Music, Style & Culture

My Week With Marilyn

A sweet, feel-good and enormously enjoyable film with inspired casting.

Released in cinemas 25th November 2011.

The thought of anyone trying to replicate Marilyn Monroe in a film is ridiculous, so it's pleasing to report that Michelle Williams is quite extraordinary as the screen icon in this fluffy, romantic drama.

Based on Colin Clark's memoirs of his time as 3rd assistant director on 1957's The Prince and the Showgirl, proceed with caution regarding his dreamy, noble memories of a chaste romance with Marilyn, but allow yourself to be swept away by the wit and glamour of Simon Curtis' charming film.

Eddie Redmayne manages to make a wealthy Etonian likeable as the young Colin, whose ambition outweighs his social naivete. The son of respected art historian Kenneth, his family dismiss his silly dreams of working in the film business. Using his family's connections and his own determination, he blags his way onto Sir Laurence Olivier's adaptation of The Prince and the Showgirl, and gets wrapped up in the drama surrounding Olivier's co-star Marilyn. A coming of age story combined with a funny and tender behind-the-scenes look a film production, it's stolen by two quite brilliant performances.

As Marilyn, Brokeback Mountain and Blue Valentine star Williams is a revelation. Already an actress proving herself to have remarkable range, she may not be a Monroe clone, but she gives a subtle tribute that displays all her idiosyncrasies. Shut your eyes, and the distinctive inflection is there, and Williams, incredibly, does all the vocals in the musical numbers. She's essentially playing three characters - the vulnerable, needy and medicated Norma Jean; the starlet Marilyn, whom she "acts" for her fans; and the role within a role of Showgirl Elsie, once she stops stumbling her lines. It's such a relaxed, sensitive and nuanced portrayal of Marilyn it's easy to overlook the dodgy hip padding and conversely too-slender nude doubles on display. However, the make-up, hair and lighting is extraordinary, enabling Williams to portray the magic, indescribable glow Marilyn emanated.

As Olivier, Branagh is a riot. It's a role the Shakespearean actor would understand all too well, and he has a huge amount of fun as the legendary thespian who craved movie stardom at the time, delivering all the killer one-liners with great panache. As both director and leading man, Olivier's exasperations are comedy gold, with Adrian Hodges' sympathetic, smart script giving Olivier a wonderful and satisfying character arc.

The supporting roles vary in success. Judi Dench is a treat as the kindly and worldly Dame Sybil Thorndike, who looks on at the trials of the youngsters with amusement and is nurturing towards the terrified and overwhelmed Marilyn. Philip Jackson is a grounding, unshowy presence with deadpan wit as Marilyn's unfazed bodyguard and driver. Emma Watson has a substantial role as the wardrobe mistress who dates the starstruck Colin, but distractingly carries over her prim and terse Hermione manner in her first role since Harry Potter. Dougray Scott, Dominic Cooper and Toby Jones are good but underused as the many men in Marilyn's life, namely her husband Arthur Miller, agent and publicist.

Luckily, the friendship between Marilyn and Colin works, thanks to Redmayne's natural, unthreatening appeal and the chemistry he has with Williams. It's not hard to get swept up in the thrill of the illicit yet innocent affair, so romantically shot as the classic damsel in distress situation, but again, it must be taken purely on Colin's word.

TV director Curtis has crafted a sweet, feel-good and enormously enjoyable film that may have backfired were it not for its inspired casting. It looks gorgeous, with impeccable production and wardrobe design creating a world that's sad to depart from. Only its frivolous air may prevent it grabbing The King's Speech's acclaim and award glory.

Rating: 8/10