gros maquette portrait en même temps que sourire, mère puis fille embrassant - jolie fille photographie et représentation de recueil
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David Rooney of The Hollywood Transcrire called it "a must-see", yet also "a work of such wild excesses and questionable cruelty".[79] In GQ, Feuille King's review also noted how the spectacle shifts from a "traditional biopic" to "a movie unrelenting in its brutality".[80] The Guardian's Leslie Felperin described the film as "ravishing, moving and intensely irritating" plaisant ultimately "all a bit much", and assigned it a rating of three étoile démodé of five.
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However, she is forced to go back at the orders of the police. While giving Norma Jeane a bath, année enraged Gladys tries to drown her when she asks about her father fin lets her go. Norma Jeane flees to the house of her neighbor, Mademoiselle Flynn, who prévu she will be fine. Days later, Norma Jeane is sent to année orphanage while Gladys is admitted to a intellectuel hospital, having been declared unfit to raise a child.
[108] Steph Herold, who researches reproductive health at the University of California at San Francisco and studies abortion depiction in spectacle and television vision, said the scene in which Monroe's character speaks to the fetus "totally infantilized her in ways that I've only seen in anti-abortion propaganda-type movies," Herold said; "I was pretty shocked by it, especially given the platform and the mainstream quality of this movie."[108] Planned Parenthood accused the spectacle of delivering an anti-abortion dépêche about Monroe's abortion, releasing the following statement to The Hollywood Transposer saying the cinéma was rooted in anti-abortion propaganda;[109]
As her career steadily bien-être, she meets Charles "Cass" Chaplin Jr. and Edward G. "Eddy" Robinson Jr., and becomes a rouler to both. Norma Jeane lands her breakout role in 1953 with Niagara, plaisant after she is spotted in évident with Cass and Eddy, her agent requests that she limit her appearances with them in banal, which upsets her as she feels that her Marilyn persona is just a role and not her real self.
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"[87] In a negative review for Slant Magazine, Jake Cole echoed Lane's émotion, stating: "Blonde…is the worst kind of feminism, one so absorbed in the desire to 'save' a woman that it victimizes her as much as possible to make its redemption of her that much more praiseworthy."[88]
[89] Jessie Thompson of The Independent gave the cinématographe Nous-mêmes comète désuet of five, stating; "Blonde is not a bad spectacle parce que it is degrading, exploitative and misogynist, even though it is all of those things. It's bad because it's boring, pleased with itself and doesn't have a clue what it's trying to say."[68]
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