In 1946, the former boxers Dwight “Bucky” Bleichert and Lee Blanchard are policemen in Los Angeles. Lee has a good relationship with his chief and uses a box fight between them to promote the department and get a raise to the police force. They succeed and are promoted to homicide detectives, working together. Bucky becomes a close friend of Lee and his girlfriend Kay Lake, forming a triangle of love. When the corpse of the aspirant actress Elizabeth Short is found mutilated, Lee becomes obsessed to solve the case called by the press Black Dahlia. Meanwhile, Bucky’s investigation leads him to a Madeleine Linscott, the daughter of a powerful and wealthy constructor that resembles the Black Dahlia. In an environment of corruption and lies, Bucky discloses hidden truths. —IMDb
Brian De Palma is one of the well-known directors who spear-headed the new movement in Hollywood during the 1970s. He is known for his many films that go from violent pictures, to Hitchcock-like thrillers.
Born on the 11th of September in 1940, De Palma was born in New Jersey in an American-Italian family. Originally entering university as a physics student, de Palma became attracted to films after seeing such classics as Citizen Kane (1941). Enrolling in Sarah Lawrence College, he found lasting influences from such varied teachers as Alfred Hitchcock and Andy Warhol.
At first, his films comprised of such black-and-white films as Bridge That Gap (1965). He then discovered a young actor whose fame would influence Hollywood forever. In 1968, de Palma made the comedic film Greetings (1968) starring Robert de Niro in his first ever credited film role. The two followed up immediately with the film The Wedding Party (1969) and Hi, Mom… read more
Upon the first viewing, you'll likely either be indifferent to it or loathe it. The second time you'll try to 'understand it' (and fail). The third viewing is when you may realize that somehow you quite like this damn thing. If anything, The Black Dahlia is unique, and like many of De Palma's films, it succeeds not as much in spite of its flaws as it does because of them.
Possibly the best recreation of film noir since noir officially ended. The script is full of the sort of delicious lingo that Bogie or Mitchum would’ve ate up, and the aesthetic is exactly that of an authentic studio production, here shot with stylish finesse too. While the overarching detective mystery may be largely incoherent here, this nevertheless remains underrated for its professional veneer and perfectly-captured, pot-boiling essence.
De Palma's most disturbing film, taking all his gifts for expressionistic, Romantic style and basically using them Samson-like to collapse the roof on itself. Doesn't deconstruct noir so much as demolish it.
Em fitas noir, ambientação, aparências e comportamento carregam um peso superior à lógica da trama, em geral um emaranhado deliberadamente confuso de circunstâncias tão sinistras quanto improváveis… read review