The Black Dahlia

As an adaptation of the book by Ellroy, this deserves a full on left and right hook, but as a solid genre piece it isn’t all that bad. First we get a thorough introduction of characters and only then, around half way through, we happen to stumble upon the main storyline. It would be a mistake to confuse long-windedness with boredom. Here, the long inaugural exposition is just right, thanks to how the tension in the story builds up and climaxes. (01/13/2007)

If Black Dahlia is supposed to be a modern tribute to film-noir, then thank you very much, but it didn't turn out very well. This boring tangled mess wouldn't stand a chance as a standalone detective story, let alone as a creation that is supposed to represent some sort of art. It's star-studded in terms of cast, but greatly underutilized. Josh Hartnett is a solid narrator, but he is considerably worse an actor, and the character he plays doesn't suit him. There are a few quality shootouts, though, the typical extravagant camera tricks and lighting by De Palma, but even that is not enough. The impotence of the screenwriters is significant and after a few shots you are already drowning in a sea of names, with no chance of grasping them even if your life depended on it. I had the strange feeling that a film of this type doesn't really fit into today's world anymore. Despite the excellent production design, I still somewhat expected black man driving by the characters in a Mustang with loud music blasting. (04/08/2007)

Brian De Palma was, according to many, one of the few directors (along with Steven Soderbergh) who could make a film noir in today's time. I don't know about Soderbergh - I will definitely find out eventually - but De Palma simply failed at it. His contribution to the great genre of the 40s was supposed to be the film "The Black Dahlia," which was based on real events from the second half of the 1940s in the United States. An horribly disfigured female corpse was found and it was necessary to find the killer. Two policemen were supposed to take care of that, one with the face of Josh Hartnett and the other with the rugged face of Aaron Eckhart. By the way, the film had generally good casting, including the female roles - Scarlett Johansson and Hilary Swank are both my favorites. The story could have developed, but instead of focusing on the script, De Palma focused mainly on the form. He brought the noir style as close to today's audience as he could. It probably couldn't have been done any better. Josh Hartnett is a strong hero, a storyteller who is not afraid to deal or receive blows. There are also women (women) here, into whom he could fall in love, let alone a lot of people who appear differently than they really are at first glance. The visual and musical aspects are great, I can't find fault with the costumes. But then there's the story, which tries to be full of twists, only to become convoluted and not bring anything good at all. Either I would try a slightly more straightforward approach, or develop the plot a little more so that the audience also has the opportunity to discover who is responsible for everything. Clues, hints, and finally realization. That would work well. But like this, it feels too much like everything is happening according to the script. It's probably not quite right if I'm more interested in the killer than in how the relationship between the young detective and his partner's woman turns out. More: http://www.filmovy-denik.cz/2012/11/sahara-stormbreaker-syriana-andelsky.html (03/02/2013)

James Ellroy is a classic, and the substance he delivers can't possibly disappoint, especially when Brian DePalma is directing. I admit that at times I had the feeling that this reference-laden and, to many, surrendering noir plaything would have been better under the direction of Martin Scorsese. On the other hand, DePalma's distinctive direction (fetish, violence, steady-cam) gives it a slightly different edge. It is perhaps less polished, but again more playful and fun, unafraid to go to the core of all the genre clichés in order to milk them for powerful moments like the scene on the stairs or the final absolution. I’m no connoisseur of the noir school, but I really like the few films I've seen. That's why I was very pleased with DePalma's tribute. He may not be the old provocateur anymore, but he is still a conscious filmmaker with a distinctly legible style. (01/24/2009)

The genre of gangster and noir films has a long tradition in the United States, and Brian De Palma is an experienced matador of film studios and has a wealth of experience with this genre. In his old age, he wanted to prove that he was not yet past his prime, and he made an ambitious film that may not be able to compete with his famous works such as The Untouchables, Scarface, or Carlito's Way, but it is still a watchable film that will please genre fans. De Palma definitely did not experiment, he played it safe, and the conventionality of the film is evidenced by the fact that out of the two femme fatales, the provocatively dressed one who looks like she just stepped out of a brothel is a real bitch, while the angelic-looking one is truly innocent. This film is not surprising, but there are still a few scenes where De Palma's talent shines through. In terms of acting, it is decent, and the male part of the audience will undoubtedly be pleased with the casting of Scarlett Johansson and Hilary Swank. Overall impression: 55%. (03/13/2009)