The Grim Cellar

2007, US, Directed by David Fincher

Colour, Running Time: 158 minutes

Cinema screening, Image: 2.35:1 Anamorphic Filmstream 4:4:4, Audio: English language

Based on Robert Graysmith’s book and featuring the man himself as one of the primary characters (played charismatically by Jake Gyllenhaal), Zodiac chronicles real events from 1969 onwards delineating the exploits of the so called ‘Zodiac Killer’ mostly through the eyes of the media, police investigators, and Graysmith himself. Beginning with the shooting of two lovers the publicity-seeking killer repeatedly sends letters to the San Francisco police and newspaper, combining codes for them to decipher and generally playing games with them, ultimately demeaning the psychological comfort of everyone who is entwined in the case on a professional level. Graysmith, the newspaper cartoonist, is present at the editorial meetings when these codes are first received and, despite nobody really being interested in his opinion, becomes fascinated enough to attempt personal interpretations of the killer’s thought patterns, later on obsessively launching a near full-scale investigation of his own, at the possible expense of domestic relationships.

Having a trail of critically recognised work behind him Fincher’s output is going to be of note for the foreseeable future and one has come to expect something special from the man who gave us Se7en, Fight Club, The Game and, yeah, Alien 3. The problem for me with the material here is the impression that it doesn’t seem all that special. Comparisons to Se7en may be expected beforehand but this is quite a different movie. It is technically accomplished on virtually all levels, showcasing convincing performances throughout (including the supremely gifted Chloë Sevigny, one of my favourite actresses), realistic photography, relentless pursuit of detail, etc. But at foundation it’s only a serial killer story and with little attention to what happened to victims we’re essentially left with one (very long) investigation. The script invariably focuses on discussions regarding the killer but virtually nothing else (for example, character personal lives, other than how they’re affected by the case), and it becomes exhausting, though it’s very well written and executed. For me the film takes off a little when Graysmith pretty much (unofficially) adopts the case because the product becomes slightly more personal as the viewer is able to identify with his character probably more than most of them.

Without wishing to give too much away, assuming that some are not aware of the details of the actual case or book, the fundamental issue is that the source material never had anywhere to go, which is a problem in cinematic terms - though there are a couple of semi-dramatic sequences inserted along the way that help alleviate this drawback. It left me almost wondering why this book/story was worth putting so much effort into meticulously filming (again). As a thriller it’s a brilliantly made piece of work but it will numb the backside at two and a half hours and possibly leave you coming away wondering where the climax was, though perhaps the absence of a climax will cause some to wander away pondering on the material and maybe that’s part of the point? Anyway, if you like very talky, adeptly constructed thrillers then there’s a chance you’ll enjoy this.