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The voice is young still, wistful and hurt yet ready to be hurt again.But she speaks in sound bites There are no developed thoughts or sentences. He simply concentrates on the resonance in putting pictures and sound together.For his soundtrack, he has the tapes - not always fully distinct - of an interview done with Marilyn just before her death She talks She responds to questions. He sets out to answer none of the great riddles - though he assumes that we are familiar with them. This show has run before, but few seem to have caught up with its originality, its simplicity of form and the poetic achievement.Kerr has relaxed - the first vital approach.

But maybe men organise the culture that way.So I mean it as high praise when I suggest that you see Paul Kerr's Marilyn on Marilyn which is playing on BBC2 late tomorrow night. Or, to invoke a kind of modernism she never grasped, you can say she was a Borgesian receptacle, always ready to take on one more deranged interpretation, and keep smiling.Long before the end of puzzling her out, you may detect this warning: that no one is worth all this speculation - that thinking about Marilyn has stopped us from thinking about so many other things, so many real women. You can give parts to all those characters, and throw in 10 others - depending on the people who have described her in "The Marilyn I Knew" works.

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You can argue over whether she was an oddly bright but na? genius, a calculating manipulator, or a helpless young woman in a world ruled by male sharks. You can pin down Monroe's lack of formal education or emotional support; you can identify the marriages, the movies and the thousands of photographs she posed for. But there was a real life (1 June 1926 to 5 August 1962); there was an organism and a nervous system inside the legendary body, struggling to feel and be felt. For in the 41 years since her death, it seems that every meeting, every possibility, has been dumped upon by an army of authors that extends from serious historians to gossip-mongers, to those who see no hope of writing usefully about Marilyn now except in a fictional form. We know what Norman Mailer or Joyce Carol Oates feel - that the real life is lost in speculation; that Marilyn was defined by being observed.

It's not just that there's nothing new to be said about Marilyn Monroe There is no tone or trust with which you can approach her. There are figures in film history from whom most writers would flinch. No Palme, for sure, but Gallo certainly contributed to the gaiety of nations.. Cruel? Crueller than La Scala Milan on a rough night, undoubtedly, but even in Cannes, films this narcissistically crazy are few and far between. Gallo rounded the whole thing off with some high-pitched moaning - his take on Brando's stricken "Stella! Stell-aaaah!" routine perhaps - and when the final credits rolled, the critics' mirth was unbounded, euphoric. Just to temper the minimalism, Chloe Sevigny turns up towards the end to join him for some tearful psychodrama and to give him an enthusiastic and apparently authentic blow job in stark close-up.