Brian DePalma's new film THE BLACK DAHLIA is cinematically gorgeous and carries us deep into film noir territory . . . from the gritty streets to its bluesy musical track to the crisp Elmore Leonard dialogue. The sets and wardrobes are straight out of the 1940s, and we instantly feel we're in the hands of a master.
However, the storyline is obtuse and leaves the viewer floundering for far too long to remain emotionally invested in these characters. The film ends with a flurry of explanations and activity which are supposed to tie up lose ends and provide reasonable explanations for what ensued; however, my viewing companions and I were past caring and became more interested in just exiting the theater.
The film starts with an involved boxing match which serves to provide explanation as to how these two cops started working together - which must be why we're shown each bone-cracking, kidney-pounding punch - mostly in slow motion. There's nothing that says "Let's be friends" like punching the incisors out of someone's head.
Every film noir needs its femme-fatale, and she's provided here by Scarlett Johanssen. I respect this actress, but was disappointed in her in SCOOP, with her faux damsel-in-distress face in close-up . . . which is used a lot in BLACK DAHLIA to equal ineffectiveness. There was so much potential in her earlier work which promised more depth from Scarlett.
Which actor shines here? By far, it's Aaron Eckhardt. His performance - and Hilary Swank's - pop out from the screen. Mia Kirschner is very palpable as the unfortunate, hapless Elizabeth Short. And Fiona Shaw is undeniably fascinating as the unbalanced entitled heiress. Josh Hartnett does a competent journeyman job as co-star.
But in the end, it's the story which torpedoes our empathies - not the casting, which some reviews want to rest the blame. The film could easily forgo the 15-minute boxing scene to concentrate upon the complex storyline for a more satisfying film - and a more satisfied audience.
However, the storyline is obtuse and leaves the viewer floundering for far too long to remain emotionally invested in these characters. The film ends with a flurry of explanations and activity which are supposed to tie up lose ends and provide reasonable explanations for what ensued; however, my viewing companions and I were past caring and became more interested in just exiting the theater.
The film starts with an involved boxing match which serves to provide explanation as to how these two cops started working together - which must be why we're shown each bone-cracking, kidney-pounding punch - mostly in slow motion. There's nothing that says "Let's be friends" like punching the incisors out of someone's head.
Every film noir needs its femme-fatale, and she's provided here by Scarlett Johanssen. I respect this actress, but was disappointed in her in SCOOP, with her faux damsel-in-distress face in close-up . . . which is used a lot in BLACK DAHLIA to equal ineffectiveness. There was so much potential in her earlier work which promised more depth from Scarlett.
Which actor shines here? By far, it's Aaron Eckhardt. His performance - and Hilary Swank's - pop out from the screen. Mia Kirschner is very palpable as the unfortunate, hapless Elizabeth Short. And Fiona Shaw is undeniably fascinating as the unbalanced entitled heiress. Josh Hartnett does a competent journeyman job as co-star.
But in the end, it's the story which torpedoes our empathies - not the casting, which some reviews want to rest the blame. The film could easily forgo the 15-minute boxing scene to concentrate upon the complex storyline for a more satisfying film - and a more satisfied audience.