This is a complete story, the story of a new-born flat-headed boy falling in love with a big star, especially since this is a unique big star in history. This story is the protagonist's memoir, where reality and images are intertwined. Colin, the third assistant director on the set decades ago, told the story of him and Monroe to the world at the end of the 20th century, and now he is a character in another film about Monroe in the 21st century. I always feel that if the experience or history is turned into words, it will be shaped by the writer to some extent. Whether he intends it or not, what he presents is the image in his heart.
The Marilyn we see here is sometimes as innocent as a child, she is overwhelmed, she wants to present the best version of herself, she hopes to be praised and recognized by her colleagues, she wants to be loved, with some small wit and kindness The naughty little girl, at the age of 30, makes every man want to protect and accompany her. But at the same time she is also a professional, she can instantly put on a charming smile in front of her followers, she manages her marriage for some necessary reasons, and at the same time is looking for fresher emotions and happiness, some neurotic of. Colin asked her if she would like to drop everything and go with him, she disagreed, she thought she was happy. Even if there are times when she doesn't act like that, like on the set compared to the day she hung out with Colin in Windsor and Eaton, we see it. But she was Marilyn Monroe after all.
It's amazing to see people who really existed before through re-creation. I don't know what Hollywood was like a few decades ago. I rarely look at the things behind it, so I was surprised to see Lawrence Oliver in the film. The resentment at his inability to adapt to the screen performance, the natural envy of Marilyn, the emotion of the passing of his age, and Vivien Leigh's naked jealousy of Marilyn's youth. This movie is just one of our various speculations about Marilyn, but fortunately it makes sense and looks good.
Kenneth Branagh's Lawrence Oliver and Judi Dench's Sybill Thorndick are absolutely eye-catching and eye-catching. The former's Russian accent on the lines is really like Williams' lines next, and you can listen to it without getting tired of it. Just looking at Sir Oliver's image doesn't give that impression: that kind of control on the set, confidence in his own way of acting and contempt for other ways, thinking he can change Marilyn, looking mean and annoying, but In the end, it revealed infinite admiration and admiration. The two most impressive performances were in the dressing room with half-painted makeup before shooting. He lamented that he hoped to use Monroe to revive his performance, but she made him seem like he saw his own death. The aura is no longer; once he and Colin watched the performance of Monroe in the film together at the end, recited the lines from Shakespeare's "The Tempest", and praised her, which made people feel very emotional.
The latter's name is unfamiliar. In the few scenes, Judi Dench's aura makes people completely feel the demeanor of this senior on the set, with tolerance and encouragement to the juniors, you can make one sentence Mr. Sir shrunk his words and stood proudly in that space, which was impressive.
By the way, the instance of Colin starting to get a job at Oliver's studio is a sample job search, and he does what he loves. In front of the mighty Williams, the mighty Branagh, and Dench, Ed's classmates basically played the role of storytelling, and the role of such a fledgling boy had no special characteristics. But it is really eye-catching to say that he wears clothes from that era, a straight suit, a body or something, I really like TAT, and Birdsong also feels that way. It's over, the nympho mode is turned on again. . .
Ah, and finally, the Williams dance was great too.
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