Monster

Written and directed by Patty Jenkins

            Patty Jenkins only made an important film with Monster in regards to Charlize Theron’s career.  Not to say her performance isn’t good, it is, but the actress has shown potential before without the critical recognition.  In this, it is more the prosthetics and other physical transformations which allow her to become Aileen Wuornos.  Try to imagine the actress doing the same movements and lines as she normally looks.  It would seem no more than an impersonation.

            She stands out in Monster so much because she is the best thing about it just as the acting in this year’s 21 Grams and Pirates of the Caribbean outdid their own movies.  Still, somehow I can recommend a movie just on the merits of watching Johnny Depp rather than Sean Penn or Charlize Theron.  Why?  Perhaps the ingenious comedy of Depp is more enjoyable and appeared in films this past year which weren’t heavy in any regard.  I can believe that Theron is the character she plays yet I have no desire to watch her nonetheless.

            I don’t want to go on and on criticizing Theron because I don’t think she is bad.  I think she’s in a lot of bad movies, this one included, where she isn’t given enough direction with which to truly shine.  Writer-director Patty Jenkins has no concept of storytelling, theme, composition or originality.  Monster reminds me of so many other films which are so much better for these reasons. 

            Aileen Wuornos was a prostitute in Florida in the late ‘80s who was convicted of murdering 6 men, most of them customers.  The film doesn’t really tell a story about a serial killer, though.  We are shown a few of the murders which paint her out to be a victim at first and then delusional of her vigilant motives.  A distracting though ignorable voice-over by Theron explains much of her background of child abuse and never having a chance.The real story here, though, is of Wuornos’ desire to be loved.  She meets a young, naïve lesbian named Selby (Christina Ricci) who becomes a partial reason for her to give up hooking.  It is a frustrating relationship for both parties as well as the audience because Wuornos’ near instant acceptance of homosexuality is suspect as are Selby’s intentions for going along for the ride.  They are evidently both pathetically dependent on each other while selfishly exploitive at the same time.  This interpretation would be a fair reading on the characters alone as their thoughts and actions would be conflicting, yet Jenkins includes an argument regarding their intentions, crushing the subtlety of the situation. 

            Eventually I wanted some other distractions since the film never went in new directions.  Jenkins’ complete disregard for composition allowed me some loss of attention.  There is one notable shot in which Wuornos and Selby make out for the first time behind a roller rink.  They push against a wall on the right of the screen while a blinding light is visible on the left side.  The light serves no purpose and is likely there because of a lack of care on the part of Jenkins and cinematographer Steven Bernstein.  I eventually found myself distracted by all sorts of things in the frame, especially when Theron wasn’t visible, waving her arms about and swearing at people. 

            Monster is very reminiscent of other films like Badlands, Thelma and Louise and Boys Don’t Cry.  In comparison to all three, Monster is a great failure in its lack of distinction.  It lacks the beauty and tenderness in which Malick treats his characters in Badlands and the respect and honor in which Ridley Scott depicts Thelma and Louise.  Even in regards to the performance, I still kept picturing the character as being Charlize Theron in makeup and maybe that is the fault of knowing beforehand, but comparatively, I can still watch Hilary Swank as Brandon Teena and continually forget that he isn’t really a man. 

            Whether or not Charlize Theron wins a handful of accolades and awards for Monster is of little concern.  It is nothing that should be remembered any more than last year’s mistaking of prosthetics for acting in The Hours, but in the long run, I will be happy to see Theron in better roles because of this film just as I am happy to see Kidman appearing in more interesting projects as well.  It is the praise for the film as a whole which is bothersome and unforgivable and one which will be embarrassing for those applauding Jenkins once her career is further down its awkward road.    

It is funny that the still photographer got more out of this moment than the cameraman who was a few feet over to the left.