Main Cast: Tony Curtis, Henry Fonda, George Kennedy, Mike Kellin, Hurd Hatfield
Release Year: 1968
Country: US
Run Time: 115 minutes
Plot
The Boston Strangler adopts the split-screen technique then in vogue (see also The Thomas Crown Affair) to relate the true story of self-confessed mass murderer Albert DeSalvo. Adapted by Edward Anhalt from the book by Gerold Frank, the film covers the years 1962 to 1964, during which time a dozen women were raped and murdered in the Boston area. State-appointed officer John Bottomly (Henry Fonda) arrests as many known sex offenders as he can get his hands on in hopes of finding a clue as to the Boston Strangler's identity. As these things often happen, the police come across the necessary evidence through pure luck. Well-played by Tony Curtis (whose makeup is startling), DeSalvo himself does not appear until an hour into the film. When caught, the schizophrenic DeSalvo insists that he knows nothing of the murders. Under interrogation and hypnosis, his homicidal impulses are exposed. Meticulously cast, The Boston Strangler offers excellent vignettes by Sally Kellerman as the Strangler's only surviving victim and by Hurd Hatfield as an erudite sex pervert. When Boston Strangler was first shown on TV in 1974, a voice-over coda was added, noting that Albert DeSalvo was stabbed to death in prison on November 26, 1973, and that many experts were convinced that he was not the killer but that his confessions were the product of a delusional mind. ~ Hal Erickson, All Movie Guide
Review
This gripping real-life story is one of most underrated police procedurals around, not to mention an interesting precursor to modern-day fictional serial-killer tales like The Silence of the Lambs and Seven. The Boston Strangler remains potent even by modern standards because it hits the right balance between showing the gruesome details and leaving things to the viewer's imagination. Using intriguing multi-panel split-screen effects, director Richard Fleischer effectively conveys how terror grips the people of Boston as the killer stalks his prey and gradually shows more of the killer's gruesome deeds as the tension builds. Fleischer also gets stellar performances out of a top-flight cast: Henry Fonda's upright, all-American persona brings instant credibility to his detective character, and familiar character actors like George Kennedy and Murray Hamilton add convincing supporting performances as his colleagues. However, the movie really belongs to Tony Curtis for his portrayal of the title character. Even though he doesn't appear until the film is almost half over, Curtis' skillful portrayal of a man who can't fathom the monstrous side of his own mind is as heartbreaking as it is frightening. It is a testament to the quality of his performance that the filmmakers allow the third act to hinge upon his ability to convey the character's personality disorder. All in all, The Boston Strangler is a powerful portrayal of the serial killer mindset and worthy of rediscovery by true crime buffs. ~ Donald Guarisco, All Movie Guide
Richard Day - Art Director, Jack Martin Smith - Art Director, James Cresson - Associate Producer, William Travilla - Costume Designer, David Hall - First Assistant Director, Richard Fleischer - Director, Marion Rothman - Editor, Lionel Newman - Composer (Music Score), Jack Martin Smith - Production Designer, Richard H. Kline - Cinematographer, Robert Fryer - Producer, Raphael Bretton - Set Designer, Stuart A. Reiss - Set Designer, Walter Scott - Set Designer, L.B. Abbott - Special Effects, John C. Caldwell - Special Effects, Art Cruickshank - Special Effects, Don Bassman - Sound/Sound Designer, David Dockendorf - Sound/Sound Designer, Edward Anhalt - Screenwriter, Gerold Frank - Book Author
The first part of the film shows the police investigation, with some examples of the seedier side of Boston life. The second part shows the apprehension of DeSalvo.
Reception
Reviews
Reviews tended to praise some aspects of the film, particularly Curtis' performance in a grittier role than he usually played. However there was criticism of the film for taking some liberties with the facts of the case, and its use of split screen[citation needed].
