The Boston Strangler (1968)

Director:

Richard Fleischer

Writers:

Edward Anhalt (screenplay)
Gerold Frank (book)

Release Date:

16 October 1968 (USA)

Genre:

Crime | Drama | Mystery | Thriller

Tagline:

Why did 13 women willingly open their doors to the Boston Strangler?

Plot:

Boston is being terrorized by a series of seemingly random murders of women. Based on the true story...

Plot Keywords:

Murder | Courtroom | Fetish | Place Name In Title | Gay Bar

Awards:

Nominated for Golden Globe. Another 2 nominations

Cast

Tony Curtis	...	Albert DeSalvo
Henry Fonda	...	John S. Bottomly
George Kennedy	...	Det. Phil DiNatale
Mike Kellin	...	Julian Soshnick
Hurd Hatfield	...	Terence Huntley
Murray Hamilton	...	Det. Frank McAfee
Jeff Corey	...	John Asgeirsson
Sally Kellerman	...	Dianne Cluny
William Marshall	...	Atty. Gen. Edward W. Brooke
George Voskovec	...	Peter Hurkos
Leora Dana	...	Mary Bottomly
Carolyn Conwell	...	Irmgard DeSalvo
Jeanne Cooper	...	Cloe
Austin Willis	...	Dr. Nagy
Lara Lindsay	...	Bobbie Eden

Runtime:

116 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

4-Track Stereo (Westrex Recording System)

Certification:

Canada:PA (Manitoba) | Canada:R (Nova Scotia/Ontario) | Canada:18+ (Quebec) | Norway:11 (DVD rating) (2006) | Canada:18A (video rating) | Australia:M | Finland:K-16 | France:U (re-release) | Norway:15 | Norway:16 (original rating) | Spain:18 | Sweden:15 | UK:18 | USA:R (re-rating) | Iceland:16

Filming Locations:

Boston, Massachusetts, USA

Company:

Twentieth Century-Fox Film Corporation

Trivia:

Shortly before filming was set to begin the real Albert DeSalvo escaped from the mental institution where he was imprisoned. He was later captured after being on the run for 33 hours.

Goofs:

Factual errors: In the film it is assumed DeSalvo was guilty, and it portrays him as suffering from multiple personality disorder and committing the murders while in a psychotic state. DeSalvo was never diagnosed with, or even suspected of having that disorder.

Quotes:

Capt. Ed Willis: Everybody's banging everybody. It's a horny world.

Movie Connections:

Referenced in "Rowan & Martin's Laugh-In: (#2.25)" (1969)

Soundtrack:

Semper Fidelis

Tony Curtis embraces the unpleasant

Based on the real-life series of murders in Boston from 1962-64, this police procedural has close to a documentary-style approach. The filmmakers also utilized the split-screen technique briefly popular back then, in other films such as "The Thomas Crown Affair." More than just splitting the screen in two, there are sometimes as many as 5 different images dividing the screen, and a widescreen version is necessary to get the full effect. Here, the technique is used to display the actions of both the victim and the serial killer at the same time, viewing their movements preceding the actual murders. Some viewers may find their concentration divided to a greater degree than they would like.

The first half of the film shows how the police deal with (or, try to) the number of female bodies steadily piling up in the city. Some of the material is dated, with homosexuals being the primary suspects, and various types of perverts, like peeping toms, rounded up in unintentionally amusing scenes (see also "The Detective"1968 with Frank Sinatra for similar scenes of the homosexual community persecuted by the police dept.). Fonda plays the chief investigator, placed in charge against his wishes, but who soon accepts the gravity of the situation. George Kennedy is one of the main detectives.

Curtis doesn't appear until the first hour ends. As an actor, he immersed himself in this unpleasant role, and, from the first minute he's seen on screen, all his past film roles are summarily wiped away. He was a star for close to 15 years at that point and all those comedies & sappy adventures he'd been in immediately disappear from one's mind. It's a rather astounding feat - who knew he was this method actor? But, he wasn't even nominated for an Oscar. Also, unlike, for example, Travolta's comeback in "Pulp Fiction"(94), this did not revitalize his career. Sally Kellerman("M*A*S*H",1970) also appears in an early role as a victim who just may survive. Look also for, in a very early role, James Brolin in one scene as a police sgt. caught in some indiscretion by a supposed clairvoyant. Modern filmmakers should also check out some of director Fleischer's techniques towards the end, in that white room with Curtis.