Directed by Matt Ruskin and with a starring role from Keira Knightley, The Boston Strangler is a film that engrosses one in its grim narrative, whilst also offering room for intellectual engagement. This film, with its fair share of suspense and thrill, takes viewers on a ride skillfully crafted by Ruskin and brought to life by Knightley’s exceptional performance.
Ruskin paints a chilling tale of the notorious criminal who tormented the city of Boston, using a blend of film noir and psychological thriller. The film is steeped in the period’s historical context, delicately highlighting societal perspectives and biases of the time. Within this framework, Ruskin excels at creating tension, fear, and often, paralyzing shock that pervades his storytelling, crafting an atmosphere that holds the audience captive.
Keira Knightley, playing a journalist, takes on a challenging role, straying from her usual repertoire. Known for her energetic performances, Knightley’s performance here is, at once, powerful, and vulnerable. She painstakingly portrays the struggle of a woman operating in a male-dominated field, wrestling with jurisdictional barriers while trying to piece together a narrative of a serial killer’s psyche.
Ruskin had directed several films, including Booster and The Hip Hop Project, before he gained more recognition and acclaim with the excellent 2017 film, Crown Heights. Starring Lakeith Stanfield, the film tells a true crime story that was previously documented in an excellent episode of the famed radio series, This American Life. Now, Ruskin is back with another great true crime tale.
Alongside Knightly, Carrie Coon shines as her journalist colleague Jean Cole. Much of the film relies on their on-screen collaboration. Ruskin chose to put the two journalists front and center, filling the void with their personalities, lives, and the personal nature of their investigation. Knightly, a British actress, is celebrated for her nuanced performance in the world-renowned ‘Pride and Prejudice,’ while Carrie Coon, an American actress, has gained laudations for her role in ‘Gone Girl.’ Knightley’s role is intense and roaring with resilient audacity, while Coon’s character is comparatively mellow. The way these female journalists attempt to step in the male-dominated craft of investigative journalism makes a feminist reading of the film come easy.
One striking aspect of the movie is its cinematography. Wide shots of a bustling Boston, contrasted with close-ups of fear and dread on the faces of its inhabitants, creates a visual spectacle that reinforces the mood of the narrative. The exceptional production design, carefully recreating Boston’s mid-century era, enhances the overall visual aesthetic of the film. Complementing this, the decision to use a subdued colour palette carries an undertone of the mourning city beneath the facade of normalcy.
The narrative structure employed by Ruskin is as unconventional as it is effective. The non-linear storytelling, coupled with sporadic flashbacks, serves not only to build suspense but to provide a window into the complex fabric of each character. In particular, the development and presentation of Knightley’s character, both in her professional and personal spheres, provide an intriguing parallel to the main narrative arc.
The sound design of The Boston Strangler deserves a special mention. From the eerie silence of the murder scenes to the almost deafening noise of a city under fear’s grip, the sound design effectively captures and reflects the tumultuous emotional journey of its inhabitants. The film’s score, both haunting and melancholic, becomes yet another character in the movie, subtly guiding the audience through the narrative.
The Boston Strangler, under the able direction of Matt Ruskin, is undeniably an engaging watch. With Keira Knightley leading the film with her powerful and dedicated performance, the film leaves a lasting impression.
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