The Black Dahlia
is a neo-Noir film Directed by Brian De Palma and based on the book of the same
name by James Ellroy (L.A. Confidential).
The film was a critical and commercial failure on its release in 2005 and I
first saw it on DVD in about 2007 but on a really small TV in my girlfriend’s
university flat. We both fell asleep so didn’t remember much about it. There
were two reasons why I wanted to see the movie again. The first was that it was
featured in a fantastic Sight & Sound
article about post 2000 Noir and the second was Scarlett Johansson. Any excuse
to watch one of her films. Having seen it properly now I’ve come to the
conclusion that I probably didn’t need to see it again and there’s a reason I
didn’t remember much of it. The Black
Dahlia is overly confusing and the time I spent trying to piece things
together took me away from the plot and the excellent period world that the
film created.
Placed shortly after the Second World War in Los Angeles the movie is
set around a real life murder case but everything else is fictional. Former
boxers turned cops Dwight 'Bucky' Bleichert (Josh Hartnett) and Lee Blanchard
(Aaron Eckhart) take part in a fixed fight which earns everyone in the
Department an 8% pay rise. They soon end up as partners and following the
grizzly murder of a young wannabe starlet (Mia Kershner) Blanchard begins to
obsess about catching the killer, leaving the rest of their work and his girl
(Scarlett Johansson) on the outside looking in.
The Black Dahlia
is very consciously a Noir piece. The movie is set at the height of Noir cinema
and features a voiceover from Josh Hartnett. At times the voiceover reminded me
of a hardboiled detective novel but also a little of Sin City.
The gruff musings of the central character help to give some direction to the
film which is otherwise quite confusing and convoluted. Following the Noir
theme there is not one but three femme fetale characters. Scarlett Johansson
begins the movie as a saucy, seductive and well dressed woman who goes on to
seduce both central characters. Her blonde hair and deep red lipstick also
accentuate her golden age looks. The central murder is of an under-age girl,
seeking fame who is generally only seen alive in screen test footage. She too
has the seductiveness of a typical Noir female and Hillary Swank puts to bed
for once and all the ‘Hot or Not’ question as a seductive and dangerous vixen.
In addition to the Noir tropes, the production and set
design puts the plot firmly in a believable 1940s Los Angeles which is both beautiful and
realistic. I recognised several of the locations and buildings from films of
the time and even a bridge from some of Chaplin’s early movies. The set
dressing and costumes were all fantastic and the cinematography was perfectly suited
to the era. The film’s only Oscar nomination came incidentally in that
category. One of my favourite things about The
Black Dahlia is the score. Of all of the excellent Noir tropes it is the
score which most resembles the films it is impersonating. All the way through I
was reminded of the likes of Shadow of a Doubt, White Heat and numerous others. The music here is one of the most
impressive homage scores I’ve heard.
My main problem with The
Black Dahlia is the confusing plot. I don’t expect a murder mystery to be a
simple linear A-C via B and there are occasional twists and surprises but I
felt that the plot was muddled and bogged down in confusing dialogue which
detracted from the rest of the film. I kept forgetting who people were or where
they fitted and characters seemed to come and go inexplicably. Too much is left
unexplained and the three way central relationship is given no explanation
whatsoever. There is no satisfaction when the final reveal arrives because I
was still trying to piece together how we’d got there. It’s a shame because
with a more focussed script there was no reason that the movie couldn’t have
reached the heights of L.A Confidential.
Unlike that film though, the performances are also a mixed bag. Josh Hartnett
often feels out of his depth and Aaron Eckhart’s fury and destruction is left
pretty much unexplained. As a central duo there is some chemistry but little to
hold them together. Scarlett Johansson flutters around in a bit of a daze and
ranges from good to really bad but Hillary Swank is very well cast while Mia
Kershner steals the show despite only being on screen for maybe ten minutes.
Overall The Black
Dahlia is a bit of a mess. There is potential for something much better but
casting, acting and plot detract from a fantastically recreated Noir world.
Brian De Palma obviously has a lot of love for the period and setting but never
gets to grips with bringing it altogether and the film suffers from uncertainty
and flabbiness from which it doesn’t recover before its final act. The film is
like a photo of a tasty looking meal. It looks great but you’re not going to
get anything else out of it.
6/10
GFR 6/10
Titbits
- The film was originally going to be a three hour black and white movie Directed by David Fincher. Fincher also considered making it as a TV miniseries.
- Gwen Stefani was considered for the role of Kay which luckily went to Johansson instead.
- The initial cut ran for three hours but was trimmed to just under two for the film's theatrical release.
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