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Cooler Black
Brian De Palma’s newest noir THE BLACK DAHLIA is yet another nail in the coffin of the visionary director of such classics as CARRIE, THE UNTOUCHABLES, and SCAREFACE. THE BLACK DAHLIA is yet another anemic film in a string of poorly conceived films that follow SNAKE EYES, MISSION TO MARS, and FEMME FATALE.
One of the biggest problems with the film is the lack of focus in the screenplay by Josh Friedman whose last film WAR OF THE WORLDS was also riddled with problems (that were subsequently overcomed by David Koepp’s rewrites and by Spielberg’s direction). The story tries to work on multiple levels with various subplots that are haphazardly strung together in the final fifteen minutes of the film but the logic in the resolutions is completelt ludicrous. This is due in part by the second biggest problem of the film which is character motivations.
A lot of what happens in the film is circumstancial and coincidence but the film (in its final 15 minutes) wants you to believe that everything is connected in some remote way. This could have worked had De Palma employed more seasoned actors but neither Josh Hartnett nor Aaron Eckhart can pull off the complexities of their characters (if you could call them complexities). Unlike the far superior CHINATOWN, MYSTIC RIVER, or LA CONFIDENTIAL, which all used older and more seasoned actors. THE BLACK DAHLIA crumbles under the lackluster performances of its key players. Neither Scarlett Johansson nor Hilary Swank make an impression because their characters are just as one-note as the leads. Only Mia Kirshner as the victum of the notorius crime makes an impression and she’s only seen in “screen tests” that Hartnett’s character obsesses over.
By the midpoint of the film THE BLACK DAHLIA has lost all credibility as a noir film digging a deeper grave for itself with each absurd plot point that tries to string together all the other random plot points until the resolution is so unbelievable to border on absurdism. This is the same problem that’s come across De Palma’s last several films including FEMME FATALE, MISSION TO MARS, SNAKE EYES, and the first MISSION IMPOSSIBLE.
I do give credit to Mark Isham’s score which is on par with his other scores - CRASH, SPARTAN, and THE COOLER, and pushes the film along its ridiculous plot, but it also just so happens to overwelm most of the film itself and is better left on its own.
Credit must also be given to cinematographer Vilmos Zsigmond who makes De Palma’s film look better than it actually is but what can you expect from the man who crafted De Palma’s THE BONFIRE OF THE VANITIES, THE GHOST & THE DARKNESS, THE TWO JAKES, and THE CROSSING GUARD.
About the Author:
An independent filmmaker who writes screenplays and articles mostly in the entertainment fields.
Article Source: ArticlesBase.com - Film Review: the Black Dahlia