(2004/USA)
Reviewed By Christopher Neill Director: Chuck Parello
Cast: C. Thomas Howell, Nick Turturro, Allison Lange, Marisol Padilla Sanchez, Jennifer Kelly Tisdale, Lin Shaye Source: Tartan Video (2004, NTSC Region 1) Extras: Director Commentary, Deleted Scenes, Interview with C. Thomas Howell, Trailer, Language English Audio- Optional Subtitles in Spanish
Runtime: Approx. 98 minutes (Feature)There is a review at the Internet Movie Database which describes THE HILLSIDE STRANGLER as a "reprise of the (British) video nasty", which is an accurate summery of Chuck Parello’s grim and disturbing documentation of a true-life series of sadistic crimes which occurred in Los Angeles during the late seventies. This final installment of producer Hamish McAlpine’s serial killer trilogy follows the same format as the earlier entries ED GEIN (2000) and TED BUNDY (2002) in their recreations of factual events not being presented from the authorities’ point of view, but from the enclosed alienated world-view of the killer(s).
Although the murderers were dubbed by the press at the time as "the Hillside Strangler", the killings were actually perpetrated by two men, Kenneth Bianchi and Angelo Buono, who posed as policemen and targeted prostitutes and female motorists. Over a two-month period ten women were abducted, raped and murdered. As in TAXI DRIVER (1976) and THE ASSASSINATION OF RICHARD NIXON (2004), the film gives viewers access to the protagonists’ disturbed vision, allowing audiences to follow the twisted logic behind their heinous crimes.
C. Thomas Howell and Nick Turturro are startlingly believable in the leading roles which make their portrayals of the depraved killers both fascinating and horrifying to watch. Howell (whose gaunt appearance at the time was due to the actor recovering from a ruptured appendix) is both manipulative and seemingly vulnerable as Bianchi, a loser who believed that he could outsmart anyone, including the police, while blaming anyone but himself when things went wrong. Turturro’s portrayal of Buono is as intense and menacing as Joe Pesci in GOODFELLAS amplified on Quaaludes and his own brutal sense of misogynistic machismo.
Unlike other recent horror films such as MONSTER MAN and DEAD AND BREAKFAST (both of which played the festival circuits around the same time as THE HILLSIDE STRANGLER), Parello’s film has a deeply black sense of humour which does not come from the over the top actions perpetrated on screen, but from the interaction between two perversely warped protagonists. Not only do these scenes illustrate the ongoing relationship between Buono and Bianchi but they give the viewer, however slight, a relief from the grim proceedings (although the script is credited to Parello and Stephen Johnston, one can speculate that TED BUNDY director Matthew Bright, who is credited with "additional material", is responsible for these darkly humorous touches).
As stated earlier, THE HILLSIDE STRANGLER is the third film in Hamish McAlpine’s serial trilogy and it’s probably both the most accessible and best. ED GEIN (also directed by Parello) was a solid but incredibly dry account of the infamous Wisconsin murderer which paled in comparison with DERANGED (1974), another film which documented the same events. TED BUNDY on the other hand was laced with Bright’s anarchistic sense of humour that was too extreme and offensive for many viewers. THE HILLSIDE STRANGLER better balances the seriousness of the material with the dark comedy elements, both present in the two earlier films, to create a more approachable film.
Although Bianchi and Buono are the only fully fleshed out characterisations, another element that makes THE HILLSIDE STRANGLER effective is the performances of the supporting actors. Allison Lange handles her role as Bianchi’s lover, a woman who initially falls for and eventually tires of his manipulation, with credibility while Lin Shaye has an excellent cameo as Buono’s mother (The dinner scene between Mrs. Buono, her son and Bianchi is amusing and chilling in equal proportions). Also praiseworthy are the actors portraying the victims who bring believability to their underwritten roles and thus make the killings appear even more cruel, inhumane and unsettling to watch.
THE HILLSIDE KILLER is aided by its modest budget. Since it is set in the late seventies and extensive period recreation was too costly, much of the action takes place in interior locations or tightly shot exteriors creating a strong sense of claustrophobia. Enhancing this sense of enclosure is the use of stock footage of Los Angeles’ sleazy red light district from the time with streets illuminated by garish strip club signs and porno theatre marquees and filled with hustling working girls and potential johns. This footage, presented as Bianchi and Buono’s point of view from their moving car, is often of grainier quality to the rest of THE HILLSIDE STRANGLER, some of it even looking as if it was sourced from videotape. Accompanied by the killer’s comments as they seek their next potential victim ("How about her?" "Nah, no dog meat tonight!"), these scenes are particularly unsettling as they present Bianchi and Buono’s perception of the outer world as dreamlike and unreal (the difference in picture quality is not as noticeable on DVD as it is in the 35mm theatrical prints).
Ultimately what makes THE HILLSIDE STRANGLER so effective is that it documents events that actually took place, a repugnant fact that is reinforced by Parello’s presentation of the material. Unlike another recent film which also dramatises the exploits of Bianchi and Buono, RAMPAGE: THE HILLSIDE STRANGLER MURDERS (2006), such devices as gimmicky editing, tricky camera angles or dramatic music are not employed as a cheap shortcut to tension and suspense. Instead the visual style is flat and the events unfold in a matter of fact fashion until they reach their inevitable conclusion. This bluntly unglamorous handling of the proceedings makes the events all too plausible and, therefore, creates a disturbing and memorable viewing experience.
Tartan’s DVD of THE HILLSIDE STRANGLER was one of the company’s first releases on the American market and it is an improvement over their British DVD releases in terms of quality, extras and presentation. The image is presented at its original theatrical ratio of 1:85:1 with slightly muted colours which is presumably intentional as it gives a dated look which suits its 1970s setting. There are three audio tracks on the disc, one of which presents the film at 5.1 surround (spelt ‘suround’ on the menu) and one in 2.0 stereo, both of which are fine. The third track is an audio commentary from director Parello which is unfortunately a pretty tepid affair as he says little of interest and seems uncomfortable throughout much of the recording. It is a pity that producer McAlpine could not have joined Parello on the commentary. Notoriously outspoken and witty, McAlpine proved to be an entertaining showman when I interviewed him for FILM IRELAND magazine and undoubtedly would have added some zest to the proceedings (he amusingly signed my DVD sleeve of THE HILLSIDE STRANGLER with the note "glad you got the jokes too!"). There is also an 18-minute interview with Howell which begins as one of those awkward on-set scenarios where the actor wearily discusses his role while presumably on his coffee break. But Howell has some intriguing things to say regarding the affect of playing someone like Bianchi has on him which makes the interview worthwhile. There are three deleted scenes totaling almost 3 minutes which are very slight and their exclusion from the finished version is barely noticeable. Apart from a trailer for THE HILLSIDE STRANGLER there are also trailers for other Tartan releases ANATOMY OF HELL, SUSPICIOUS RIVER and A TALE OF TWO SISTERS. The feature has a Spanish subtitle option.
Be sure to seek out the unrated version. An R-rated version, apparently missing about one minute of material, is also available.
Story: 5/5 Bitch Slaps
Extras: 4/5 Bitch Slaps
Picture/Audio: 4.5/5 Bitch Slaps
Overall DVD: 4.5/5 Bitch SlapsPurchase this at X-Ploited Cinema
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