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In return for sexual favors, Bucky soon finds himself withholding evidence about Maddy, but in true L.A. Confidential-style fashion, that's just the tip of the police corruption iceberg in their department. At first Bucky convinces himself that what he's doing is not so bad. But when Maddy tells Bucky that she had sex with Betty once “because I was curious to see what it would feel like to make love with someone who looks like me,” Bucky storms out. Unlike in real life, the case of the Black Dahlia is solved in this movie, with the bringing together of seemingly unrelated subplots that involve the death of one of the major characters. It's a rather complicated story once all is told, but really, the film is more about Bucky, Lee, and Lee's girlfriend, Kay, than it is about the murder of Elizabeth Short.
And that's unfortunate, because the acting of the leads, with the exception of Aaron Eckhart, is sub par. Josh Hartnett has the right look for this part – he wears the forties well – but his performance is stiff, tired, and, well, young. The chemistry between the characters of Bucky and Kay is supposed to drive one of the major subplots, but Scarlett Johansson and Hartnett don't pull it off. They seem like shy teenagers rather than grown adults with a building passion between them. There's slightly more chemistry between Hartnett and Swank, but that's probably because Swank is such a sultry presence onscreen and does an excellent job with her smaller-than-usual role.
The Black Dahlia is a gorgeous film, with lush, softly focused cinematography and great period stylings. Director De Palma, who raised queer ire in 1980 with Dressed to Kill's murderous transsexual, particularly loves the lesbians in this film. The scenes in the lesbian bars go on far longer than is necessary to advance the story, but I, for one, am not complaining. Dozens of women, both butch and femme, are dressed to the 1940s nines in these establishments.
In the bar where Bucky meets Maddy, a scantily clad lesbian chorus line surrounds a tuxedoed k.d. lang crooning “Love for Sale.” (It would be grand if the DVD of this film includes a full-length music video of this performance.) This scene is incredibly sensual, and De Palma stays with it a good long while. Mia Kirshner is great as “The Dahlia.” She's on view only in black and white, in screen tests and in a girl-girl “nudie” film she did with her friend, Lorna, but she's able to communicate much about her character with these appearances – the flirtatiousness, the ambition, the shyness, and in the stag film, the fear and pain. Kirshner, perhaps ironically, since she's playing a soon-to-be-dead girl, looks much healthier onscreen here than she does in The L Word; her face is pleasantly round and her eyes look bright and shiny in contrast to the often morose Jenny.
Speaking of that nudie film, De Palma stays with it somewhat gratuitously; it's quite suggestive, with nudity, several glimpses of a sex toy, simulated penetration, and Betty's wrists in bondage. Lorna appears to be enjoying it all much more than a teary Bette. What was most interesting to me, however, was the reaction of the audience – the male cops in the squad room – viewing the film. Rather than being titillated, they are shocked, disturbed, and, in the case of Eckhart's character Lee, angered.
Supporting characters, Fiona Shaw and John Kavanagh are excellent as Maddy's parents. The dining room scene especially will resonate with anyone who's suffered through dinner with contentious parents. But their characters are also more involved in the larger story than might be expected, so they have additional screen time as well.
See this film if you're a Hilary Swank or Mia Kirshner fan. Definitely see this film if you're a k.d. lang fan – her appearance is short, but sweet. Don't expect to learn much about the real Elizabeth Short or to see L.A. Confidential-caliber acting. But The Black Dahlia is noteworthy for its lesbian subplots and both out and gay-for-pay actors. It'll definitely be added to the lavender screen annals.
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