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A verdict on “The Boston Strangler” must consider both the moral and ethical ramifications of the story as well as the movie’s technical merits (very good).
Many films have been made about murder, but there aren’t many that use actual murders with real names that are still fresh in people’s minds today.
The fact that actual events are being presented as entertainment presents an issue. We are now requested to take our dates to the Saturday night movie to find out why a strangler killed 13 women. I think that Gerold Frank’s original book was written with the best of intentions, but the movie is different: It intentionally exploits the tragedy of Albert DeSalvo and his victims.
There is little question that the killings are being used as a means of profit. Although the film treats the killings with restraint and intelligence, its promotion is incomparably offensive. A door outside the theater flaps open and close as disturbing images of the strangler’s victims spin inside.
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What kind of individual is drawn to this tactic? Two young ladies seated next to me in the theater stand out in my memory. Tony Curtis’s performance as DeSalvo has a lengthy and challenging scene near the conclusion of the movie where he pantomimes one of the murders. It is gripping, violent, and sad. These ladies were laughing as well. They were enjoying themselves to the fullest. My God. When you encounter something like this, you are compelled to reconsider your entire viewing strategy.
The movie is said to be advantageous and even instructive. I’m not certain. Albert DeSalvo allegedly had two distinct personalities: the strangler and the family guy who he pretended to be the majority of the time. So what do we discover?
Boston Strangler Quiz
DeSalvo appears to have been an exceptional individual with a unique psychological and medical background that rendered him, in a way, culpable for his crimes. What can we infer besides the fact that he was ill? Has our understanding of crime—and the societal factors that contribute to it—grown? Hardly. According to this stance, “In Cold Blood” was the more admirable movie because it dealt with circumstances that could have been altered and lives that could have been spared.
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Why should we commend “The Boston Strangler” if it isn’t performing a public service? All of these “true” crime films are marketed as admirable and responsible endeavors. It also fulfills the roles of art, entertainment, and a business endeavor. It’s excellent fun. Tony Curtis performs better than he has in a decade, George Kennedy makes a convincing detective, and Henry Fonda is a subtle, sensitive lawyer. There are some fascinating police work sequences, foul language, sex, laughter, suspense, and a chase.
The situation is less obvious in terms of art. The very elements that make it a fun movie seem to undermine its greater goal. There is an overly weird scene involving a sex offender and a scene involving an ESP expert that appears to have been intended as a vaudeville turn. The explanation of DeSalvo’s actions is presented on a par with a Reader’s Digest piece.
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So, I suppose, the money is left. Big best sellers like “The Boston Strangler” and “Sex and the Single Girl,” which lack stories or characters and only have marketable names, seem to be sold to the movies these days.
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By the way, it appears that occurred in this case. The movie makes significant changes to the incidents that Frank’s book describes. Essentially, this is a work of fiction that is “based” on actual occurrences. And based on them in such a manner to amuse us, which it does, but, in my opinion, for the wrong reasons. This excellently produced movie shouldn’t have been created at all.
For more personality quizzes check this: Breeding Difficulty Quiz.
