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The New York Times critic Manohla Dargis panned the film, criticizing the fact that "once again a director is more interested in examining [Monroe's] body (literally, in this case) than getting inside her mind" and writing "Given all the indignities and horrors that Marilyn Monroe endured during her 36 years, it is a relief that she didn't have to suffer through the vulgarities of Blonde, the latest necrophiliac entertainment to exploit her." [83] In his negative review, Justin Chang from the Los Angeles Times stated that the film "isn't really about Marilyn Monroe. It's about making her suffer." [84] He also opined that the film "turns Marilyn Monroe into an avatar of suffering, dwelling on her pain so obsessively that even the film's fleeting moments of empathy feel like another form of exploitation". [85] "At times, the movie feels like a slaughterhouse seen from the animal's point of view" wrote Bilge Ebiri in his review for Vulture, remarking on the film's tendency to elicit strong reactions and emotions from an audience by putting together what he described as a "captivating and terrifying" jigsaw puzzle of Monroe's life. [86] Anthony Lane, in his review for The New Yorker, praised deArmas' performance and Dominik's visual style, but heavily criticized his portrayal of Monroe, ultimately concluding: "Bedazzling, overlong, and unjust, Blonde does a grave disservice to the woman whom it purports to honor." [87] In a negative review for Slant Magazine, Jake Cole echoed Lane's sentiment, stating: " Blonde…is the worst kind of feminism, one so absorbed in the desire to 'save' a woman that it victimizes her as much as possible to make its redemption of her that much more praiseworthy." [88] Writing for Time, Stephanie Zacharek criticized Dominik for allowing "no room for the real-life Marilyn's multidimensionality", asserting that "Marilyn—the brilliant, perceptive if often difficult performer—is almost nowhere to be seen in Andrew Dominik's willfully clueless Freudian fantasy Blonde". [89] Jessie Thompson of The Independent gave the film one star out of five, stating; " Blonde is not a bad film because it is degrading, exploitative and misogynist, even though it is all of those things. It's bad because it's boring, pleased with itself and doesn't have a clue what it's trying to say." [68] Industry reception [ edit ] Bentz, Adam (August 2, 2022). "Brad Pitt Defends Ana DeArmas as Marilyn Monroe in Blonde". Screen Rant. Archived from the original on August 9, 2022 . Retrieved August 9, 2022. British single certifications – Blondie – Call Me". British Phonographic Industry . Retrieved June 26, 2023.

Call Me (Blondie song) - Wikipedia Call Me (Blondie song) - Wikipedia

For Dominik, Blonde was his first attempt at developing a film featuring a woman at the center of the story. During a retrospective screening of his Oscar-nominated western The Assassination of Jesse James by the Coward Robert Ford (2007), Dominik stated, "It's a different thing for me to do [...] the main character is female. My films are fairly bereft of women and now I'm imagining what it's like to be one." [16] a b Sharf, Zach (February 18, 2020). "Ana deArmas Teases Groundbreaking 'Blonde' Role: 'A Cuban Playing Marilyn Monroe' ". IndieWire. Archived from the original on March 12, 2020 . Retrieved June 4, 2021. a b VanHoose, Benjamin (September 8, 2022). " 'Blonde': Critics Praise Ana deArmas' 'Uncanny' Marilyn Monroe Performance in 'Lurid, Horror Movie' ". People. Archived from the original on September 9, 2022 . Retrieved September 9, 2022. Ana de Armas, Adrien Brody, Bobby Cannavale, Julianne Nicholson and Caspar Phillipson play Marilyn Monroe, Arthur Miller, Joe DiMaggio, Gladys Pearl Baker and John F. Kennedy, respectively.

