Here’s every song on the ‘Blonde’ soundtrack

Including the original score by Nick Cave and Warren Ellis

The full soundtrack for Netflix film Blonde has been released – check it out below.

Directed by Andrew Dominik and adapted from the novel by Joyce Carol Oates, Blonde stars Ana de Armas as Marilyn Monroe in a reimagining of her life.

A synopsis reads: “Blonde boldly reimagines the life of one of Hollywood’s most enduring icons, Marilyn Monroe. From her volatile childhood as Norma Jeane, through her rise to stardom and romantic entanglements, Blonde blurs the lines of fact and fiction to explore the widening split between her public and private selves.”

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The film, which has divided many critics, also stars Adrien Brody, Bobby Cannavale, Xavier Samuel and Julianna Nicholson.

Blonde’s soundtrack consists of an original score by Nick Cave and Warren Ellis, along with tracks pulled from films Monroe starred in – including Some Like It Hot, Gentlemen Prefer Blondes and Niagara.

You can check out a list of the songs featured below:

  • ‘Ev-ry Baby Needs a Da-Da-Daddy’ – Lester Lee and Allan Roberts (from Ladies Of The Chorus)
  • ‘Kiss’ – Haven Gillespie and Lionel Newman (from Niagara)
  • ‘Bye Bye Baby’ – Jule Styne and Leo Robin (from Gentlemen Prefer Blondes)
  • ‘Diamonds Are A Girl’s Best Friend’ – Jule Styne and Leo Robin (from Gentlemen Prefer Blondes)
  • ‘I Wanna Be Loved By You’ – Bert Kalmar, Harry Ruby and Herbert Stothart (from Some Like It Hot)
  • ‘Bright Horses’ – Nick Cave And The Bad Seeds
  • ‘Rose and Patrick’ – Sol Kaplan (from Niagara)
  • ‘Strangled’ – Sol Kaplan (from Niagara)
  • ‘La Cumparsita’ – Gerardo H. Matos Rodriguez, Enrique Pedro Maroni and Pascual Contursi
  • ‘Runnin’ Wild’ – Arthur Gibbs, Leo Wood and Joseph Grey (from Some Like It Hot)

You can listen to the original score by Nick Cave and Warren Ellis below.

In a four-star review of Blonde, NME wrote: “It’s not an easy watch and there is a lingering sense of a film trying to have its cake and eat it. It underlines the point that Monroe’s acting prowess was overlooked without focusing on her craft…. But there’s a humanity to de Armas’ performance that cuts through the exploitation and by immersing us at the centre of her slowly shattering psyche, it’s an ambitious trespass against good taste.

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“Like any effective horror, Blonde unsettles you long after the credits roll.”

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