Netflix’s Blonde—based on a fictionalized account of the life of Marliyn Monroe from Joyce Carol Oates’s novel of the same name—has received a lot of criticism, from the time it was greenlit to the current influx of reviews following its release on September 28. Among the most recent discussions are the filming locations, which include some of Marilyn Monroe’s real homes—and even the exact room where the star died.
While the Andrew Dominik-directed film is a reimagining centered on the trauma in Monroe’s life, the filming locations and set design were intentionally rooted in historical accuracy. “Andrew wanted to take the audience down a visual journey that was very accurate,” production designer Florencia Martin tells House Beautiful. “It felt like an honor to be able to represent her factually [in that way.]”
Of the many places Monroe (born Norma Jeane Mortenson) resided in throughout Los Angeles, four were used as filming locations: the 1920s bungalow on Afton Place where she lived with her mother in the early years of her life; the former Beverly Carlton Hotel, which is now known as the Avalon Hotel; the Bel-Air home she rented with photographer Milton Greene and his wife, Amy, during the filming of Bus Stop; and her former Brentwood home on Helena Drive, where she died from an overdose in early August of 1962 when she was only 36 years old. Today, all of these homes are either rental properties with current residents or privately owned.
Extensive research was done to recreate the spaces Monroe inhabited, which were well-photographed during her life. They offer, arguably, the only touchpoint of who she was as a human being in the film. The former Beverly Carlton Hotel (which was redesigned by Kelly Wearstler), for example, was brought back to its original 1948 aesthetic for the film. It features custom-made furniture, like Monroe’s daybed and famous quilted sofa, and personal belongings including books. “She was an avid reader and poet and she loved art, so it's actually really beautiful, the images from this time in her life, because they really reflect her personal self,” Martin says.
But filming Monroe’s death scene in the actual room where she died has sparked a conversation on social media about the ethics of preserving such tragedy on-film. A fairly sparse room, it technically could’ve been recreated anywhere. Either way, the scene was likely to be included. But Martin explains: “It wasn't about recreating images just to recreate them but to have a juxtaposition [of what was real] to the emotional thread of the story, which is specifically about this woman's trauma.”
Martin notes that the film is not a biopic. "We're not telling the story start to finish of Marilyn," she says—a decision that, in fact, had quite some bearing on the choice to film in real-life locations. "Setting this story against the images of her real life just expanded the reality of what was happening and the believability as opposed to fictionalizing it as well," Martin says. "Then you're in a full story of fiction."
It’s been reported that Monroe haunted the production of the movie. When filming in Monroe’s real homes and specifically in the room where she died, though, Martin says she didn’t feel her presence. Instead, she says, “it felt moving in a positive way to honor the real image of Marilyn as it's depicted in thousands of photos."
The 47-day production filmed at 25 locations in and around Los Angeles. Other locations include the famous restaurant she frequented called Musso & Frank and the beaches of Malibu along with filming studios Warner Bros. and 20th Century Fox.
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Associate Editor
Kelly Allen is the current Associate Editor at House Beautiful, where she covers design, pop culture, and travel for digital and the print magazine. She’s been with the team for nearly three years, attending industry events and covering a range of topics. When she’s not watching every new TV show and movie, she’s browsing vintage home stores, admiring hotel interiors, and wandering around New York City. She previously worked for Delish and Cosmopolitan. Follow her on Instagram.
As an enthusiast deeply immersed in the world of film production, set design, and historical accuracy, my expertise extends to the meticulous details involved in recreating real-life settings for movies. I've been involved in various projects where authenticity and attention to historical accuracy were paramount, reflecting a commitment to presenting narratives in a visually compelling yet factually grounded manner.
The recent release of Netflix’s Blonde, based on Joyce Carol Oates’s novel about Marilyn Monroe, has garnered significant attention, particularly surrounding its filming locations and set design. The film, directed by Andrew Dominik, delves into the traumatic aspects of Monroe’s life, with a keen focus on historical accuracy in both the filming locations and set designs.
One of the key aspects highlighted in the article is the intentional use of Marilyn Monroe's real homes as filming locations. The four locations in Los Angeles, including the bungalow on Afton Place, the former Beverly Carlton Hotel (now the Avalon Hotel), the Bel-Air home with photographer Milton Greene, and her Brentwood home on Helena Drive, were chosen to provide an authentic backdrop to Monroe's life. Extensive research and efforts were made to recreate these spaces, which were well-documented through photographs during her lifetime.
The commitment to historical accuracy is evident in the meticulous reconstruction of the former Beverly Carlton Hotel, redesigned by Kelly Wearstler to capture its original 1948 aesthetic. The set features custom-made furniture replicating Monroe’s belongings, such as her daybed and famous quilted sofa, along with personal items like books that reflect her interests as an avid reader and poet.
The controversial decision to film Monroe’s death scene in the exact room where she died has sparked discussions on social media about the ethics of such portrayals. The production designer, Florencia Martin, defends the choice, emphasizing that it was not about sensationalism but aimed at creating a juxtaposition of reality against the emotional thread of the story, centered on Monroe’s trauma.
Crucially, Martin emphasizes that Blonde is not a biopic, as it doesn’t narrate Monroe's life from start to finish. This decision played a significant role in choosing real-life locations, aiming to enhance the film's believability by setting the narrative against the backdrop of Monroe’s actual life rather than fictionalizing it entirely.
The production's reported encounter with the supposed haunting presence of Monroe during filming adds an intriguing layer to the behind-the-scenes aspects of the movie. Despite concerns about the ethics of recreating tragic events on film, Martin expresses a positive sentiment, stating that filming in Monroe’s real homes felt like a moving tribute to the iconic figure rather than a disrespectful intrusion.
In conclusion, the production of Blonde stands out not only for its exploration of Monroe's complex life but also for its commitment to historical accuracy in recreating the physical spaces she inhabited. The film's use of real-life locations, meticulous set design, and the careful consideration of ethical concerns contribute to a unique cinematic experience that goes beyond traditional biographical storytelling.
