation where the gaze of a female director (even in an advisory role) could have benefited the film as a whole. It is surprisingly effective, injecting creepy, surreal, and unsettling moments that alter the interpretation on what would otherwise be considered glamorous. With that said, I have a hard time believing that the same person buying the Marilyn Monroe Funko Pop figurine and Christmas ornaments is (or ever will be) ready for what is delivered on screen. While de Armas’ work in the film is so mesmerizing it begs you not to look away, the film’s graphic content seems to hold Marilyn Monroe, the viewers, and even the actress captive. I only learned post viewing that this film not only blurs the line between fiction and fact, it often erases it, leaving viewers to fend for themselves when determining what your takeaway will be.

Ana de Armas has starred in her fair share of high-profile projects, ranging from the neo-noir 'Blade Runner 2049' to the beloved mystery thriller 'Knives ...

When the trailers were released, many users criticised the casting of de Armas due to her heavy accent, which did not match Monroe’s accent at all. According to de Armas, playing Marilyn Monroe has been the most difficult challenge of her career so far. A fictionalised interpretation of Monroe’s personal life and her career as a cultural icon, the film has an unconventional approach to the frameworks of the Hollywood biopic.