The Boston Strangler (1968)

With the invention of the 24 hour news cycle and cable news it seems like every atrocity on the face of the Earth is presented to us nonstop around the clock. When a mass shooting happens or serial killer is on the lose we hear about it constantly without relief. Growing up when there were only three major networks and people relied as much on print journalism as they did TV we never had that. When something like this occurred the story would unfold over time rather than tons of speculation and unverified tidbits coming at us fast and furious.So it was with the case of Albert DeSalvo, aka the Boston Strangler. The story was mostly regional in the Boston area at first. Once the killing was solved the story spread out across the country. Pundits didn't weigh in automatically about this, that or the other. The deepest look into what happened was put in books rather than a movie of the week. But a movie was made and it was a great depiction of events.In 1962 the city of Boston is filled with fear as a series of murders of women occur. No one feels safe and no location is safe as the women were murdered in their own homes in most cases. There was no sign of forced entry and most were sexually assaulted. To say that there was intense pressure on law enforcement to catch this killer is an understatement.The movie moves back and forth between two stories, the second developing as we get into things. On one hand we have the typical police procedural story to watch. Led by appointee John Bottomly (Henry Fonda) a task force is set up to bring together all the clues and information about the killer in the hopes of capturing him and ending his reign of terror. Things get so desperate that Bottomly allows psychic Peter Hurkos in to help the task force. But it is luck that results in the killer's apprehension.As this story unfolds we are also presented with that of Albert DeSalvo, the man who is indeed the Boston strangler. A middle aged married man with children, DeSalvo goes to work, comes home, watches TV and seems normal on the surface. While watching TV one day he tells his wife he has to leave for work. In reality he has another victim in mind. His attack goes off and he rapes the woman, being bitten by her as she tries to free herself. While running away he is apprehended by the police and eventually his story is revealed.The third act here involves the interrogation of DeSalvo and how they came to find out more about the man and his mental issues. Without a confession the evidence to convict is slim. As Bottomly questions DeSalvo it at first appears he won't succeed. Whether he can or not makes for a well thought out, stunningly portrayed performance by two great actors.When the movie was released it received solid reviews but most critics took note that much was changed from the reality of the story. Rather than praising it for being an accurate portrayal they noted it was more in the vein of a "based on real events" type film. This didn't hold back the public who went to see the movie and made it a success.The movie offered actor Tony Curtis who fought for the role one of the best parts of his life. He was able to show that he wasn't just another pretty face but a dynamite actor who had the chops to bring the character to life. At a time when many thought his career was over this revitalized it instead. Watching his performance is one of the highlights of the film.The release by Twilight Time is every bit as good as the rest of their catalog, offering a pristine version of the movie on blu-ray. In addition to the quality image on screen extras include an isolated music & effects track, audio commentary by film historians David Del Valle and Steven Peros, "Split-screen Personality" a short with William Friedkin on the film, Real Killer Fake Nose, AMC Backstory: The Boston Strangler, Fox Movietone Newsreel and the original theatrical trailers. As is always the case with their releases this has a limited run so if you are interested make a point of picking one up before they're gone.

This viewer, for one, knows that usually Hollywood productions based on true stories have to be taken with a grain of salt, that they won't exactly be 100% accurate. However, no matter if there is invention or fictionalization going on in "The Boston Strangler", it's still an absorbing, well-crafted film with an incredible cast just full of familiar faces. Much has been made of the documentary-style approach that it takes to its events, and deservedly so; only towards the end does it get more surreal, as it attempts to get into the head of the disturbed killer. Director Richard Fleischer does great work here, especially the way that he utilizes the Panavision aspect ratio and the split screen technique. Best of all is an unexpectedly potent performance by Tony Curtis as Albert DeSalvo, the man believed to be the unfortunately prolific Boston Strangler who murders almost a dozen women during the course of the film.As this serial killer goes about his business, the intense manhunt is launched, with law expert John S. Bottomly (Henry Fonda) drafted to lead a task force. Detectives such as DiNatale (George Kennedy), Soshnick (Mike Kellin), and McAfee (Murray Hamilton) pursue all possible leads, and consider *any* sort of "deviant" as a potential suspect. It isn't until the film is about half over that we finally get a proper introduction to DeSalvo, and see him in action, in the guise of his job as a furnace man, selecting victims. Eventually, he does get caught, and the final portion of the tale has Bottomly doing his hardest to get some kind of confession out of him."The Boston Strangler" is a little ahead of its time with a rather daring amount of explicitness, in terms of bare skin and violence. Fleischer dares to take his time moving from scene to scene, and creates the kind of procedural that is always fascinating for this viewer. Use of Lionel Newmans' score is also very spotty, adding to a respectable degree of realism. But it's that lengthy end portion with Bottomly attempting to get DeSalvo to open up that's the corker. Curtis really was a better actor than often given credit for, and he shows it here.The large list of people to watch for in this cast include Hurd Hatfield (in a poignant performance as a homosexual that counteracts the homophobia from the cop characters), Jeff Corey, Sally Kellerman, William Marshall, George Voskovec (in a funny turn as renowned psychic Peter Hurkos), Leora Dana, Jeanne Cooper, George Furth, William Hickey (sympathetic as a disturbed suspect), James Brolin, Dana Elcar, William Traylor, and Alex Rocco in an uncredited bit.This is good stuff and worth a look for those with an interest in true-crime stories.Eight out of 10.