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Golden Globes 2023: Nominations for the 80th Golden Globes Have Been Announced". Hollywood Foreign Press Association . Retrieved December 12, 2022. Call Me" is a song by the American new wave band Blondie and the theme to the 1980 film American Gigolo. Produced and composed by Italian musician Giorgio Moroder, with lyrics by Blondie singer Debbie Harry, the song appeared in the film and was released in the United States in early 1980 as a single. "Call Me" was No. 1 for six consecutive weeks on the Billboard Hot 100 chart, where it became the band's biggest single and second No. 1. [1] It also hit No. 1 in the UK and Canada, where it became their fourth and second chart-topper, respectively. In the year-end chart of 1980, it was Billboard 's No. 1 single and RPM magazine's No. 3 in Canada. [6] [7] Phipps, Keith (September 23, 2022). "Blonde Could Make the World Safe for NC-17 Films Again". GQ. Archived from the original on September 26, 2022 . Retrieved September 26, 2022. a b Pulliam-Moore, Charles (September 30, 2022). "Blonde's CG fetus is anti-abortion propaganda dressed up as art". The Verge.

Blonde (2022 film) - Wikipedia Blonde (2022 film) - Wikipedia

Benchetrit, Jenna (September 29, 2022). "How fictional biopic Blonde turns Marilyn Monroe into a symbol of celebrity tragedy". CBC News. Ana de Armas breaks down in tears as Blonde receives 14-minute standing ovation". The Independent. September 9, 2022 . Retrieved October 12, 2022.Kabir (September 14, 2022). "Ana DeArmas' Blonde: Release Date, Cast, and What We Know So Far". Cinemablind. Archived from the original on September 14, 2022 . Retrieved September 14, 2022. Gabry Ponte, R3HAB And Timmy Trumpet Team Up For 'Call Me' | UFO Network". UFO Network. January 17, 2022 . Retrieved January 26, 2023.

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Belth, Alex (September 30, 2022). "What 'Blonde' Misunderstands About Marilyn Monroe". Esquire . Retrieved October 25, 2022. Gleiberman, Owen (September 8, 2022). " 'Blonde' Review: Ana deArmas Does Just What You Want — She Becomes Marilyn Monroe — in Andrew Dominik's Flawed but Haunting Biopic". Variety. Archived from the original on September 29, 2022 . Retrieved September 28, 2022.During Blonde's press conference at the 79th Venice Film Festival, Dominik said that the initial scenes of the film were shot in the same apartment where Monroe had lived with her mother. [40] Monroe's death scene was also filmed in the same room where she died in real life. [41] "It definitely took on elements of being like a seance," Dominik said. [41] Filming also started on August 4, 2019, [36] [41] the 57th anniversary of Monroe's death. [41] DeArmas said at the press conference that she believes Monroe's ghost was close to them on set. [40] "I think she was happy. She would also throw things off the wall sometimes and get mad if she didn't like something. Maybe this sounds very mystical, but it is true. We all felt it." [41] DeArmas later told AnOther magazine that everyone in the crew wrote a message to Monroe in a big card, then they went to the cemetery and put it on her grave. "We were asking for permission in a way. Everyone felt a huge responsibility, and we were very aware of the side of the story we were going to tell — the story of Norma Jeane, the person behind this character, Marilyn Monroe. Who was she really?", she said. [42]

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In many ways, Blonde is a shrieking sister picture to the altogether gentler The Assassination of Jesse James By the Coward Robert Ford. In that masterful 2007 study of stardom, Brad Pitt’s antihero is killed by a creep who has idolised him since childhood. In Blonde, we find that near-mythological celebrity not only masks personal loss, but also draws destruction upon itself. It’s a deal made with the devil, encapsulated most acutely in a scene in which a distraught Norma Jeane waits desperately for the spirit of Marilyn to possess her, a transformation chillingly played out in her dressing-table mirror as her tears turn to a familiar megawatt smile. It’s a smile that reminded me of Sheryl Lee in David Lynch’s Twin Peaks: Fire Walk With Me, where Laura Palmer’s homecoming queen visage is fleetingly replaced with that of a screaming demon. If The Assassination of Jesse James was a film about fame dressed as a western, then Blonde is a horror movie masquerading as a film about fame.While filming Some Like It Hot, Norma Jeane becomes more uncontrollable and mentally disturbed. She is overwhelmed by the constant press attention, feels that she is becoming a joke, has frequent outbursts on set, especially towards director Billy Wilder, and grows increasingly distant from Arthur. To cope with her stress, she begins taking pills.