The new film with Marilyn Monroe is a disaster and there is a problem with abortion

marilyn monroe ana de armas

Ana de Armas presents Blonde to the 70th San Sebastian international film festival. (Photo by Javi Julio / Anadolu Agency via Getty Images)

The flash of a scatta photographic machine. A beacon if you access. It schermo It is invaded in slow-motion by the smiling figure of Marilyn Monroe, fasciated by her iconic white dress.

It is the opening scene of the film Netflix Blondewith Ana de Armas—a film that portrays Monroe’s life as an almost uninterrupted series of disgrace, tra cui svariate sessual violenceand, alquanto surprisingly, finisce per parlare tanto di abortion quanto dell’icona americana protagonist. Less surprising is the fact that the way in which the film talks about abortion is quasi del tutto sbagliato.

Smetti di leggere qui se non vuoi spoiler.

Già during the prima settimana dall’uscita di Blonde non sono mancate le critiche riguardo al ritratto sensationalistic and infantilizing che offre di Monroe e dei suoi traumi, tra cui due scene romanzate di abortion.

Gli esperti suonano campanelli d’allarme: Planned Parenthood (American NGO that deals with sexual health and riproduttiva) and a researcher from the University of California of San Francisco have told VICE News that the perpetual film miti antiabortisti sull’operazione e sullo staff medico che la effettua—a worrying behavior in a period in which the Supreme Court has annulled the storica sentence Roe v. Wade, lashing out at all states the freedom to regulate abortion, with states such as Alabama and Texas that have condemned the illegal medical practice of tutto or quasi. Inoltre, the film contains a talking fetus in CGI that is not only fuorviante, ma sembra fatto su Windows 98.

“The voluntary interruption of pregnancy is a safe and essential health procedure; My anti-abortion fanatics have contributed to increasing the stigma per decade of procedures for descriptions and errors in pregnancy and pregnancy,” said Caren Spruch, national director of art and special involvement by the American Federation of Planned Parenthood, in a statement. “Blondeil new film by Andrew Dominik, rinforza il loro messaggio.”

Le scene dei due aborti sono chiaramente concepite per scioccare, as well as much of the rest of the film.

The first scene shows an anxious Monroe at the back of a car while her autistic son carries her in the clinic. “Ti prego, voglio tornare indietro,” Monroe implores. Lungo tutta la strada, she continues to ask the autistic woman to become indiscreet because she has changed her mind.

Monroe finally communicates that in a hospital letter, she pleads with the doctor and his staff to let her go. Parrot ignores her.

In fact, if a patient revokes her own consent to the pregnancy interruption, a health operator will treat her, said Steph Herold, who is at the University of California of San Francisco in the program for the Advancement of New Standards for Reproductive Health.

“Nessuno ti legherà al leto e ti costringerà ad abortire. Anzi, il consensus è fundamentale,” Harold underlined, adding that giving a negative image of her if she occupies the voluntary interruption of pregnancy, Blonde “Has rafforzato questo orrendo luogo comune per cui gli operativei che lavorano in questo campo sono diversi dagli altri operativei sanitari, sono crudeli e non ascoltano le pazienti.”

C’è also an amazing point in cui il pubblico vede i medici dalla prospective della cervice di Monroe; We go through her vagina, keeping the way we are to interrupt her pregnancy, little cousin who reads deep in one hallucinatory state. In her sleep, she risks fuggire dal leto e runs per i corridoi dell’ospedale ending in her childhood home, avvolta dalle fiamme, and she finds a baby that piange in a cassette. Per tutta la scena appare sullo schermo il feto in CGI (what comes often rappresented as a completely formatted baby, also Monroe in pregnancy is always shown with the pancia piatta or with a rigonfiamento appena visibile, il che signifies che il fetus non potrebbe mai essere stato così sviluppato at the time of the abortion).

During her second pregnancy, she schermo—which ended with a spontaneous abortion—il fetus ritorna e, con voce di bambino, chiede: “Non mi farai del male questa volta, vero? Non farai quello che hai fatto l’altra volta?”

Monroe has an entire conversation with the fetus. Whispering in an almost sexy way, she gli says: “Non volevo.”

“Sì che volevi,” replies the fetus. “This is your decision.”

Secondo Herold, diverse part of the film “suonano come dialoguehi copiati e incollati” is an explicitly anti-abortion film.

“My sono detta: ‘This scene comes right from that kitsch anti-abortion film and it’s clichéd that if I don’t release it in the Christian version of Netflix,’” Harold described. “Sono rimasta scioccata nel vedere una cosa del genere en un film que dovrebbe essere un’opera d’arte di certo caliber.”

Dopo essere stata costretta ad abortire, Monroe è colpita da ripetuti attacchi di rimorso e vergogna. At a certain point, while the public jumps in piedi in an enthusiastic standing ovation per Gli uomini preferiscono le biondeuno dei suoi classici, Monroe whispers tra sé e sé: “Per questo hai ucciso il tuo bambino.”

Il rimorso is a common theme in the anti-abortion circuit. Prima della revoca di Roe v. Wade dell’estate 2022, diverse stati USA richiedevano who came to offer a consultation all peace that emphasizes and potenziali sentimenti negativi that potrebbero emergere dopo an abortion. According to the study of Turnaway, the main American study that has had the experience of doing so with indesiderate gravity and voluntary interruptions, it has revealed that a large part of the person tried to do something about an abortion—and continued to test it for at least five years after the operation. . Even if i have sentiments that are sfaccettati and complessi, i dati dello studio turnaway Hanno dimostrato che, cinque anni dopo, l’84 percent delle donne avevano emozioni in great part positive o nessuna emozione al riguardo. Only 6 percent has a prevalence of negative sentiment.

It is worth noting that there is no document that I certify any voluntary abortion from Monroe: the film is not biographical, bensì è basato sul romanzo Blonde di Joyce Carol Oates, who was freely inspired by Monroe’s life.

That is a problem, according to Herold, in part because it is not so great that the film is in a long part of romance. The person who kept it possono will think that the scene dell’aborto if he had his fatti really accaduti. Ciò potrebbe will influence the poor understanding of abortion and the role of health personnel who assist it in general.

Verso the end of the film, Monroe has another abortion: in this case a group of men, including a doctor and a policeman, fissano per tutto il tempo. Compare di new l’inquadratura da inside her vagina. A disquieting tetra music gives the background to the scene of the operation.

Ma ci sono altre scene che hanno a decidedly anti-abortionist tone. As soon as Monroe interrupts her first pregnancy, he goes to find his mother, ricoverata in an institute. While she fails, Monroe keeps her mother from her and tells her: “Hai fatto la cosa giusta. There is childbirth. Hai avuto me.”

Secondo Spruch, immagini false como questa “servono soltanto a corroborar la disinformazione ea perpetuare lo stigma sulla salute sessuale e riproduttiva.”

“Ogni risultato di a gravidanza—particularly l’aborto—andrebbe ritratto dai media con la giusta sensibilità, in authentic and accurate way,” said Spruch. “Abbiamo ancora molto lavoro da fare per assicurarci che ogni persona che voluntarily interrupts a pregnancy possa rivedersi sullo schermo. It is a peccato that invece gli autori di Blonde Abbiano decided to contribute to the anti-abortion propaganda and to stigmatize the medical decision of the person.”

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The new film with Marilyn Monroe is a disaster and there is a problem with abortion


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