My Week With Marilyn
So good I saw it twice. Ok, that's not true. I mean... I did see it twice, but only because the power went out at the theater twice during my first viewing and each time the film kicked back in, it did so sans sound. Felt like I was missing something, so I re-viewed. That said, it was good enough to see twice in my mind. It just was a good movie. A mostly light-hearted movie, but a good movie nonetheless.
Yeah, actually, if I was going to describe it concisely (not sure why I would... there's perfectly good internet space to waste right here) I would say it was a charming flick. It was just hard for me not to like it. The story was interesting and the characters were compelling... oh, yeah, and the performances were fantastic. Absolutely fantastic. Lots to like, in other words.
The story follows the adventures of one, Colin Clark, a self-described self made man who nonetheless milks his parents connections (along with his easy-going nature and general eagerness) to snag a job with Laurence Olivier Productions. His first job? Working as the third assistant director on the Olivier Directed/Produced The Prince and the Showgirl. It also happens to be the flagging (or so he seems to think) Olivier's attempt to stay relevant by working with the incomparable (and incorrigible) Marilyn Monroe. Of course, where ever Marilyn goes a tempest of anxiety, fame, brown-nosers, well-wishers, and controllers follows. The production turns into something of a circus with no master, and Colin and Marilyn eventually fall together into something short of love but- at least to him- more than mere admiration. I should probably point out that all this is based on a "true" story: Colin Clark's on-set diary which was later published as The Prince, The Showgirl, and Me. Of course, exactly how "true" all the events recounted therein are is up for interpretation. Marilyn Monroe was the biggest star of her time; wouldn't you maybe tweak a few details to seem more in her orbit? I might, especially if it meant the successful sale of not one, but two books based on that one precious week. To clarify: I have little doubt that the basic framework presented here is true enough, but did Colin really hold the influence he says he did? Who knows, it's not as though many of the principals are still kicking around. Colin seems to think that while he definitely fell for Marilyn, Marilyn- on some level- returned the favor. Seen through the lens of Director Simon Curtis and Screenwriter Adrian Hodges, though, I think there may be some doubt. Did Marilyn really just use Colin for his earnest companionship? Did he satisfy a need for the moment? If we take Colin at his word, no, it was deeper than that. Curtis and Hodges- whether intentionally or not- muddy the waters. So, I guess, whether intentionally or not, Curtis and Hodges have come up with a compelling story, one that basically asks the viewer: who was Marilyn Monroe? Was she what she was? (or rather portrayed herself as). The filmmakers offer tempting clues, but- at least as far as I can tell no concrete answers.
And why is that? Because it's better that way, for one. But also I think it'd be hard to offer concrete answers on Marilyn when the story runs through Colin. That's actually one of the biggest criticisms that I've read regarding the movie. With Michelle Williams giving such an extraordinary performance as Marilyn Monroe... and, hell with Kenneth Branagh nearly matching her as Olivier, doesn't making Eddie Redmayne's Colin the focal point limit the film? I dunno. Maybe. But I don't think it limits it as much as makes it stronger. With such out-sized, brilliant personas as Monroe and Olivier on display, isn't better to view them through a lens or indirectly. Viewing them full on might be too overpowering, especially Williams' incredible turn. I like to think of it this way, you can't really appreciated the full beauty of the sun by staring directly at it- it'll blind (literally). Sometimes you need to appreciate it by looking at where it shines. So too with Williams performance. (And Branagh's) Too much of either might have cast the film in a different light. Not a better one either. Having both disappear from the screen, live their lives off it, then reappear worked better. Plus too much of a good thing can make things go bad. Williams, in particular, had a tremendous challenge on her hands. How do you portray one of the most distinctive and famous women of all time without falling into the realm of caricature, mimicry, or impersonation? How do you inhabit such a role, make it yours, but stay true to the subject? It couldn't have been easy. But Williams knocks it out of the part with apparent ease. Try looking elsewhere. It's damn near impossible.
All that said, it really isn't Clark's show. It's Marilyn's. All the action revolves around her. All the people want to get in her head (at least...if not also her bed). Everyone on screen wants to just be in her orbit, feel her star power, watch her do her thing, watch her be Marilyn Monroe. You can see what a toll that could take on such a fragile persona as hers. And the film shows her that way. She is manipulated and manipulative (even if she harbors good intentions), she's innocent and damaged. She's a complicated person. Can you ever really get in her head? Can you ever really change her? Make her better? Does she need to be better at all? These are questions the film leaves you grappling with without giving you any outright answers. Oh sure, they give you Colin's take (a lot), they give you her publicist Arthur Jacobs' take (a delightfully sleazy Toby Jones), they give you Olivier's often exasperated take, and her husband Arthur Miller's take to name a few. But the real greatness of the film is that the folks behind it refuse to give you a heavy-handed verdict. You're just left thinking about it, about Marilyn Monroe who she was, what she meant, what could have been, what ultimately was, and with Williams bringing her back to life, you're all too glad to engage these thoughts.
Grade: A
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