My Week with Marilyn (2011)
Starring Michelle Williams, Eddie Redmayne, Kenneth Branagh, Emma Watson, Derek Jacobi, Julia Ormond, Dominic Cooper, Dougray Scott, Zoë Wanamaker, and Judi Dench
Directed by Simon Curtis
I say this whenever I write of review of films like these, but I am not a fan of biopics. I greatly admire actors who are able to mimic the well-known personas of others, but oftentimes, I find myself left completely empty by the films they inhabit which all seem to want to tell the same tale -- more or less -- about the character's rise from adversity to something greater. While
My Week with Marilyn certainly follows the biopic formula, it fortunately only gives us a glimpse at the sexy and alluring Marilyn Monroe (played quite well by Michelle Williams) during a brief stint in her life when she traveled to London to make the film
The Prince and the Showgirl with Laurence Olivier (played over-the-top [although I imagine Olivier was that way in real life] by Kenneth Branagh). Giving the audience only a small chapter of the well-known Monroe's life proves to be a much better moviegoing experience and allows the viewers to infer how events prior to making this film, her time during the filmmaking process, and her years after starring in
The Prince and the Showgirl all shaped her into the tragic figure she became. The sheer fact that we're allowed to "infer" things is a welcome relief in this day and age when we're always hit over the head with everything as filmgoers.
The film -- which is a showcase of the power struggle between Monroe and Olivier during the making of the frivolous romantic comedy in 1956 -- can be summed up in one good line spoken by Dominic Cooper (I believe) portraying Marilyn's manager Milton Greene: "[Sir Laurence] is an artist wanting to be a film star; [Marilyn] is a film star wanting to be an artist." The two just don't mesh, but by the end of the filming process they've perhaps made each other a bit better at their craft. Although this struggle between the two powerhouse actors is certainly front and center, the "My" in
My Week with Marilyn refers to the young 23-year-old Colin Clark (Eddie Redmayne), a young Brit who, despite his parents' disdain, travels to London to work on the set of the Olivier picture. While performing the task of the third assistant director -- essentially a glorified intern position -- he befriends Marilyn whose
method acting techniques are causing huge issues with the cast and crew of the production. The two bond and, as any young man would be, Colin becomes quite enamored with Ms. Monroe who despite having just married her third husband Arthur Miller (Dougray Scott) is already having some marital issues which may very well work in Colin's favor.
As a fan of movies, admittedly it's fun to see "behind the scenes" stories like these and this film is no exception. The scenes on set with the bombastic Olivier and out-of-her-element Marilyn are brilliantly funny -- Branagh's Olivier, in particular, is also a hoot as he grows ever more exacerbated in the scenes. Admittedly, I'm not all that familiar with Olivier, but I can't help but imagine Branagh's rather snooty interpretation of the guy -- who not only acted in
The Prince and the Showgirl, but also directed it -- is spot-on. Adding to the excitement is a very nice turn from Judi Dench playing Dame Sybil Thorndike who becomes somewhat of a loving mother to Marilyn on set and a hilarious turn from Zoë Wanamaker as Paula Strasberg, Marilyn's famous acting coach in the Stanislavski acting method which created much tension with Olivier.
The film falters a bit, however, when we walk away from the movie set. Most notably, there's a throwaway subplot involving a romance between Colin and a young costume designer (played by
Harry Potter's Emma Watson in a completely thankless role) that could have been (and should have been) left on the cutting room floor. Additionally, as Marilyn begins a downward spiral after several difficult weeks on the set, the film shifts much too awkwardly from a light comedy to a rather serious look at the toils and troubles that made up Marilyn's life. The tonal shift never quite finds an appropriate balance which is a shame.
Fortunately, never once does Ms. Williams' performance shift into a caricature of Monroe which it so easily could have done. Surprisingly, however, Williams ends up shining in the more intimate moments of the film's second half rather than the comedic realm of the first half. This ends up working in the movie's favor as us viewers can latch on to Williams' performance when the film -- which becomes a bit too psychoanalytical for its own good -- begins to falter.
The RyMickey Rating: C+
