Actors playing real-life figures have received almost 360 Academy Award nominations, including this year's nominees Ana de Armas and Austin Butler, so it is unsurprising that this genre has gained a reputation for being ‘Oscar bait’. However, following the rather negative reaction to the release of the controversial film Blonde and now that production of the tragic singer Amy Winehouse has begun, many of us are beginning to question whether these films are honouring the lives of their subjects or just exploiting them.
Marilyn Monroe endured a series of tragedies throughout her life from being a victim of child sexual abuse to suffering several miscarriages to struggles with mental health and addiction all while being repeatedly sexualised, objectified, and abused so many were hopeful that the film version of her life would show the humanity of this actress and highlight that she was much more than this tragic sex symbol that many view her as.
‘the definition of exploitation’ and ‘the assassination of a woman who isn’t even here to defend herself’
However, the film (based on a novel by Joyce Carol Oates) instead further exploits Monroe by pushing false narratives and featuring fabricated events, such as the deeply disturbing scene in which Monroe is sexually assaulted by President Kennedy. Blonde has been described by Scott Fortner (a Marilyn Monroe historian) as ‘the definition of exploitation’ and ‘the assassination of a woman who isn’t even here to defend herself’.
Although biopics have a history of exploitation and reinforcing false narratives, there are some that go against this rule. Rocketman, the 2019 musical biopic about the life of Elton John, is often overlooked when biopics are being discussed; however, it is one of the best biopics in recent years. Unlike Bohemian Rhapsody, which infamously downplayed Mercury’s sexuality, the film does not shy away from the more unfavourable aspects of John’s life but rather embraces them as a part of who John is.
But the principal reason that this film is a great example of how not all biopics are exploitative is due to the personal involvement of Elton John (the biopic’s subject matter) and his husband, David Furnish. Furnish was credited as a producer of the film and John served as an executive producer and John has made his influence over the outcome of the film apparent by writing in The Observer that ‘They wanted to tone down the sex and drugs. But I haven’t led a PG-13 life'.
As this past year has shown, the popularity of biopics is not declining and despite many biopics being made with the best intentions, such as Elvis, which had the overwhelming support of Priscilla and Lisa-Marie Presley, it is very difficult to make a biopic about a deceased figure without an element of exploitation. Most biopics exploit the very people that they are trying to celebrate as it is oftentimes impossible to get their consent or input or for them to defend themselves against any false stories.
