---
title: "My Week with Marilyn"
year: 2011
kind: "film"
canonical: "https://film.one/film/my-week-with-marilyn"
fi1m_id: "my-week-with-marilyn"
imdb_id: "tt1655420"
tmdb_id: 75900
wikidata_id: "Q581859"
fi1m_score: 62
critics_score: 59
critics_reviews: 21
published: "2026-10-01T21:38:56.406784+00:00"
updated: "2026-10-01T21:39:09.276041+00:00"
region: "BG"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# My Week with Marilyn (2011)

Directed by Simon Curtis · 1h 39m · Drama, Romance

## Identity

My Week with Marilyn

- **Canonical:** https://film.one/film/my-week-with-marilyn
- **Type:** Film
- **Fi1m ID:** my-week-with-marilyn
- **IMDb ID:** tt1655420
- **TMDB ID:** 75900
- **Wikidata ID:** Q581859
- **Same entity:** https://www.imdb.com/title/tt1655420/, https://www.themoviedb.org/movie/75900, https://www.wikidata.org/wiki/Q581859

**Fi1m score: 62** · Critics 59 from 21 reviews

*In a sentence:* Michelle Williams makes being Marilyn Monroe look exhausting; the film around her prefers to keep things pleasant

> Michelle Williams brings feeling and uncertainty to a pleasant but shallow backstage drama. Simon Curtis provides agreeable entertainment, though the screenplay rarely looks beyond the excitement of getting close to somebody famous.

## Synopsis

Colin Clark (Eddie Redmayne) spends time with Marilyn Monroe (Michelle Williams) behind the scenes of her working life. Sir Laurence Olivier (Kenneth Branagh) is also part of the backstage company, where Monroe’s public charm accompanies a less assured private presence. Clark is drawn to the possibility of knowing her beyond her celebrity, but the image that attracts him also complicates his view of her. Her singing, her mannerisms and the attention she receives shape his account of an encounter with someone whose fame precedes her.

## Review

Simon Curtis’s *My Week with Marilyn* is a slight drama carried by Michelle Williams, and worth considering chiefly for her. She gives Marilyn Monroe enough uncertainty and feeling to suggest a more searching film than the one surrounding her. The backstage setting promises a look at how a public personality survives contact with work and other people. Instead, the screenplay by Adrian Hodges remains largely satisfied with the excitement of proximity to celebrity.

Michelle Williams is persuasive because her voice, movement and posture do not all deliver the same reassuring message. The singing has sweetness, while the physical performance allows insecurity and calculation to sit awkwardly together. We were moved by the uncertainty she lets show beneath the charm; she makes receiving all that attention seem exhausting. There is enough control in her performance to prevent vulnerability from reducing Marilyn Monroe to somebody who simply needs looking after.

Kenneth Branagh makes Sir Laurence Olivier an entertaining presence, supplying comic timing that stops the film becoming uniformly reverent. His broadness is useful, giving the audience something to enjoy beyond the fascination with Marilyn Monroe. Yet the pleasure of watching these famous figures portrayed so vividly can become a substitute for drama. Simon Curtis appears reluctant to let their less agreeable qualities make the experience uncomfortable, and the comedy tends to win out over the friction.

The difficulty lies with Colin Clark, played by Eddie Redmayne, and the weight placed on his view of Marilyn Monroe. There is a touch of wish-fulfilment in this account that Adrian Hodges does too little to question. Being close to her is treated as sufficient reason for us to care about the person doing the watching. Eddie Redmayne gives the film a gentler presence, but the screenplay cannot make his interest in her particularly revealing. We understand the attraction without learning much from it.

Ben Smithard’s cinematography and Donal Woods’s production design are agreeable enough, but we found their tidiness limiting. The backstage world feels arranged for our comfort even when Michelle Williams is making discomfort the most interesting thing on screen. The polished presentation does have a use: it helps explain the attraction of getting near these people. It is less effective at making their company feel demanding, so the surroundings and the central performance sometimes seem to belong to different accounts of the same experience.

