In the latest exhumation of tragic movie icon Marilyn Monroe we are given a sober rehashing of the erratic star's career with a cast of ever so sober and somber A listers quoting from her diary and playing the past. Long on pretense with nothing new to reveal it is strictly for Monroe fans who can do without the organ music.
Dead half a century Monroe was basically a one note actress with an incredible charisma whose sex appeal packed them in the theatres. It had more to do with her curves than thespian turns however. In Love, Mariylyn Glenn Close, Marisa Tomei, Lindsay Lohan et all speak in hush, reverential, almost pained tone while doc director Liz Garbus serves up speculation with today's perspective resulting in the same metaphorical soup out of Monroe and her career that the print and celluloid media have been serving up since her death fifty years back. Same questions same answers.
Between the testimonials and the crying out there are some rare archival moments that capture her remarkable appeal towards the end of her career driving George Cukor crazy as she deconstruct's on the set of her last film Something's Gotta Give. A stunning façade of bright eyed beauty and optimism imploding before your eyes, it says more in these brief moments than the entire doc and its heavy handed director posing and framing the patronizing prattle of it's actors delivered with spot on wake like melancholy inflection.
Dead half a century Monroe was basically a one note actress with an incredible charisma whose sex appeal packed them in the theatres. It had more to do with her curves than thespian turns however. In Love, Mariylyn Glenn Close, Marisa Tomei, Lindsay Lohan et all speak in hush, reverential, almost pained tone while doc director Liz Garbus serves up speculation with today's perspective resulting in the same metaphorical soup out of Monroe and her career that the print and celluloid media have been serving up since her death fifty years back. Same questions same answers.
Between the testimonials and the crying out there are some rare archival moments that capture her remarkable appeal towards the end of her career driving George Cukor crazy as she deconstruct's on the set of her last film Something's Gotta Give. A stunning façade of bright eyed beauty and optimism imploding before your eyes, it says more in these brief moments than the entire doc and its heavy handed director posing and framing the patronizing prattle of it's actors delivered with spot on wake like melancholy inflection.