Blonde: The Ending Explained By The Director! Here is What He Said

Andrew Dominik, director and screenwriter of Blonde, explained the ending in an interview for his controversial film, an adaptation of the novel of the same name by Joyce Carol Oates and dedicated to the life and memory of Marylin Monroe. The film, presented at the 79th Venice Film Festival, is available on Netflix from Wednesday 28 September, and depicts the death of Monroe far from the conspiracy theories that have circulated for years and years. Indeed, Dominik said that the theory that she was murdered makes no sense.

Blonde: The Ending Explained By The Director

On the occasion of the release on Netflix of the film Blonde, director and screenwriter Andrew Dominik opened up during an exclusive interview with The Wrap and said not only his theory that Marylin Monroe was murdered, but he gave also his explanation of the controversial film’s ending, with these words: “I mean, she was a drug addict. I think she probably died from an accidental overdose or a real form of suicide. It was just what I believe happened. I think she was essentially a self-destructive person. I think no one can disagree with this, that she was an intensely self-destructive person. She was a drug addict, do you understand? “

On conspiracy theories regarding her assassination by some hitmen of John Fitzgerald and Bob Kennedy, Dominik disagrees: “I don’t think she was killed. She doesn’t make any sense. There would be no reason to kill her because if she held a press conference and said she had an affair with the Kennedys, no one would report her. I mean, she could have called for a press conference, and no one would have published what she would have said. So, the murder theory makes no sense”.

Blonde: The Story

Blonde is not a biopic in the traditional sense of the word. It tells the life of Marilyn Monroe, from her relationship with her mother, depressed and violent about her, during the years of her childhood until her death in 1962 in circumstances not yet fully understood. Between her, her two marriages, the first with Joe DiMaggio, the second with Arthur Miller, her consecration as a movie star, and her decline due to psychotropic drugs. But it is above all the story of how Norma Jean, the actress’s real name, feels, of how she is observed, of how she is plagiarized, of how the stage name Marilyn Monroe gradually devours all sanity of her. And the source material could not be otherwise seen, Joyce Carol Oates’ novel of the same name which constructed through fiction a controversial portrait of Monroe. Sacrificing the chronicle of events, but focusing solely on the protagonist’s “empire of the mind”, Blonde does not want to be a conventional biographical story, but a reinterpretation of a human condition, which evolves and sinks over time.

Starting with a sensational beginning, in which Norma Jean celebrates her birthday, and then embarking on a drive away with her mother, increasingly nervous and depressed for having lost her husband, while the hills of Hollywood (land) burn. They burn like the anger of a mother who makes her failures fall on her daughter, who will spend her life carrying this increasingly painful weight on her, in constant search for love. Having lost her mother figure, Norma has nothing to do but look for the love of her father, never seen before except in a photograph. A search for her that will transform her more and more into a piece of meat, into a dish to be delivered and abused, a body to be observed and mythologized. It is the birth of Marilyn, a luminous alter ego that hides enormous darkness. From then on, the events will follow one another.

Blonde, written and directed by Andrew Dominik and starring an extraordinary Ana De Armas as Marylin Monroe, is currently available on Netflix for all subscribers.