Monster (2003)

 

 Model-turned-actress Charlize Theron leaves her glamorous image behind for this gritty drama, in which she plays a disturbed prostitute who becomes a serial killer. Aileen Wuornos (Theron) was a woman who survived a brutal and abusive childhood in Michigan to become a thick-skinned but emotionally damaged adult. Homeless most of her life, Wuornos subsisted by working as a street prostitute; later, when she was in Florida, down to her last five dollars and pondering suicide, she stopped into a bar for a beer. There, Aileen met Selby Wall (Christina Ricci), a woman in her early twenties who had been sent to live with relatives after her Christian parents became aware of her lesbian lifestyle. Selby is immediately attracted to Aileen, and while Aileen tells Selby she's never been in a lesbian relationship, she soon finds herself equally infatuated with her. Selby runs away from her family and moves into a cheap hotel with Aileen, who initially pays the bills by hooking. However, as their money runs low and Aileen finds herself unable to land a regular job, tensions mount between the two. One night, after a john attacks her, Aileen pulls a gun and kills the man. Although her first murder can be categorized as self-defense, Aileen's loathing for the men who pay her for sex becomes so extreme that she begins killing her customers regardless of their behavior. Meanwhile, Selby slowly becomes aware of the full extent of her lover's instability and the bloody consequences of her actions. Monster was inspired by the true story of Aileen Wuornos, whose life and death was chronicled in two documentaries by filmmaker Nick Broomfield, Aileen Wuornos: The Selling Of A Serial Killer, and Aileen: The Life and Death of a Serial Killer.

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Review By Josh Ralske

Perhaps Charlize Theron's awe-inspiring performance will be the thing that people remember most about Monster, but the film as a whole marks a surprisingly scrupulous and thought-provoking treatment of sensational subject matter from writer/director Patty Jenkins, making her feature debut. The film is good enough to be more than just a companion piece to filmmaker Nick Broomfield's outstanding documentaries on serial killer Aileen Wuornos, but a viewing of those documentaries validates both Jenkins' vision and Theron's amazingly accurate portrayal of the woman. Theron perfectly captures the way, for example, the sides of Wuornos' mouth turn downward in repose. Theron's turn is not a mere imitation, but captures the tormented spirit of the woman. The crux of the film is the unexpected romantic relationship that forms between Wuornos and Selby. Selby, a fictional stand-in for Wuornos' real-life paramour, Tyria Moore, is well played by (Christina Ricci). Monster has been unfairly criticized for romanticizing Wuornos' depravity, but the film simply shows us that these brutal actions were undertaken by a real live woman, driven to desperation by a lifetime of abuse and newfound financial pressures. The film portrays her actions in a way that makes them comprehensible, but not defensible. Ironically, Aileen's first opportunity to be loved is what effectively pushes her over the edge, until she gradually slips away into madness. As with Henry: Portrait of a Serial Killer, the underlying issue is class. The truth of precisely what Wuornos did and why may never be known, but Monster is an accomplished, absorbing, and assiduously moral film that feels like truth.