The Bad Seeds frontman and frequent Andrew Dominik collaborator recorded the soundtrack for the Marilyn Monroe reimagining alongside Warren Ellis. In a “The Red Hand Files” newsletter post, Cave answered a fan question as to what his “favorite movie of all-time” is, writing, “Dear Sourav, ‘Blonde.’ Love, Nick.”
The controversial NC-17-rated Netflix film stars Ana de Armas as Monroe, along with Bobby Cannavale, Adrian Brody, and Julianne Nicholson. Writer-director Dominik previously said that the film captures the trauma of “what it’s like to go through the Hollywood meat-grinder.”
Dominik added that the film “has very little dialogue in it” and the emphasis is on the music and “an avalanche of images and events” harkening back to the iconography of Monroe.
Musician Cave and director Dominik previously collaborated on 2007 film “The Assassination Of Jesse James By The Coward Robert Ford,” and music documentaries “One More Time With Feeling” and 2022’s “This Much I Know To Be True.”
“Working with Andrew Dominik is always a challenging, but ultimately mind-blowing experience,” Cave said earlier this year in a joint statement with fellow musician Ellis (via Rolling Stone). “Creating the score for this terrifying and complex reimagining of the Marilyn Monroe story was no different and, as always, it was a complete privilege to work with him. The darkest of films with a gorgeous spiritual score.”
Cave additionally unveiled an art exhibit at Finnish museum Sara Hildén Art Museum with “Blonde” producer Brad Pitt.
“Blonde” received a C+ review from IndieWire, with the critic writing, “It’s not that Andrew Dominik has made an implausible film about the experience of a poor young beauty haunted by fears of madness who was chewed up by the Hollywood machine, the issue is that he has made a film inspired by Marilyn Monroe where she is monotonously characterized as a victim.”
Dominik responded to claims that the film was anti-choice, saying, “I actually see that as a measure of the film’s success, that it inspires that kind of reaction. […] I think the movie is pretty nuanced actually, and I think it’s very complex, but that doesn’t fit — people are obviously concerned with losses of freedoms, obviously they are. But, I mean, no one would have given a shit about that if I’d made the movie in 2008, and probably no one’s going to care about it in four years’ time. And the movie won’t have changed. It’s just what sort of going on.”