Despite predictably rave reviews at the Venice International Film Festival, where it premiered in September, Andrew Dominick’s Blonde The Oscars quickly downgraded the odds of its awards by handicappers after the reviews began to be posted. While critics praised Ana de Armas for her fiercely committed performance as the bruised and battered Marilyn Monroe, the consensus about the film — the Netflix release ultimately scored just 42 percent on Rotten Tomatoes — was that it failed to recognize Monroe’s intelligence, determination. And undeniable talent.
Writing for Time.com, Stephanie Zacharek noted, “Blonde Real-life Marilyn’s multidimensionality, capacity for pleasure, and her deep depression leave no room. Actors are always more than the sum of their parts, and Marilyn Monroe in particular, both as a performer and as a personality, is too complex to be reduced to parts in the first place. His performance is the most important aspect of his story and is often overlooked.
For example, the film offers a slight variation on Monroe’s glorious star turn in the 1959 classic. Some like it hot. We briefly see two scenes of the movie being filmed – in both cases, Monroe storms off the set, at one point saying, “You’d think I was too dumb to get the joke on me.” And then there’s the movie premiere, where the crazy fans come straight out The Day of the Locust, threatening to devour her. Even though Monroe struggled during the reportedly difficult shoot in the wake of the miscarriage, there’s no understating that she still managed to deliver a triumphant lighthearted performance bubbling with self-aware enthusiasm.
But the academy is now likely to impose a fine Blonde Because Monroe’s achievements were not fully appreciated, the truth of the matter is that during her lifetime, the Academy did not appreciate Monroe.
Although she was one of the reigning stars of the ’50s, Monroe only made one appearance at the Academy Awards during her career. At the 23rd Oscars in 1951, he was invited to present the award for Best Sound Recording. She was still a starlet at the time, having had a bit part the previous year All about Eve, where she is introduced by George Sanders’ acerbic Addison DeWitt as Miss Caswell, “a graduate of the Copacabana School of Dramatic Arts.” Introducing her to an audience at the Pantages Theatre, Fred Astaire praised not her talent but her looks. As the orchestra played, “Oh, You Beautiful Doll,” Monroe, still not perfecting her sultry Marilyn persona, walked briskly to the stage and, without looking up, read the list of nominees before opening the envelope and announcing it. Winner – 20th Century Fox Sound Division All about Eve – and then quickly left the stage.
In later years, the academy completely ignored her. But elsewhere, Monroe earned BAFTA nominations for both Best Foreign Actress in 1955 Seven year itch And in 1957 The Prince and the Showgirl. He received one of Italy’s Davide di Donatello awards the prince. And he was a 1956 Golden Globe nominee Bus stand.
Some like it hot, an immediate critical and commercial hit, gave the Academy a chance to overcome that oversight. When the Oscar nominations are announced, Some like it hot Six were arrested, including writing names and dictating to Billy Wilder. However, Monroe’s name was left off the list.
That might be forgiven by the fact that the Academy often overlooks comic performances — except Jack Lemmon was nominated for Best Actor. Apparently his donning drag couldn’t be ignored; Little did anyone know at the time that Monroe’s boop-boop-de-booping sugar was every bit the drag act. And as if to emphasize that the comedy was not verbose, that same year, the Academy saw fit to nominate Doris Day for Best Actress in a Risque Romantic Comedy. Pillow talk.
On the list of “The 20 Greatest Oscar Snubs” of 2018 the watchman The Academy ranked Monroe the cold shoulder at No. 13, saying, “For sheer comic pizzazz, she should be a shoo-in.” Some like it hotEven if she’s not nominated — for that or anything else.”
But then, the Academy Joe E. One might respond with a shrug, echoing Brown’s famous last line, “Well, nobody’s perfect.”
This story first appeared in the November stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, Click here to subscribe.