From the polarising depiction of Marilyn Monroe in Blonde to the ‘exhilarating vulgarity’ of Elvis, it’s been an interesting year in Australian film.
. This soulful, pointy-eared granter of wishes has been bottling up his feelings for roughly a millennium per lost love; but he meets his match in lonely narratology scholar Alithea Binnie , who knows every twist in the wish-granting story, and is determined to use hers wisely.
Miller is a rare filmmaker who intuitively exploits cinema’s grammar for visual pleasure – even though this luscious romantic fantasy argues that through pleasure, you risk losing yourself. Tofans it’s a trifling placeholder; but it showcases Miller’s imaginative visual effects, and the kinetic flair of his camera movements.
Alongside Presley in the pantheon of 20th-century culture, Marilyn Monroe eternally bestrides a narrow subway vent like a colossus. And many petty viewers watched Andrew Dominik’s filmSome commentators branded Dominik a misogynist for depicting Norma Jeane as the objectified victim of sexual violence, rather than depicting her as a strong, smart girlboss. Others derided the film as shallow for its interest in aesthetics and filmic textures.
But having read, loved and written about Joyce Carol Oates’ doorstop of a source novel, I appreciated how faithfully – yet with such visual verve – Dominik has adapted the book’s central theme: that Norma Jeane’s primal, ultimately fatal wound is her uncaring mother and unknown father. She’s unmoored, dissociated, because her own personality has become completely overshadowed by her monstrous double “Marilyn Monroe”, the Hyde to her Jekyll.
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