críticas
Baseado no romance de James Ellroy, "The Black Dahlia"/"A Dália Negra" é o mais recente trabalho do realizador Brian De Palma. Estreia-se a 5 de Outubro nas salas de cinema portuguesas.
In a Noir Los Angeles, Murder Most Lurid
By MANOHLA DARGIS
Published: September 15, 2006
THE union of Brian De Palma and the murdered woman known as the Black Dahlia should have been a marriage made in movie heaven or, preferably, hell. A master of modern horror, Mr. De Palma has a flair for the frenzy of violence, specifically when visited on the female body, which makes him seem an ideal fit for this spectacularly cruel crime. At their finest, his films are marvels of virtuosity, alive to the contradictory, at times disreputable pleasures of the movies. Blood runs through his work, but so does juicy life. In “The Black Dahlia,” though, that life has been drained from the filmmaking, much as the blood was drained from the victim’s body.
Para ler em New York Times - Movies
Murder Most Foul
Brian De Palma's dreadful Black Dahlia. By Dana Stevens
Posted Thursday, Sept. 14, 2006, at 5:33 PM ET
There's more moral weight in one paragraph of James Ellroy's somber 1987 novel The Black Dahlia than in all 121 minutes of Brian De Palma's florid, sprawling, self-satisfied film version. Where Ellroy exposed, with an often brutal candor, the misogynist rage behind his protagonists' (and his own) obsession with the beautiful, bisected murder victim of the title, De Palma exploits that same misogyny without a trace of introspection. When the movie does exhibit a flash of spirit, it's because some of Ellroy's dialogue has survived the glitzifying machine. When it sags—and there's a long enough sag about three-quarters of the way through that you could go refinance your home and still make it back for the closing credits—it's because, story-wise, De Palma has taken matters into his own hands.
Para ler em Slate - Movies
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