News: Kathy Bates

Bates may still be best known for her Oscar-winning turn as a raving spycho in 1990’s Misery, but she crops up in all kinds of films, as her outing as Bitsy the Cow in this week’s Charlotte’s Web demonstrates amply.

Come the end of the year she’ll be cropping up in two more movies where voice work’s all important, with Jerry Seinfeld’s much-anticipated The Bee Movie being followed by the decidedly less anticipated “musical family adventure comedy” Christmas Is Here Again. But – just to make sure no one thinks she’s getting lazy – she’s also going to be cropping up in the decidedly less cheesy Vince Vaughn / Paul Giamatti comedy Fred Claus around the same time.

Then its a switch back away from comedy for P.S. I Love You, with Hilary Swank as a young widow whose husband has left her messages to help her cope with his death, before some heavy-duty drama in First Comes Love, set amidst the 1980s AIDS epidemic. But still, that’s not due until late 2008 – a long time to wait for a dramatic performance from one of the most subtle dramatic actresses currently working. Nonetheless, considering Hollywood’s sexist ageism, the fact that an actress in her fifties can manage to have so many films on the go is pretty impressive…

Review: The Black Dahlia

UK Release: 15th September 2006

This adaptation of James Ellroy’s crime novel from Brian De Palma showcases all the director’s strengths, as well as some of his faults.

Loosely based on an actual unsolved murder case from the 1940s, this stylish movie sees tough-as-teak LA cops Bleichert (Josh Hartnett) and Blanchard (Aaron Eckhart) investigating the grisly demise of would-be actress Elizabeth Short. The trail leads to socialite Madeleine Linscott (Hilary Swank), a Short lookalike and member of one of the city’s wealthiest families. Meanwhile, Bleichert becomes involved with Blanchard’s glamorous wife (played by Scarlett Johansson).

The performances are uniformly strong, with Hartnett surprisingly good as the bewildered but basically decent gumshoe. Dante Ferretti’s sumptuous production design is atmospherically shot by veteran cinematographer Vilmos Z sigmond and De Palma delivers his trademark touches — complex camera shots, razor-sharp editing, labyrinthine plotting and deft nods to other film-makers.

De Palma’s enthusiasm doesn’t always extend to the humanity of his characters, but this is still a superior, deeply enjoyable piece of film-making from a director on top form.

Radio Times rating:

****

UK cinema certificate 15
Running time 120mins

Review by Adam Smith