Le daliah noir

This made for t.v. movie terrified me when I saw it in 1975. One of the people with whom I was living at the time said, "Watch this and tell me how it turns out," then left to go out.

By the end, in which the Sgt. Harry Hansen character looks at the camera and speculates about the murderer (I won't say any more than that), I was so scared that I ran around the whole house and turned on the lights and didn't go to bed until my housemates returned at 2:00 a.m.

The plot develops well, in a series of flashbacks. The characters are sympathetic. The period atmosphere seems/seemed right. And most of all, unusual for the time before "docudramas," this film was based on a real case.

I am not the world's largest Efrem Zimbalist, Jr. fan (though I did enjoy 77 Sunset Strip as a child), but his work here is very good.

Enjoy .

Literate, well-told, consistently excellent review of the events leading to the disappearance of the Black Dahlia? Marvelous performances, especially by Zimbaliest, Beckman, Mills, and DeHaven. Mystery buffs and crime drama enthusiasts alike should find this one as excellent exercise for the mind.

This is by far the best-told, best-acted and best-produced of all the many movies about Elizabeth Short's story.

Lucie Arnaz's restrained performance succeeds in presenting Short as a woman of thwarted ambition, floating in a vacuum of failure, just hanging on by a thread. She should have received an Emmy for it.

This version of the Black Dahlia story has more in-depth characterization of Elizabeth Short than other versions, which go more for sensationalism.

I don't understand why "Who Is The Black Dahlia?" isn't out on DVD, especially considering its cult following.

"This is about a murder that really happened. Nobody made it up. As far as I know, there's never been another one before or since, quite like it --- ever!" Those ominous words, spoken in VO by Efrem Zimbalist, Jr., open this 1975 docudrama that chronicles a real life murder mystery that has never been solved.

Elizabeth Short moved to California in the 1940's, in search of show-biz stardom. The fact that this beautiful young woman wore mostly black clothes to match her black hair led others to nickname her "The Black Dahlia". On January 15, 1947, her mutilated and exsanguinated body was found in a vacant field in Los Angeles. The homicide immediately created national interest. And in the fifty-plus years since her death, this unsolved murder has evolved into a major legend.

The screenplay for "Who Is The Black Dahlia?" is factual, well written, sensitive, and thankfully low-key. The story, told in flashbacks, is riveting. In one chilling scene, a man stands in a telephone booth and, with his back to the camera, conveys to the newsman on the other end of the line crucial details about the murder that only the killer could know. The man's face is never shown.

Playing the role of Elizabeth Short, Lucie Arnaz gives a credible and sympathetic performance. Efrem Zimbalist, Jr. convincingly plays Sgt. Harry Hansen, the frustrated, lead detective. The support cast is equally effective. The film's music is appropriately downbeat and depressing.

Some viewers may find the plot to be slow. Certainly, the film's lack of in-your-face violence and gore will disappoint the tabloid crowd. But for thinking people, for viewers who can appreciate a thoughtful and insightful analysis of a horrible crime, I recommend this film most highly.

In the film's final VO, Sgt. Hansen reflects: "We never found anybody who saw Elizabeth Short the last six days of her life ... In Los Angeles police files, The Black Dahlia murder case is still open."

I too was frightened the first time I saw this TV movie. It tells the story of the short life, and gruesome, unsolved 1947 murder of Elizabeth Short, whose nickname was the Black Dahlia, a type of flower. There is a certain creepiness that pervades this low-key period story, told in flashbacks of Short's brief Los Angeles existence before her slaughter. Efram Zimbalist, Jr., portrays the detective who becomes obsessed with the young, attractive woman's story. The period details feel right, for I am too young to have any first-hand experience of the time, and Lucie Arnaz's performance as the doomed title character adds emotional weight to what could have been an exploitive picture. This is another example of how superior, in general, '70's made-for-television movies were to future endeavors.