If you don’t know anything about the life and character of executed serial killer Aileen Wuornos, you might think that the movie MONSTER is a masterpiece of dramatic cinema that reveals the truth about a troubled woman who just needed a little bit of love. Indeed, the beautiful Charlize Theron, unrecognizable here, gives a powerhouse performance in the movie. MONSTER, however, shuffles around so many of the facts in the case of this serial killer that it ends up being far too sympathetic toward the killer.
In the revisionist history of the movie, Aileen is a promiscuous suicidal prostitute who wanders into a bar and meets Selby Wall (not her real name), a young woman sent by her parents to live with her Christian aunt in Florida to cure her homosexuality. Selby seduces Aileen into a tentative lesbian relationship. When one of Aileen’s “johns” allegedly ties her up and rapes her, Aileen kills him in self-defense, hides the body, and takes all of his money. When Selby enjoys the unexpected wealth, Aileen decides it’s sometimes more profitable to kill an occasional man rather than market her unattractive body.
MONSTER declines to inform viewers that Aileen was often in trouble with the law for drunk driving, assault, disorderly conduct, auto theft, armed robbery, and other crimes before she even met her lesbian lover. It also fails to mention that, after they met, her lover also came under scrutiny during criminal incidents involving Aileen. Thus, although Aileen probably did run into plenty of mean men during her prostitution forays, both women’s rap sheets contradict the movie’s politically correct contention that their lives represent a tragic love story about two people who don’t fit. Aileen probably did run into some pretty nasty male characters during her activities as a street prostitute and had a rough childhood, but this movie shouldn’t have used these apparent facts to dredge up so much sympathy for her and her lesbian lover. She becomes just as much a victim as the men she brutally killed.
MONSTER does, however, raise some provocative questions about life.
For example, the movie uses Aileen’s jailhouse letters to express her disillusionment with life. In the letters recited in the movie, Aileen says that, while growing up, people always tried to comfort her with such rosy, meaningless platitudes as “Every cloud has a silver lining.” The character in the movie keeps clinging to such platitudes, only to find them leading to false hopes, illusionary chimeras that drive her ever deeper into hopeless, murderous despair. The movie eventually seems to take a humanist approach to the issues this raises, but what does a person do when it seems that life hands them nothing but sour, rotten lemons? Furthermore, even if you keep praying about it, what do you do if God doesn’t seem to do anything to really improve your situation?
Also, for example, the movie provokes the question, “since the Bible says that everyone is guilty of great sin, how do we justify taking a judgmental stance on the sinful character of people like Aileen?” Aileen was, of course, a murderer, but what have we done, what has your church done, to stop such great evils like the murder of an innocent unborn child?
In addition to its negative worldview, MONSTER also includes a barrage of very strong obscenities and the kind of gross sexual immorality that is destroying decent society and many children. All in all, it is an abhorrent work that should be avoided.
Please address your comments to:
President Bob Berney
597 Fifth Avenue, 7th Floor
New York, NY 10017
Phone: (212) 303-1700
Fax: (212) 421-1163
SUMMARY: MONSTER is a revisionist history of executed serial killer Aileen Wuornos and her crime spree about 15 years ago. Although the beautiful Charlize Theron, unrecognizable here, gives a powerhouse performance, MONSTER tries to garner sympathy for this admittedly troubled, but despicable, killer, and contains a tremendous barrage of very strong obscenities and the kind of gross sexual immorality that is destroying decent society.
(RoRoRo, PCPCPC, RHRHRH, HH, HoHoHo, C, AbAb, LLL, VVV, SSS, NN, AA, DD, MM) Very strong Romantic, politically correct worldview apparently revises history to make excuses for convicted serial killer’s evil behavior while raising humanist concerns about the validity of raising children with only rosy-sounding platitudes to guide them, with very strong homosexual content, as well as some lightly positive Christian elements such as man tries to help serial killer before she kills him and a few scenes where Christian family tries to reform daughter but their efforts are ultimately ineffectual, giving the movie a strong anti-Christian premise, which is also reflected in the fact that the serial killer insanely says she’s still right with Lord, even though she’s been murdering people; about 205 mostly strong obscenities, five strong profanities, eight light profanities, and one obscene gesture; extreme violence includes scenes of serial killer murdering a rapist (her alleged first victim), other implied murders, killer brutally shoots to death a kind man in cold blood, killer lets one victim go simply because he’s handicapped with a stutter, and serial killer washes blood off her nude body; depicted prostitution, depicted lesbian homosexuality, women fondle and passionately kiss one another, other homosexual references, and references to masturbation; upper female nudity, partial female nudity, and teenage girl flashes her breasts to boys for money (shot from behind); alcohol use and drunkenness; smoking and marijuana use; and, miscellaneous immorality such as lying, uncontrollable anger, stealing, and robbery not really rebuked, though movie makes it somewhat clear that the person who does all these things is not a stable personality.