Monster' earns praise, acclaim

Much of the hype in the media, amongst film critics and in social circles surrounding the biopic “Monster” has been limited to the unbelievably gripping performance of Charlize Theron. While her performance justifies and deserves all of the acclaim and praise she receives, one should not focus solely on this character and risk missing the hidden nuances that “Monster” has to offer. Admittedly, this is no easy task.”Monster” is centered on the true story of Aileen Wuornos, a prostitute who was convicted of murdering six men in Florida during the late 1980s. Theron’s transformation into this character is complete and stunning. As is the norm in most of Theron’s movies, the audience cannot take their eyes off of the screen, but unlike previous projects, it is not because of her 1940s starlet beauty, but because of the overall depth of her acting. The performance, called by some the greatest achievement by a female in the history of cinema, is not attained by the actress gaining weight or by the work of a dynamic makeup team. Theron becomes Wuornos, capturing the mannerisms, tone and speech of a serial killer, and in doing so dominates the screen. Last month’s Golden Globe win and her recent Oscar nomination are just small rewards for Theron’s breathtaking acting. While Theron’s name has dominated the reviews of “Monster,” it is not because the movie has nothing else to offer, but simply because Theron’s performance is that huge. Overshadowed throughout most of the film is Christina Ricci’s character, Selby. This is not because of Ricci’s ineptness, for she is a gem hidden under the layers of Theron’s performance. Selby is, as the Journey lyric describes, “just a small town girl living in a lonely word,” as she is sent to her relatives in Florida as prescribed by her father for her bout with homosexuality. Selby comes into the film as sweet, simple, a bit confused and very innocent, complete with a bulky cast on her arm. However, after meeting and becoming involved with Wuornos, she turns into the master manipulator, keeping Wuornos on the streets to ensure the couple’s escape from Florida. Selby’s transformation is evident in two scenes, one in which she finally tells her family of her homosexuality and in another when she coaxes Wuornos’s confession over the phone, with police recording the one-time lovers’ conversation. Ricci’s performance is secretly elegant and worthy in its own way. Lost in the reviews is the work of first time writer and director, Patty Jenkins. From the skating rink scene with Journey’s “Don’t Stop Believing” as the perfect backdrop to the heightened first kiss of these reckless lovers to the airbrushed T-shirts that frequent the carnival scene, where their relationship takes on another level, Jenkins effectively captures the unique essence of the 1980s. Jenkins’s power stems from her effort to remove any thought of victimization or romanticization of any character in her film. Wuornos’s first murder is in self-defense, but, acting on love, she seemingly kills at will for profit and to exorcise past demons. Selby’s innocence is shed as she grows from an immature schoolgirl to a killer, fueling Wuornos’s drive by illustrating her own desires for the picket fence, two-car garage lifestyle that the two could never achieve.Anyone who failed to view “Monster” at the dollar movie night last Thursday, sponsored by the Class of 2007 Class Council, can catch a weekend matinee or evening showing at the Little Theatre.Allard can be reached at dallard@campustimes.org.