Adam Recht’s editing keeps the 99 minutes moving comfortably, although pace cannot give the story the weight it lacks. Conrad Pope’s music also favours the agreeable mood, where a little less reassurance might have helped. Both serve the modest entertainment Simon Curtis is making. The limitation is how consistently the film makes an uneasy woman easy company for an audience, even while its leading performance suggests reasons to feel otherwise.

As a backstage drama, this offers the pleasure of watching performers interpret other performers without examining the working relationships quite hard enough. It does not need a comprehensive explanation of Marilyn Monroe to justify itself, but it does need more curiosity about the account we are being asked to accept. Michelle Williams supplies enough feeling to keep that reservation from spoiling the evening. Choose it for her, rather than for the promise of getting to know the woman she plays.

*Fi1m score 62, published 1 October 2026.*

## What the critics say

The reviews are mixed, with praise clustering around Michelle Williams rather than the film surrounding her. Most critics credit her with capturing Monroe’s charisma and vulnerability, finding feeling in the physical mannerisms rather than merely a recognisable impersonation. Kenneth Branagh’s Olivier also draws praise for his comic timing and vivid presence. Admirers find the backstage story witty, touching and entertaining; even several detractors make room for the performances.

The divide is over how much those performances can compensate for a slight, sometimes superficial account of Monroe. Some critics accept the lightness, while others find too little drama or curiosity about its subject. The spread is wide, from warm approval to outright rejection. Williams is not exempt from dissent: IndieWire finds her portrayal thin and the script short on insight. Eye for Film goes further in rejecting the film’s treatment of its subject, calling it conventional and emotionally dishonest.

## Straight answers

**Is My Week with Marilyn worth watching?**

*My Week with Marilyn* is worth considering chiefly for Michelle Williams’s performance, and we score it 62 out of 100. We find her portrayal of Monroe’s uncertainty moving, but the pleasant backstage drama surrounding her rarely questions its fascination with celebrity. It suits viewers interested in the performances more than a searching account of Monroe.

**How long is My Week with Marilyn, and what is it rated?**

*My Week with Marilyn* runs 1h 39m. It is a drama and romance film.

**Where can I watch My Week with Marilyn in Bulgaria?**

*My Week with Marilyn* is not on any streaming or rental service in Bulgaria at the moment. It is available in 30 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is My Week with Marilyn, and is it suitable for children?**

*My Week with Marilyn* carries a UK 15 certificate, so we would not recommend it for children under 15. That rating indicates material unsuitable for younger viewers, but does not by itself establish how violent or frightening the film is. We cannot offer a more specific warning about violence or scares.

**How does My Week with Marilyn compare to The Dresser?**

*My Week with Marilyn* is the gentler celebrity encounter; we recommend [*The Dresser*](https://film.one/film/the-dresser) for a stronger backstage drama built around two interdependent performances. Michelle Williams supplies feeling that her film’s shallow account otherwise lacks, while Albert Finney and Tom Courtenay make an actor-manager’s relationship with his dresser the reason to watch.

