“Anna Nicole Smith: You Don’t Know Me” is tainted by the lies Smith cleverly crafted to psychologically guard herself against past and future trauma.
played a variety of roles on screen and off, identifying as someone different to everyone in her orbit. Even her name was part of a manufactured persona, carved from the same marble as Marilyn Monroe — an aspirational idol of hers. The buxom blonde bombshell represented the dynamic range a woman’s identity could span, from the saintly to the sinful .
Talking-head-style interviews from Smith’s friends, family and business associates add context and clarity to milestones like her first Playboy shoot, where a record of Monroe singing “Diamonds Are a Girl’s Best Friend” calmed her jittery nerves, and a Sapphic fling with her confidante “Missy” . Though Macfarlane doesn’t strictly adhere to them, title cards demarcating time and place help to root in history the events that befell Smith, along with flashy graphics of the attention-grabbing headlines she inspired. Those who lived through the era where society’s scrutiny of Smith dominated the news will remember many of her sordid shenanigans without such prompts: Her inheritance trial for her marriage to Marshall seemed unending.
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