I believe I’d said more than once on this blog that I don’t like biopics. If your life merits a film, then chances are you’ve overcome seemingly insurmountable odds to succeed in the end. They’re all the same arc, and the only fun comes from that ‘behind the scenes’ voyeuristic feeling of seeing the private moments of someone famous.
Marilyn Monroe was once one of the biggest movie stars in the world. Of course she merits a biopic, and there have been several (Norma Jean & Marilyn comes to mind). This film is not a biopic, but it feels like a more honest and intimate look into the mind and soul of Miss Monroe than any sweeping, all-encompassing two+ hour bio-epic could. Based on the memoirs of filmmaker Colin Clark, it’s the true story of a young boy’s brief encounter with the actress when she crossed the pond in 1957 to make The Prince and the Showgirl with Sir Laurence Olivier.
It’s that focused, narrow scope that allows the honest little insights into Marilyn shine through. We’re not bogged down with her childhood, her first bits of modelling, the first moments she tasted film success (remember The Asphalt Jungle?), the first moments of true fame, of exploitation, of drugs, etc… When she first arrives in this film, she’s newly married to her 3rd husband, Arthur Miller, and already a worldwide smash. She can’t go anywhere without being mobbed, her insecurities on set and off are already deeply rooted and are something to deal with, not explore the origins of.
Because of this narrow focus, the film is refreshingly enjoyable to watch, without the weight that covering her whole life would add. Yes, I’m sort of off-topic with the whole biopic thing here - My Week With Marilyn was never intended to be one. But Michelle Williams is so great here, so dead on in her portrayal of Marilyn, that it feels like I know her so well as to leave me with the feeling I’ve watched her entire life. She nails that springy neck, the droopy eyelids, the nervous smile, the wiggle of the hips, the sultry singing. When she meets young Colin (the 23-year old 3rd Assistant Director to Olivier), it’s obvious that she’ll grab onto him for support, it’s obvious he’ll fall for her, and it’s obvious there’s no real future for him with her (the title alone guarantees that). The foregone conclusion of it all makes the centerpiece of it the mind and heart of her, with fantastic clarity. Her panic in a mob of people, her wry smile when meeting some fans as she whispers, “Shall I be her?” before slinking down and giving them what they want. Williams is just about perfect.
The other performances are great, too. Branagh has fun playing Olivier, and Dame Judi Dench is, as always, delightful. But this is Williams’ film, she owns it so. And filmmakers, take note: you don’t have to tell a person’s entire life story to get to the truth of them. Avoid the predictable arc of the biopic and find a few weeks in their life that can define them.
