Early on in this unsubtle biopic, Eddie Jordan (on whose book the film is partially based) informs Norma Jean that she’s like two different people. It sets up the central conceit of having two actresses portray the film icon; Ashely Judd plays the part of Norma Jean before Mira Sorvino assumes the role of Marilyn Monroe. While the initial transition between the two roles is cleverly realised, Norma Jean’s constant reappearance to berate Monroe adds to the film’s uneven tone.

After beginning with one of its many questionable fantasy sequences, this biopic quickly demonstrates that Norma Jean will sleep with anyone if it helps her become a movie actress. Yet by starting off at such a cracking pace, the filmmakers needlessly flashback to her childhood to touch base with Monroe’s all-too familiar troubles. Fast forward again to an unsuccessful screen test, and soon Norma Jean is transformed into Marilyn Monroe, courtesy of a skilled plastic surgeon.

Unfortunately, the good doctor seems to have performed a personality bypass as well. The firecracker that was Ashley Judd’s determined Norma Jean gets defused on the operating table, replaced by Sorvino's pouting, put-upon Marilyn Monroe. So intent are the filmmakers to cast Monroe as a talentless bimbo that Sorvino struggles to portray a bad actress without seeming one herself. 

To add insult to injury, it seems Eddie Jordan knew Monroe about as well as Robert Slatzer.