PopcornPlease
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An interesting mix of reviews here. Some are rageful and unhinged while others sound like law students writing a long-winded thesis. But most are avoiding the elephant in the room by tip-toeing around the fact that the two young men this movie is based on, Richard Loeb and Nathan Leopold, were a gay couple. (In the film, it's obvious that "Artie" was the dominant top.) Who can forget the scene where "Judd's" brother angrily asks him, "why don't you ever play baseball or chase girls?!" Even other characters in the movie talk about Judd and Artie as if they're a couple. If one reads any of the several books written about Leob and Leopold, one would discover just how gay they really were. (Loeb was later murdered in prison for coming on to another prisoner in the shower.) Of course, the movie studio had to sanitize and vaguely hint at their relationship in the film in order not to offend 1959 movie audiences. (Yes, even gay men can be sociopaths. I've dated a few of them.) In some minds, it's much worse to be gay than be a child killer. For what they did to Bobby Franks (and why) this gay man thinks that Loeb and Leopold should have both fried. Let the punishment fit the crime.
As far as the film goes, the always gassy and overrated Orson Welles overacts as only he could; Bradford Dillman tries too hard; Dean Stockwell looks constipated in several scenes (especially the ridiculous bird watching scene with Diane Varsi); and Diane Varsi was cast simply because of her success in Peyton Place a few years before. With her wooden monotone and amateurish performance, she proves what a limited actress she really was. The rest of the cast, including the bland Martin Milner, is irrelevant filler.
As far as the film goes, the always gassy and overrated Orson Welles overacts as only he could; Bradford Dillman tries too hard; Dean Stockwell looks constipated in several scenes (especially the ridiculous bird watching scene with Diane Varsi); and Diane Varsi was cast simply because of her success in Peyton Place a few years before. With her wooden monotone and amateurish performance, she proves what a limited actress she really was. The rest of the cast, including the bland Martin Milner, is irrelevant filler.
This is a very unusual yet compelling film thanks to Cillian Murphy's mesmerizing and memorable performance. His character seems to be a mixture of Norman Bates, Ed Gein, and Glen or Glenda. As others have mentioned, it's difficult to believe that those in the very small town where he's spent his entire life couldn't tell that John was "Emma" simply because John put on makeup and a wig. (I'm sure that if every male reading this put on a wig and some makeup those in your life would still recognize you, don't you think?) I was a bit confused by the abrupt ending too. Most importantly, are Clark candy bars still around?
I recently saw this highly rated TV movie for the first time since it originally aired almost 45 years ago and still feel that Catherine Hicks captures Monroe's persona and personality better than any of the other actresses who've portrayed her then or since. It's easy to see why she was nominated for an Emmy for her performance. She may not have looked like Marilyn, but who ever could? (None of the others did either except those who looked like some ridiculous caricature.) What I didn't like about the movie were the annoying, shrill, and distracting background songs that were played in certain scenes and Frank Converse's performance as Joe DiMaggio. He was miscast. True, DiMaggio was a reserved introvert, but Converse plays him as if he's half-dead. He recites his lines, but that's pretty much it. There's no chemistry or fire between them. Even if i this movie is old and even if it's a TV movie (it didn't feel like one) Monroe fans shouldn't miss seeing this. It's well worth it.