The Black Dahlia

Ah, the days of film noir. Those movies from the 30s and 40s that showed the darker side of human nature. Where have those movies all gone? They've been tossed for stories with happy endings and un-complicated characters. Characters with only surface intentions and hardly any three dimension.



The Black Dahlia, in its grandiose way, seduces the audience back to the days when men were corruptible and women hid their true intentions. It's juicy in every way. From the cinematography (which is luscious and every sense noir) to the characters that are in the game for their own agenda.

Brian De Palma directs an all-star cast lead by Josh Hartnett and Aaron Eckhart. The two play Bucky Bleichert and Lee Blanchard respectively. The detectives meet during the Zoot Soot Riots and bring back stability and dependability to the LAPD.



The Black Dahlia story actually comes in some time after the movie starts. The audience is introduced to Kay (Scarlett Johansson) as Blanchard's blonde bombshell girlfriend and the character in the movie with least amount of skeletons. At first glance, Johansson seems to have just shown up on set and recite lines, but her Kay is fragile and strong at the same time. Kay and Bucky begin a flirtation but never act on it because of loyalties to Blanchard.



The Dahlia case eventually takes its hold on the two detectives affecting each in its own way. Blanchard spirals down into obsession as his personal demons catch a hold into Dahlia's grey-crystal eyes. Bucky's investigation leads him to Madeleine Linscott (Hilary Swank), a socialite’s daughter with ties to the Dahlia. Bucky also becomes obsessed with Dahlia in the form of Madeleine, who bares a strong resemblance to the murdered starlet.

As far as plots go, this one has an interlocking one. Based on James Ellroy's novel of the same name, the plot almost detracts from the audience's attention as much as it occupies it. There's almost too much going on for someone to follow it clearly in one viewing. However, the juiciness of the storylines and this dark world bring you back and captivate you.



Hartnett stands away from his heartthrob image into an admirable attempt at a real character. Eckhart is absorbed into Blanchard and has never been so good. Johansson could have come or gone, but for the audience, thank God she stayed. Blonde bombshell is something she was born to play. The only awkward character here is Swank, who for one of the very first times in her life, plays a conventional character (not that it is conventional at all). But are sexy and sultry words to describe the Oscar winner? She's known for performances in non-traditional female roles and in this role she doesn't seem too convincing. However, she does pull it off, whatever IT is.

The direction brings De Palma back to his glory. His long takes and pans give us the noir-thriller-dramatic feel without being corny or over-the-top. His cinematographer, Vilmos Zsigmond, is nominated for an Oscar for his superior work on this film.

Now the only thing missing is more films like this. ***C***