My background is not typical of the average viewer. Years ago, I used to be a psychotherapist and I worked with some very, very sick people. In addition, I taught psychology. So I have some idea what I am talking about when I say this film is probably a lot of psychological mumbo-jumbo. Let me explain. Back in the 1950s, the book and movie "The Three Faces of Eve" created a sensation. Suddenly this new diagnosis of Multiple Personality Disorder (now called Dissociative Identity Disorder) was identified and the number of cases was very large for a newly named mental illness. And, when the TV mini-series "Sybil" came out, the number of cases increased dramatically. Then came the bombshell--the lady who identified herself as 'Eve' admitted that her illness was a hoax--and there was good reason to doubt the account in "Sybil" as well. And, each time a movie or book came out on the subject, the number of cases increased! Something was clearly amiss. Today many counselors and psychologists doubt that the disorder actually exists. I am not sure I'd go that far, but do know that many folks who claim to have it do so in order to avoid prison--as there is clearly a gain for them to be 'sick'. So, in light of this (and so much more I haven't the space for here), it's very doubtful that the killer in "The Boston Strangler" actually had the Multiple Personality you see in the film. He more likely used this as an excuse for his sick behaviors. Instead, sex offenders often 'compartmentalize'--in other words, while they KNOW what they did, they often deny it to themselves and others--treating their sick behaviors like it happened 'to another part of them'. Despite the distinct possibility that MPD does not exist, it does NOT make "The Boston Strangler" a bad film. First, at the time, MPD was seen as a very real thing by most therapists. Second, the film is very well constructed, finely acted and interesting throughout.The film is about a real series of rape/murders in the Boston area and the man who is assumed to have been the perpetrator, Albert DeSalvo. The entire first hour is about the investigation and furor over the killings and you don't even see DeSalvo (Tony Curtis) until this hour is complete! This makes this movie perhaps the only one I know of where you wait this long to see the star! I liked the investigation portion the most, as it was NOT glamorized but seemed rather realistic. As for Curtis, soon after he enters the film, you see him committing one attack---and you can clearly see it's him for the first time. This attack doesn't go as he planned, however, and for the first time he's left a living witness. Soon after, he's caught while trying to break into another home. The problem is not whether or not he did the crimes but whether or not he's even competent to stand trial for them. Overall, a fascinating portrait of the investigation and the killer. Well worth seeing and a quality production despite the strong possibility DeSalvo was NOT a Multiple Personality.By the way, the first portion of the film consists of a bizarre multi-paned screen--with several scenes occurring in little windows. The only other film of the time that I can think of that did this is "The Thomas Crown Affair".

A Split Screen presentation of the Pursuit of a Killer with a Split Personality. This Tense, Riveting expose was one of the First Films to deal with Sexual Perversion with Stark, Realistic Dialog and the Aftermath of these Type of Crimes.However, the Movie Suffers in the Third Act when Abruptly, the Focus Turns from Apprehension of the Strangler to the Mental Health Diagnosis of the Suspect. The Talky, Clinical Conclusion might be the Politically Correct, Technically Correct way to Deal with the Subject, but, for the Cinema it is a Killer.A lot has been said of Tony Curtis Playing Against Type but the Allotted Screen Time is Not Enough to Provide any Depth or Explore any of the Contradictions of the Character. The Screenplay seems Unable or Unwilling to Go There. Once the Murderer is On Screen it all seems Rushed and rather Detached. Given that the Boston Strangler and not the Police Investigation Screams to be the Focus of the Film.