Imitation, a flattery, should not always be met with ire. Sometimes mimicry is powerful, even transcendent; this is occasionally the case with Ana de Armas' performance as Marilyn Monroe in Andrew Dominik's much-derided new film, Blonde.
But it is in this power that a certain responsibility resides in the hands of the imitator—and, in this case, the one directing the imitator. To approximate a real person is to approach a sacred image; to twist and warp it is a risk. To twist and warp it without empathy or precision? That's negligence.
This is where the defense of Blonde as a "fictionalization" of Monroe's life falls apart.
Imitation, a flattery, should not always be met with ire. Sometimes mimicry is powerful, even transcendent; this is occasionally the case with Ana de Armas' performance as Marilyn Monroe in Andrew Dominik's much-derided new film, Blonde.
But it is in this power that a certain responsibility resides in the hands of the imitator—and, in this case, the one directing the imitator. To approximate a real person is to approach a sacred image; to twist and warp it is a risk. To twist and warp it without empathy or precision? That's negligence.
This is where the defense of Blonde as a "fictionalization" of Monroe's life falls apart. |
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| Glamour from head to toe. |
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She stepped out in only her panties. |
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| No big sister could be more proud. |
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| The epitome of less is more. |
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