Swoon

What a riveting, startling and altogether masterful achievement. The idea the we're actually seeing Leopold and Loeb in person crossed my mind more than once. The illusion is overwhelming and the idea that we're seeing and hearing something that we shouldn't is part of its fascination. I loved Richard Fleischer's 1959 film from Meyer Levin's novel. I was enthralled by Dean Stockwell's performance and that's the only missing element here. Dean Stockwell. However, Tom Kalin has masterminded a narration that makes the whole thing so close to what it really must have been that the experience, for all film lovers, should be a must.

Swoon tells the story of Leopold and Lobe with homosexuality constantly in mind, because it was important (or at least everyone at the time it actually happened believed it was important). This film points out how the trial focused on their homosexuality, using authentic court transcripts, despite the murder having nothing to do with sexual orientation. This mirrors Michael Foucault's History of Sexuality regarding the policing of sexuality. Thought-provoking.

Although a bit confusing at times, a movie worth watching once. Perhaps do a bit of research on the background of the case to supplement the film.

Two highly intelligent young Jewish men, who are also lovers, attempt to get away with "the perfect murder". This intriguing drama was also filmed as "Rope" (1948) and "Compulsion" (1959). Based on the true story of Nathan Leopold and Richard Loeb, this version stars Craig Chester (as Mr. Leopold) and Daniel Schlachet (as Mr. Loeb). Of the three features currently available, this is undoubtedly the most "realistic" version of the gruesome crime. Yet, for most, "Swoon" will also be the least entertaining of the three films.

This one focuses on not only the murder, but also the sexual relationship between the principals. With unsavory flourish, "Swoon" comes across as an attempt to move responsibility for the crime from Leopold and Loeb, to an intolerant society, with the former explaining, "I wanted to murder the idea of suffering as my condition; I wanted to surpass the boundaries of intelligence for something more pure." Excuses, excuses.

Director Tom Kalin makes it an outstanding looking production, with Ellen Kuras contributing terrific black-and-white photography. Due to the availability of archival footage and Mr. Kalin's expert editing, the real Leopold and Loeb can be seen. And, due to and Leopold's relatively long life, we have one of the subjects characterized becoming an actor in the film. The real actors, Mr. Chester and Mr. Schlachet, perform superbly.

******* Swoon (2/19/92) Tom Kalin ~ Craig Chester, Daniel Schlachet, Ron Vawter

It feels like a period documentary and the story is the story of Leopold and Loeb - A terrifying portrait of two real life killers who killed without passion or reason just to prove they were above the law. The period details are beautifully drawn but where it lacks is in the actor's faces. They appear rather than participate fully. There is a detachment in their portrayal that kept me at a safe distance and I could admire it with my head but I couldn't connect with my heart. The opposite of what happened to me with 1958's Compulsion - I was riveted by Dean Stockwell. I believed and understood just by looking into his eyes.

In this modern version of the infamous Leopold and Loeb murder case of the 1920s, "Swoon" stresses the gay angle, relative to "Compulsion" (1959), a film of the same story, but burdened by the watchful eye of the censors associated with the moralistic Hays Code. Actual court records do in fact indicate that the relationship or bond between these two guys was primarily sexual.

Nathan Leopold and Richard Loeb apparently had a masochistic pact. And "Swoon" asks the question: which guy was in control? The answer seems to be that they alternated control. Also, compared to "Compulsion", more attention is given to the actual murder of the teenage boy.

This film is quite stylized. Archival images and lyrical cutaways unrelated to the story are used because they are thematically relevant. Further, some scenes are intended as dreams. And non-period piece elements add textural perspective.

The real Nathan Leopold is shown in historical footage, first as a young man at about the time of the actual killing. He is shown in a sequence with a group of fellow ornithologists. And near the end of the film, he is shown as an older man, having been released from prison.

"Swoon" was shot in B&W. Images are a tad grainy, maybe deliberately so, as part of the film's visual style. Casting and acting are fine. I did not care for the background music. It's too whimsical and kooky sounding, given the subject matter. But the music does contribute to the film's overall flighty, giddy tone, reflected in the lack of emotional involvement of the characters. Further, the killing of the young boy is perfunctory and nonchalant.

The film's peculiar tone and mood I found annoying. Yet, it's probably consistent with the mindset of these two peculiar criminals, two guys, both cerebral and intelligent, completely lacking both in conscience and in a sense of moral principles.

Overall, compared to "Compulsion", "Swoon" is more direct, and perhaps a tad more thematically compelling.