MOVIE - MONSTER - Review Rating $$$$$ $$$$ (OUT OF 10)
STARRING - Charlize Theron (Aileen Wuornos), Christina Ricci (Selby), Bruce Dern (Thomas), Scott Wilson (Horton), Lee Tergesen (Vincent Corey) & Pruitt Taylor Vince (Gene).
DIRECTOR/WRITER - Patty Jenkins
A TOP 10 MOVIES OF 2003 SELECTION
Based on a true story
Awards: Best Breakthrough Actress (Theron) (2003 National Board of Review); Best Actress (2003 San Francisco Film Critics Circle); Best Actress (National Society of Film Critics); Best Actress (2003 Broadcast Film Critics Association); Best Actress - Drama (2004 Golden Globes)
If you watch Monster and walk away thinking that it was nothing more than a liberal, feminist, soft on crime, post-execution vindication of America's most prolific female serial killer, you have, in my opinion, totally missed the point of this film. What Monster does is shine a bright light on a largely forgotten about segment of our society that is often demonized and routinely considered not worthy of further compassion or help.
In telling the story, of Aileen Wuornos's undeniably tragic life, Monster serves as a potent reminder that when society fails to protect and provide equal opportunity, for all, it creates a breeding ground for monsters such as Aileen Wuornos. She, like so many others, once shared our dreams and aspirations. She, like so many others, came to be considered not worthy of being accorded basic human dignity. She, like so many others, lashed out against her oppressors. We all share some responsibility for the Aileen Wuornos's of the world.
This sharing of responsibility doesn't absolve Wuornos of guilt and/or being responsible for her own actions. There are countless others, as the movie reminds us, subjected to similar dehumanization that don't turn out the way that Wuornos did.
There are several themes that run through Wuornos's life that conspired to produce the monster she became. The first is the usually innocent youthful ambition to be famous and desirable. The second theme, which is all too common for all too many, is a complete lack of support and/or encouragement. The third, and this is perhaps the most crucial factor, is her tendency to take the path of least resistance compounded by a need for instant gratification.
Wuornos's emotional development was warped, if not completely stunted, by her abusive childhood. Though she never forsakes her dream of desirability she convinces herself that cheap and vulgar imitations of desirability (being paid to flash her breast at an early age) are acceptable substitutions for the adulation bestowed upon the imaginary princess of her dreams. Forced to fend for herself, Wuornos turns to prostitution which, at least initially, provides her with instant gratification of her emotional need to be considered desirable. The problem, for Wuornos, is that the incongruity between reality and fantasy is too much to bear and it brings her within moments of committing suicide.
Ironically, its her chance meeting with the seemingly innocent Selby (Ricci) that provides the spark which ignites Wuornos's barely contained rage into an inferno of repressed hatred. You sense Wournos sees in Selby a younger, more innocent version of herself that she wishes to protect from life's harsh reality as well as a last chance for personal redemption. Selby is not worthy of the pedestal that Wournos places her on and her nonjudgmental acceptance of Wournos becomes a double-edged sword. Wournos mistakes Selby's selfish affection for legitimate desirability, a desirability she is fundamentally emotionally ill-equipped to deal with.
Wuornos promises the demanding Selby the world Wuornos always wanted. Her attempt at legitimately obtaining this is thwarted by Wournos's own unrealistic expectations. She approaches this monumental task with the immaturity and impatience of youth. Her stunted emotional development, a direct result of her abusive upbringing, is as much responsible for her not succeeding as is society's dismissal of her conversion.
A life of dehumanization finally overwhelms Wournos. Though she kills first in self-defense she is able to continue killing because she believes the lives she takes are as worthless as society has deemed hers to be. In the process she demonstrates that whenever a single person or institution assumes the role of judge, jury and executioner mistakes are inevitable. The biggest mistake Wournos makes is killing somebody society deems respectable. This, in some respects, is perhaps the saddest commentary Monster makes. Society didn't care about Wournos, or her victims, until these murders threatened respectable citizens. This was much too little and too late for all concerned.
I can't end this review without commenting on the brilliant performance of Charlize Theron. She doesn't deserve the Oscar, for best actress, because she was willing to undergo such a dramatic physical transformation. She deserves the Oscar for so eloquently capturing the rage and humanity of Aileen Wournos. Her every nuance, expression and reaction was consistent with the person she portrayed. If this performance is not Oscar worthy than the Academy will have once again demonstrated its too frequent penchant for not recognizing true craftsmanship.
Monster is one of the most powerful and compelling films I have seen in years.
Running time - 111 minutes
Check out my WORST MOVIES OF 2003 list.
Alternative Reviews:
Roger Ebert's Review
Peter Travers / Rolling Stone Review
Rotten Tomatoes Reviews
Monster Official Web Site
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2005
David Schwartz.
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2/28/05; 1:49:13 AM.
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