James Ellroy’s novels have been the basis of adaptation for many Hollywood movies. One was the brilliant Oscar winning “L. A. Confidential” and then there’s this – “The Black Dahlia.” One was directed to perfection by Curtis Hanson and then there’s this, directed by Brian DePalma. Inspired by the most notorious unsolved murder in California history – and like its premise of a woman being hacked to pieces – that’s exactly how this film noir feels. It also attempts to feel “L. A. Confidential” but fails on every level. Scarlett Johansson ordinarily smoldering and adorable, is miscast, feeling more like a young girl playing dress-up, in a role better suited for Sharon Stone or Kim Bassinger. And like Bassinger’s role in “L. A. Confidential” Johansson is torn between a similar Russell Crowe and Guy Pearce, in her own wayward police partners – played by Josh Hartnett and Aaron Eckhart. Despite the men’s gifted performances – their lives overly complicated and entangled – they drown as we suffocate in their performances. The script is a mess, leaving them little to salvage in the murder of a Elizabeth Short (Mia Kirshner) who lands disappointing auditions, but never roles, and finally, only death. Set in 1947 the movie’s best performance goes to Hillary Swank as Madeline. It’s refreshing to see her out of her “Boys Don’t Cry” and “Million Dollar Baby” tomboy choices, and instead an aristocratic vamp, sultry and dripping with attitude. Clearly she had fun doing this role. And finally, with all its femme fatales and crazy many multi-layered possibilities, we are left feeling dramatically numb when we should be enthused to see this murder come to a stunning conclusion. One tiara.
