1986年、フロリダ。ヒッチハイクをしながら売春する毎日に疲れ果てたアイリーンだが、ある少女と運命的に出会う。相手のセルビーは同性愛者で、家族や社会からつまはじきにされ、アイリーン同様、絶望と疎外感を募らせていた。2人は意気投合し、どこかで一緒に暮らそうと決心。やがてアイリーンは売春業を再開するようになるが、ある客に森の奥へ連れ込まれて暴力をふるわれた彼女は反撃した結果、相手を殺してしまう。
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映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
製作費: $8,000,000 (12億円)
興行収入: $58,469,210 (88億円)
推定収支: $50,469,210 (76億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Patty Jenkins
脚本: Patty Jenkins
音楽: BT
制作: マーク・ダモン / シャーリーズ・セロン / Andreas Grosch
撮影監督: Steven Bernstein
制作会社: Media 8 Entertainment / DEJ Productions / K/W Productions / Denver & Delilah Productions / VIP Medienfonds 2 / MDP Worldwide / Taurus Film
We can be as different as we wanna be, but you can't kill people! Monster is the bleak story of Aileen Wuornos, a prostitute and one of America's most notorious female serial killers. Based around facts of her life and death, the film primarily focuses on the last year of her freedom. Where after entering into a strange lesbian relationship with Selby Wall, Wuornos, fed up of being a abused by men, starts killing those calling on her services. Sad and potent is Patty Jenkins' first full length directorial effort. Though perhaps a touch guilty of pandering to Wuornos' own self created "monster" image, the film none the less has the right blend of sympathy and revulsion to make it a fascinating, if uneasy, experience. Former model Charlize Theron goes through a major transformation to become Wuornos, so much so she's practically unrecognisable. Bulked up in weight and with beaten down make up withering her face, Theron goes on to give a towering performance as the troubled, on the edge killer. Without any thrills or hints of histrionics, Theron is uncompromising throughout the picture. To garner empathy with such an abrasive character is quite a trick, then to switch to monstrosity with conviction seconds later? Well that's almost magical in itself. Theron is backed up well by Christina Ricci as Selby. Selby Wall, an immature young lady oblivious to the dark path she is walking down, is given a great portrayal from Ricci. In light of the powerhouse show from Theron, it's much credit to Ricci that she enhances the film with her own delicate characteristics. Helping to emphasise the strangeness of the union in the process. It's a tough film for sure, and come the final credits one is left with a feeling of sympathy towards Wuornos and the life she lived. If that be right or wrong is of course up to the individual viewer. Or if that was even Jenkins' intention is probably up for debate. But Monster exists and survives as a bitter character study of a desperate woman, which through the medium of cinema, makes us the viewers privy to something very edgy indeed. 7.5/10
The movie was alright. It was more of a sadistic type of love story. What they failed to capture is really how nuts she was. Like do less of a love story and more of her psychoness. The bitch was crazy! All the crazy interviews with her and all the outbursts she did in court, where's that? This movie almost tried to make you feel sorry for her when they really didn't show just how crazy she really was.
Charlize Theron is really quite convincing as the down-at-heel Aileen Wuornos, a real life character who went from hooker to serial killer in late 1980s Florida in the United States. Her’s is a dangerous profession where she encounters some of life’s slime who may pay her with cash or with a beating. It’s after one particularly toxic encounter that she finds herself in a gay bar where she meets Selby (Christina Ricci). Initially very sceptical of her new friend’s motives, she quickly finds herself determined to raise her game and try to provide for both of them. That is when she realises that she can lure her sex-starved gents and then instead of satisfying their needs, she can put six bullets into them and walk off with their wallets. Now she is clearly a little psychotic but she’s not inherently evil - indeed she does occasionally take pity on her more pitiful marks. For the most part, though, she is ruthless and of course that attracts the Feds and also puts her already strained relationship with Selby at risk. History tells us just what happened to her, but even though there can be no excusing her vengeful retribution, Theron still manages to imbue this woman with a sense of tenacious decency. The real Wuornos had clearly been exposed to abusive deprivation since she was a teenager and had had to think on her feet as best she could throughout her life, and that is powerfully captured here with some solid writing and combative spirit from both women who have always had their battles to fight. It presents a potent look at the sleazy underbelly of a society where sex is a commodity and it’s clients little better than rutting animals, and at times the story is quite difficult to watch. The ending is a little overly compacted and rushed, but it’s convincingly gritty and human throughout.
