Blonde  ★★★½

ANDREW Dominick has really copped it this time.

The Australian writer/director’s work, including Chopper, The Assassination of Jessie James by the Coward Robert Ford, Killing Me Softly and his two Nick Cave feature documentaries, has largely been lauded by the critics.

But his latest, Blonde, a ‘fictional’ biopic on Marilyn Monroe, is polarising and also proving a lightning rod for vocal interest groups.

Blonde’s first problem is timing. It follows the phenomenal success of Baz Luhrmann’s Elvis which is a dazzling celebration of his life and music.

But anyone anticipating or expecting a similar treatment doesn’t know Dominick’s work and will be disappointed.

This Australian isn’t interested in putting Marilyn on a pedestal; he’s more interested in the pedestal itself.

Monroe’s difficult life is well documented, including the parental abuse, abortions, sexual assault and casual relationship with a US President.

But her admirers also balance their feelings of pity with the knowledge that she was a strong, independent woman with business acumen who could deliver a good acting performance in the right role.

Blonde, based on the 2000 novel of the same name by Joyce Carol Oates, acknowledges the latter but perhaps dwells too much on the former in exposing the depths of despair caused by the grinding of a woman into submission.

Dominick’s Marilyn is a damaged soul throughout her life, constantly seeking the father-figure she never had.

She wants fame and fortune but equally thinks she doesn’t deserve it. Norman Jean is one person and Marilyn is her creation, to be used and abused.

Dominick also portrays Marilyn’s mental illness and torture as somehow helping her acting ability in key roles, a strange and problematic concept to get your head around.

There are strong aspects to this uneven work, not the least being Dominick’s artistry which at times recalls the best of Terrence Malick’s dream-like and contemplative imagery. The final shot of the film, for example, is perfectly staged and shot.

Cuban actress Ana de Armas does a phenomenal job in the main role and may get Awards recognition.

She embodies the iconic figure while wholly embracing Dominick’s specific take on the person.

Some of the scenes are held for a little too long, but there is one in front of a mirror during which Norma is distraught on a film set but ‘summons’ Marilyn to emerge from her consciousness.

The supporting cast is also excellent with Adrien Brody as husband number three Arthur Miller, Bobby Cannavale as number two, Joe DiMaggio, Xavier Samuel and Evan Williams as boyfriends and Julianne Nicholson in the challenging role of Marilyn’s mother.

The haunting music score by Nick Cave and Warren Ellis perfectly complements the imagery and mood of the film.

The film has been accused of having exploitative and unnecessary scenes of sexual violence but on balance I think they are fairly depicted.

It’s a fine albeit uneven film that definitely provides plenty of thought-provoking discussion and debate;  but it’s not what many Marilyn fans will want.