### Reviews we read (21)

- **Radio Times**, Stella Papamichael (4/5): Papamichael finds the adaptation beguiling and the backstage story more intriguing than the film’s premise. She singles out Michelle Williams for a captivating performance as Marilyn. [Read](https://www.radiotimes.com/movie-guide/b-tvdhvy/my-week-with-marilyn/)
- **Total Film**, Neil Smith (4/5): The review finds the film witty, affecting and hugely entertaining, despite its modest, occasionally ill-suited big-screen style. It especially praises Michelle Williams’s heartbreaking performance and her imitation of Monroe’s singing voice. [Read](https://www.gamesradar.com/my-week-with-marilyn-review/)
- **The Guardian**, Peter Bradshaw (75/100, inferred): Bradshaw finds the film entertaining and pleasurable, though ultimately insubstantial. He singles out Michelle Williams and Kenneth Branagh for their vivid performances as Monroe and Olivier. [Read](https://www.theguardian.com/film/2011/nov/24/my-week-with-marilyn-review)
- **The New Yorker** (70/100, inferred): The critic finds the film charming and touching, with Michelle Williams convincingly capturing Marilyn Monroe. The performance’s physical mannerisms and blend of sexual sweetness and vulnerability receive particular praise. [Read](https://www.newyorker.com/goings-on-about-town/movies/my-week-with-marilyn-2)
- **Empire**, Angie Errigo (65/100, inferred): Errigo finds the film entertaining but slight, with flashes of feeling that keep it engaging. She especially praises Michelle Williams’s performance and Kenneth Branagh’s scene-stealing turn as Olivier. [Read](https://www.empireonline.com/movies/reviews/week-marilyn-review/)
- **Variety**, Ronnie Scheib (65/100, inferred): Scheib finds the film succeeds chiefly because of Michelle Williams, while its other elements feel uneven and overly staged. He singles out Williams’s nuanced portrayal of Marilyn’s vulnerability, sexuality, and screen persona as the film’s standout achievement. [Read](https://variety.com/2011/film/reviews/my-week-with-marilyn-1117946328/)
- **RogerEbert.com** (64/100, inferred): The URL identifies a review of the matching film, but the page text is unavailable. The critic’s verdict and any singled-out praise or complaint cannot be established from the blocked page. [Read](https://www.rogerebert.com/reviews/my-week-with-marilyn-2011)
- **The New York Times** (64/100, inferred): The page is identifiable as a review, but its text is unavailable, so the critic’s verdict cannot be verified. No specific praise or complaint can be reliably extracted from the accessible page. [Read](https://www.nytimes.com/2011/11/23/movies/my-week-with-marilyn-with-michelle-williams-review.html)
- **IndieWire**, Eric Kohn (C+): Kohn finds the film a superficial, overly cheerful crowdpleaser that fails to capture Marilyn Monroe’s complexity. He singles out Williams’s thin impression of Monroe and the script’s lack of insight as key weaknesses. [Read](https://www.indiewire.com/news/general/my-week-with-marilyn-has-charm-but-michelle-williams-cant-do-the-subject-justice-51743/)
- **Time Out**, Dave Calhoun (3/5): The review sees a touch of sad wish-fulfilment in Colin Clark’s account. The accessible text does not reveal what the critic singles out for praise or complaint. [Read](https://www.timeout.com/movies/my-week-with-marilyn-1)
- **The Hollywood Reporter**, David Rooney (42/100, inferred): Rooney finds the film entertaining chiefly because of Michelle Williams, while judging the rest superficial and lacking in depth. He singles out Williams’s layered, nuanced performance as the film’s defining strength. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/my-week-marilyn-film-review-245985/)
- **Evening Standard**, David Sexton (40/100, inferred): The critic finds the film charming but ultimately a big tease that fails to satisfy. Michelle Williams is singled out for vividly capturing Marilyn Monroe’s mix of sex appeal, vulnerability and manipulation. [Read](https://www.standard.co.uk/culture/film/my-week-with-marilyn-review-7427746.html)
- **Slant Magazine**, Jaime N. Christley (1/4): Christley finds the film incoherent and overly engineered as an Oscar campaign, with little substance beyond its performances. Michelle Williams’s characterization of Marilyn through movement and posture is singled out for praise, alongside enjoyable turns from Kenneth Branagh and Judi Dench. [Read](https://www.slantmagazine.com/film/my-week-with-marilyn/)
- **Digital Spy**, Stella Papamichael (4/5): Papamichael finds the film a joyous, nostalgic affair, though it keeps Marilyn’s struggles in the background. She praises Michelle Williams for bringing soul to the role and Kenneth Branagh for his comic timing. [Read](https://www.digitalspy.com/movies/a349794/my-week-with-marilyn-review/)
- **/Film**, Germain Lussier (8/10): Lussier finds the film fantastic, fun, and an entertaining love letter to movies and celebrity, despite its obvious message. He singles out Michelle Williams’s performance as a marvel, with the supporting cast also enhancing the film. [Read](https://www.slashfilm.com/518417/my-week-marilyn-review-entertaining-love-letter-movies-celebrity/)
- **Paste**, Caitlin Colford (6.9): Colford finds the film entertaining and informative but lacking in drama, with Williams’s performance carrying it. She particularly praises Williams’s capture of Monroe’s charisma and instability, also noting Branagh’s strong performance. [Read](https://www.pastemagazine.com/movies/my-week-with-marilyn)
- **Collider**, Bill Graham (B-): Graham finds the film light and entertaining, though not especially lasting or probing. He singles out Michelle Williams’ charismatic performance for capturing both Monroe’s allure and her struggles. [Read](https://collider.com/my-week-with-marilyn-review/)
- **Den of Geek**, Luke Holland (3/5): Holland finds the film pleasant and diverting but ultimately harmless and inconsequential. He singles out Michelle Williams’s striking performance as its standout, while wishing the film explored Monroe more deeply. [Read](https://www.denofgeek.com/movies/my-week-with-marilyn-review-2/)
- **The Playlist** (35/100, inferred): The headline indicates a mildly negative verdict, describing the film as slight and superficial. It singles out the film’s resemblance to a Lifetime movie as a complaint. [Read](https://theplaylist.net/review-a-slight-superficial-my-week-with-marilyn-often-resembles-a-lifetime-movie-20111122/)
- **The Wrap** (30/100, inferred): The critic finds the film bland and unfocused, despite its fascinating subject. Williams’s convincing portrayal of Monroe and Branagh’s Olivier are singled out for praise. [Read](https://www.thewrap.com/my-week-marilyn-some-it-not-33012/)
- **Eye for Film**, Anne-Katrin Titze (10/100, inferred): Titze strongly pans the film as conventional and emotionally dishonest. She singles out the car scene accompanied by “Autumn Leaves” as a rare moment that feels honest and true. [Read](http://www.eyeforfilm.co.uk/review/my-week-with-marilyn-film-review-by-anne-katrin-titze)

