rating: ★★★★

When the words “true story” are associated with any film, particularly one with the name of a historical figure in the title, I tend to be overcome with weariness. The fear with biopics of this nature is that they are going to be completely dry and run on for an excessive amount of time. Sometimes watching a biopic feels more like reading a textbook than experiencing actual entertainment.

Luckily, Simon Curtis’s My Week with Marilyn does not fall into this nasty trap that similar movies often find themselves in.

Colin Clark (Eddie Redmayne) and Marilyn Monroe (Michelle Williams).

Largely due to Michelle Williams’ captivating performance as Marilyn Monroe, the film does not falter. It is no easy task to play Monroe. The entire film depends upon the dramatic switches in Monroe’s personality bouncing seamlessly back and forth between fallen angel in need of rescue and manipulative man trap.

This is what Colin Clark (Eddie Redmayne) discovers during his time on the set of Monroe’s movie, The Prince and the Showgirl. Clark has a dream of working in film and lands a job as a third assistant director, which essentially makes him a glorified errand boy.

The script is based on Clark’s diary of his time on set and the secret, week-long romance he shared with Monroe. The Prince and the Showgirl is directed by and also stars Sir Laurence Olivier (Kenneth Branagh), whom Clark has a family connection to. Olivier spends the majority of the film bewildered and frustrated by the nervousness and fragility of Monroe on set. She takes a liking to Clark and of course he cannot help but fall deeply in love with her. This is where Monroe’s intent becomes shrouded. She is seemingly unhappy in her marriage, but there is no way of knowing if she loves Clark back or is just taking advantage of his innocence.

On the set, Monroe is completely vulnerable, teetering on the edge of a complete meltdown at any moment. She pops anti-depressants like candy and just drifts by, confused by everything that surrounds her. Nevertheless, it is goddamn impossible for the viewer to not be absolutely smitten by Williams’ charms and looks. She perfectly channels Monroe, a woman whose mere wink could make men weak in the knees. This is no exaggeration. This was always how she was perceived and Williams nails it, almost to a frightening degree. At her happiest, Williams’ Monroe could seduce any man with ease.

The whole film is undeniably delightful. It would take a large amount of heartlessness to not be moved by it. In its entirety, the film has a feel-good vibe to it that often comes from typical Hollywood fluff movies, the kind of movies Monroe would make back in the ’50s. It’s all so light. The highs are always so high and the lows are never too low and don’t last long enough to bring down the tone of the movie. Williams carries the film and its cast on her shoulders: it all revolves around her. When she is off screen, you sit in hot anticipation of the next moment you can get a glimpse of her, understand what her intentions are with Clark or just what emotional state she is in.

It is tough to say whether Monroe believed in love and romance or just simple manipulation of the men around her. All I know is that I enjoyed this film, and this cinematic week with her.

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Photo: Supplied