Blonde's sacrifice to Valhalla
![Image](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqxZ2UzygCdx4a5h3RcU8xKaKhOLxDiSjBDalZlncaQ6qJu3oIK9rcghMOzn8lYD1xByju9GHg6AO3Q7NJSQTFTB7GRvW81X7v2EqC7lO00Ka-8CxSFuAln_cXKDsvkbByMJtaH9B8ynVVhJGuU7PDQt9nH4Zdv1QzYujVM5wNBeZDYnpb-Hjz2KCgKg/w640-h640/af56ec43845f40cd53560d9c7a98c61b32-BLONDE-STILLS-521082.rsquare.w700.webp)
Blonde (2022) converts the 'Marilyn prose' of the novel by Joyce Carol Oates (2000) into imagery in a relentless travesty devoid of integrity and ridden with clichés. Oates calls it a "penetration" of the fictitious self of Marilyn Monroe and was used by Andrew Dominik as a "bible" for his film. Many Netflix spectators describe that they reached a saturation point after 20 minutes. Oates' first chapter is mirrored in these opening scenes: the leitmotif of closeups of Monroe in her white briefs forced into unsolicited sex in casting auditions or twirling on the set of The Seven Year Itch; g rowing up as an infant in a bureau drawer with a mentally unstable mother Gladys (Julianne Nicholson); receiving a birthday present, a photograph of her absent father placed over her bed by her mother; the fire set that results in the child being placed in an orphanage. The language of Blonde is torpid and dramatic: "I will punish myself, despite your l