## Details

- **Director:** Simon Curtis
- **Director:** Simon Curtis
- **Screenplay:** Adrian Hodges
- **Cinematography:** Ben Smithard
- **Editor:** Adam Recht
- **Music:** Conrad Pope
- **Production design:** Donal Woods
- **Costume design:** Jill Taylor, Martin Pakledinaz
- **Producer:** Harvey Weinstein, David Parfitt
- **Cast:** Michelle Williams as Marilyn Monroe; Kenneth Branagh as Sir Laurence Olivier; Eddie Redmayne as Colin Clark; Dominic Cooper as Milton Greene; Philip Jackson as Roger Smith; Derek Jacobi as Sir Owen Morshead; Toby Jones as Arthur Jacobs; Michael Kitchen as Hugh Perceval
- **Runtime:** 1h 39m
- **Release (Bulgaria):** 10 February 2012
- **Genres:** Drama, Romance
- **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2011)
- **Budget:** $6 million
- **Box office:** $35 million

## Where to watch in Bulgaria

Not streaming, renting or buying in Bulgaria at the last check.

Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, IE, IL, IN, IT, JP, MX, NL, NO, PA, PT, SE, SG, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2012: Best Actress (nominated); Best Supporting Actor (nominated)

## If you liked this

- *The Dresser* (1983), Fi1m 80: Another backstage encounter where an actor’s needs become everybody else’s working conditions. — [Fi1m page](https://film.one/film/the-dresser.md)
- *Film Stars Don't Die in Liverpool* (2017): Another intimate account of celebrity, with more weight given to the relationship.
- *Clouds of Sils Maria* (2014): An actress and her assistant make the business of watching someone unusually complicated.
- *Day for Night* (1973): Backstage disorder, professional vanity and affection for the people keeping a production alive.
- *The Misfits* (1961): For Marilyn Monroe herself, in a drama less inclined to tidy away unhappiness.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/my-week-with-marilyn