Monster

So we all know about the make-up, right? With her transformation from a South African model to a hideously average Florida prostitute Charlize Theron was the darling of the 2004 awards season, netting a widely predicted Best Actress Oscar as a follow-up to her Golden Globe accolade. Her makeover is of course flawlessly accomplished (if a little distracting), but it's worth remembering that beyond Theron's fleshy freckled cheeks there is also a worthy film in there.

Based on the true story of serial killer Aileen Wuornos, Monster delves into the bleak world of an abused and lonely hooker who shoots one of her 'johns' after being subjected to a violent sexual assault. Becoming trapped in a cycle of revulsion and paranoia, she goes on to unrepentantly slaughter five further victims, portrayed here as a mixture of aggressive clients and complete innocents. There is something of a Travis Bickel character about Wuornos, who perceives the men she murders as loathsome bullies, each as deserving of God's wrath as the man who molested her as a child.

Whilst Monster ensures it does not justify the killings, a certain amount of empathy is granted to the lead character, her softer side explored through the relationship with Selby Wall (Christina Ricci), a naïve 18-year-old coming to terms with her own homosexuality. Selby and Aileen meet in a gay bar just days before the killing spree begins, and soon forge a partnership built on a mutual desperation to be loved. As Aileen confides in her new companion but continues to kill, Selby becomes increasingly anxious with the situation, ultimately sealing Aileen's demise.

This is a deeper, darker Hollywood flick than we are used to; a blunt taste of miserable reality with no happy ending. Theron hammers out the lead role brilliantly and with the coarseness required, whilst Ricci provides the antidote with her angelic pouts and innocent charm. The serial killer storyline is often shocking if not very surprising, and the film admirably steers away from this well-worn path as much as is possible with such subject matter. In fact Monster works best as a love story rather than a crime thriller, and as such tends to flag somewhat when Theron and Ricci aren't interacting. Despite this, Monster is a brave and engaging film that is sure to leave viewers feeling uncomfortable, just as the writer-director would've wanted.

William Summers 25.03.2004