Someone forgot to tell filmmaker Andrew Dominik that leftist Hollywood doesn’t like pro-life scenes or messages in any production. But someone is telling him now. Namely abortion giant Planned Parenthood (PP) who is calling Dominik’s Marilyn Monroe drama on Netflix, Blonde, “anti-abortion propaganda.” Obviously, showing audiences a CGI baby in the womb and telling the truth about abortion is a threat to PP’s business.
Blonde, which debuted on Netflix September 28, is a fictionalized version of Monroe’s life, based on the eponymous 2000 book by Joyce Carol Oats. Marilyn never had an abortion in real life. Her 3 pregnancies ended either in miscarriage or were ectopic. What is accurate, however, is the depiction of what an unborn child looks like when Marilyn discovers she’s pregnant, including the baby’s beating heart:
Marilyn: Oh, God, I knew. I guess I knew. I’ve been feeling so swollen and so happy.
Doctor: My dear, you’re healthy. Everything’s gonna be fine.
Marilyn: I’m happy I said. I want this baby. My husband and I have been trying for years.
Cass: Hey, Norma. What is it? You look … happy. What? You think you are?
Eddy: Is this what I think it is?
Eddy: Oh man!
Marilyn: Are you happy for me? Us? Gemini and me?
After Marilyn turns down a starring role in Gentleman Prefer Blondes, she writes a letter to her baby, then visits her mother in a mental institution. When she talks about how her mother bravely chose life, the language becomes powerfully pro-life as she points out there would be no Marilyn if her mother had chosen abortion:
Marilyn: To my baby. In you, the world was born, and before you, there was none. How’d you like to be a grandmother?
Gladys: What year is it? What time did we travel to?
Marilyn: Mother, it’s May 1953. I’m Norma Jean. I’m here to take care of you.
Gladys: But your hair is so white.
Marilyn: Mm hmm. When you had me, Mother, you weren’t married, I guess. You didn’t have a man supporting you. Yet you had a baby. That was so brave. Another girl would’ve … well, you know … gotten rid of it. Of me. And I wouldn’t be here. At all. There wouldn’t be any Marilyn.
Sadly, Marilyn begins fearing her abusive mother’s mental illness may be hereditary, causing her to hastily phone her studio connections for help obtaining an abortion. They promise to “take care” of everything, but Marilyn has misgivings and begs the driver to take her back home.
Her requests are ignored by the driver as well as the abortionist. While in a twilight sleep during the abortion, she dreams she’s escaped to her childhood home where she hears a baby crying from the drawer her mother used as a crib for her. Thinking of every woman who has regretted her abortion or was coerced into it, the scene is extremely heart-wrenching:
Marilyn: Oh, the bright lights.
Nurse: You’re in good hands, dear.
Marilyn: Please, won’t you listen? I changed my mind. Please don’t, will you listen?
Doctor: This will put you in a twilight sleep.
Marilyn: No, I want to go back. No! Wait, wait, no! No! Oh, baby.
Now childless, Marilyn accepts the movie role she passed up, and at the screening, she receives a standing ovation. Pain washes over her face as she whispers, “For this, you killed your baby?”
After marrying Miller, she becomes pregnant again, but the trauma from the abortion has never gone away. That couldn’t be more evident than in a scene where she imagines her baby talking to her from the womb, asking her not to hurt him/her:
Baby: You won’t hurt me this time, will you? Not do what you did last time?
Marilyn: I didn’t … I didn’t mean to.
Baby: Yes, you meant to. It was your decision.
Marilyn: You’re not the same baby. You’re this baby.
Baby: That was me. It’s always me.
Marilyn: Shhh. Shhh. He loves us. He would die for us. He said so.
Sadly, she ends up miscarrying, and she receives a letter from the father of the baby she aborted (who is posing as her father in the letter), which reads profoundly, “The death of an unborn soul may lodge more painfully with us. ‘Cause the innocence is unsullied.”
After a dalliance with President Kennedy, she undergoes another abortion against her will. By the end of the movie, the unbearable pain of losing her children contributes to her tragic decision to take her own life.
We already know Planned Parenthood works closely with Hollywood to ensure every production fits their pro-abortion narrative so as not to interfere with their business. Thankfully, this one escaped their manipulation.
A PP rep told The Hollywood Reporter, “…it’s critical these depictions accurately portray women’s real decisions and experiences.” Unless that woman regrets her abortion and is suffering emotional trauma, as many women do.
Planned Parenthood obviously wants to keep those stories quiet. It’s about time someone depicted the truth so these experiences are given the voice they deserve and viewers get to see the reality of abortion and life in the womb.