Although there had been numerous earlier cases, 20th Century America's fascination with serial killers really began in the early 1960s, when thirteen women were found strangled to death in their Boston homes. As the murders progressed, the city was gripped by fear--and then relieved by the capture of Albert Henry DeSalvo, who confessed to the crimes. DeSalvo was considered too emotionally disturbed to bring to trial for the murders; convicted of a variety of other, more readily provable offenses, he spent the remainder of his life under lock and key and was ultimately stabbed to death by a fellow inmate in 1973.
Even at the time of DeSalvo's capture, many investigators felt that more than one killer was at work, and later reviews of the case have raised doubts about whether DeSalvo killed all, some, or any of the victims. Nonetheless, the public was satisfied, and the 1968 film THE BOSTON STRANGLER, based on the book of the same name by Gerold Frank, reflects this point of view.
As scripted by Edward Anhalt and directed by Richard Fleischer, THE BOSTON STRANGLER falls into two portions. In the first, legal expert John S. Bottomly (Henry Fonda) is ordered to establish a central office to co-ordinate the investigation and soon finds himself working with every one from hardnosed Det. Phil DiNatale (George Kennedy) to celebrated psychic John Asgeirsson (Jeff Corey.) Various leads draw them to a number of "sexual deviates," including homosexual antiques dealer Terrence Huntley (Hurd Hatfield)--but their leads prove futile and frustrating.
At mid-point the film shifts focus to Albert DeSalvo (Tony Curtis in an extremely atypical role), a quite family man who works as a repair man--and who is, unbeknownst to all around, the Boston strangler. The film follows him through a number of attacks, most particularly an attack on Dianne Cluny (Sally Kellerman, in her film debut); when Cluny survives, she provides a tiny bit of evidence, and a later coincidence leads Bottomly and DiNatale to a final solution.
By and large, the performances are remarkably solid. In 1968, Tony Curtis was best known as a romantic leading man most often seen in light comedies. Curtis lobbied hard for the role of DeSalvo, hoping it would change the course of his career, and he offers a memorable performance, particularly in the film's final scenes. Supporting actress Sally Kellerman also gives what may be her single finest performance as pivotal victim and witness Dianne Cluny, and Curtis and Kellerman's scene together is truly harrowing.
Director Richard Fleischer was noted for his love of widescreen effects, and with THE BOSTON STRANGLER he frequently divides the screen into multiple scenes, often rather like overlapping tiles. The effect is very stylish, but I found that a little went a long way, and Fleisher tends to overplay the device; by the time it is at is most artful, near the end of the film, I found it most difficult to appreciate due to its constant and somewhat wearing repetition.
The script by writer Edward Anhalt is also stylish, but it too is significantly flawed in that it never seems to go quite far enough. This is particularly true re DeSalvo; granted the film takes the point of view that DeSalvo was guilty, and granted ideas about psychology have changed considerably since 1968, but all the same I never quite believed the film's internal logic. Although there was room for it, too much was left unexplored, and in the end I felt I knew little more about the personalities involved than I did when I came in.
GFT, Amazon Reviewer
Even at the time of DeSalvo's capture, many investigators felt that more than one killer was at work, and later reviews of the case have raised doubts about whether DeSalvo killed all, some, or any of the victims. Nonetheless, the public was satisfied, and the 1968 film THE BOSTON STRANGLER, based on the book of the same name by Gerold Frank, reflects this point of view.
As scripted by Edward Anhalt and directed by Richard Fleischer, THE BOSTON STRANGLER falls into two portions. In the first, legal expert John S. Bottomly (Henry Fonda) is ordered to establish a central office to co-ordinate the investigation and soon finds himself working with every one from hardnosed Det. Phil DiNatale (George Kennedy) to celebrated psychic John Asgeirsson (Jeff Corey.) Various leads draw them to a number of "sexual deviates," including homosexual antiques dealer Terrence Huntley (Hurd Hatfield)--but their leads prove futile and frustrating.
At mid-point the film shifts focus to Albert DeSalvo (Tony Curtis in an extremely atypical role), a quite family man who works as a repair man--and who is, unbeknownst to all around, the Boston strangler. The film follows him through a number of attacks, most particularly an attack on Dianne Cluny (Sally Kellerman, in her film debut); when Cluny survives, she provides a tiny bit of evidence, and a later coincidence leads Bottomly and DiNatale to a final solution.
By and large, the performances are remarkably solid. In 1968, Tony Curtis was best known as a romantic leading man most often seen in light comedies. Curtis lobbied hard for the role of DeSalvo, hoping it would change the course of his career, and he offers a memorable performance, particularly in the film's final scenes. Supporting actress Sally Kellerman also gives what may be her single finest performance as pivotal victim and witness Dianne Cluny, and Curtis and Kellerman's scene together is truly harrowing.
Director Richard Fleischer was noted for his love of widescreen effects, and with THE BOSTON STRANGLER he frequently divides the screen into multiple scenes, often rather like overlapping tiles. The effect is very stylish, but I found that a little went a long way, and Fleisher tends to overplay the device; by the time it is at is most artful, near the end of the film, I found it most difficult to appreciate due to its constant and somewhat wearing repetition.
The script by writer Edward Anhalt is also stylish, but it too is significantly flawed in that it never seems to go quite far enough. This is particularly true re DeSalvo; granted the film takes the point of view that DeSalvo was guilty, and granted ideas about psychology have changed considerably since 1968, but all the same I never quite believed the film's internal logic. Although there was room for it, too much was left unexplored, and in the end I felt I knew little more about the personalities involved than I did when I came in.
GFT, Amazon Reviewer