Confessions of a Serial Killer
(1987/1992)
Director: Mark
Blair
Cast: Robert A. Burns, Dennis Hill, Berkley Garrett
A woman is trying to start her stalled car at the side
of a road. Soon
a nerdy looking man pulls up and offers to drive her to the nearest gas
station. Since it's the middle of the night in the middle of nowhere,
and
no one else around, she reluctantly accepts. They drive off in his junk
food wrapper filled car, and make a little small talk. He drives past a
gas station, and says nothing. She says nothing as well, but is
obviously
worried. Then she looks at the door handle and sees it's been broken
off.
She panics. Please, I have a fiancé, I'm going to get married, I'll
give you money, I won't tell. Silence. She keeps pleading. Okay, he
says,
I was hoping...you know - Just let me out, she insists. He stops the
car,
and goes outside to open her door. After he opens her door, he pulls
out
a jackknife and brutally stabs her to death.
Do not let the awful video box art (showing a man clad
in Hannibal Lecter-like
restraints) fool you; Confessions of a Serial Killer has
nothing in common with Silence of the Lambs. And it's
not
a bad movie at all - in fact, it's one of the best movies I've seen in
the last few months. The movie is based on the same real life case that
Henry:
Portrait of a Serial Killer was based on, and comparing the
two
movies together one is struck by how similar the two movies are. A
rip-off,
you are probably saying. Actually, there doesn't seem to be any
indication
that the makers of Confessions were imitating
Henry.
Though
it is true that Henry was made in 1986 - a year before Confessions
-
Henry
actually
wasn't released until 1990, because of the burden of its X rating. So
the
makers of Confessions made this very similar movie
without
any knowledge of Henry, which is quite a coincidence.
It's
also quite a coincidence that this 1987 was shelved for several years
as
well. It was made by Concorde Pictures, possibly for theatrical
release,
but released in 1992 on New Horizons Home Video. Could it be that the
distributors
of this movie also felt that there would be problems with a theatrical
release? These coincidences and others the two movies share are quite
eerie.
But what's really eerie about the movie is not the
similarities that
it has with Henry, but that it's eerie in its own right.
That opening scene described at the beginning of this review sets the
tone
for Confessions, a movie that pulls us into the mind of
a
serial killer and refuses to let us escape. The movie shows us the life
of killer Daniel Ray Hawkins (Burns), who tells his life story in a
series
of confessions during an interrogation by a small town police
department.
Hawkins, a passive, unemotional man, tells the authorities about his
life,
starting with his life growing up with a sluttish mother and a
paralyzed
father, who killed himself after Hawkins' mother kept bringing in men
in
the house for her desires. Hawkins first kill is when he is a teenager
and a local prostitute rejects him, then grows up into a drifter who
drives
around the country and randomly kills people (mostly women). Then much
of the remainder of the movie deals with Hawkins' relationship (in more
ways than one) with equally insane "Moon", and Moon's sister Molly.
And this part of the movie is also brutal, especially
since now that
there is more than one killer. Though Confessions is an
intense,
violent, and brutal movie, a lot of this mood doesn't actually come
from
seeing the murders directly. In several instances, director Blair sets
up scenes like Tobe Hooper did in The Texas Chain Saw Massacre by
suggesting there is more violence than we actually see. The sequence
where
Hawkins clubs a prostitute to death is directed so that for the most
part
we just hear the clubbing. And a part where we see a glimpse
of
the action at first glance seems to show the club hitting the woman,
but
a rewind of the shot shows that the club never actually hit the woman.
Some murders happen off-screen, as when Hawkins fires a shot from a
doorway
into a room with a victim we don't see get killed. Also, Blair
understands
that shooting a scene in silence can make it more atmospheric. A
sequence
when the contents of three shoe boxes are uncovered is done with no
dialogue,
and the implications of these contents sink in deeply because there's
nothing
to distract us. But most scary of all is how Blair creates a sense of
helplessness;
we see that anybody can be a victim anywhere, and show that there's
always
a situation where we are powerless. When Hawkins or one of his friends
are near some strangers, we have a sick feeling that something bad will
happen. We are not sure what will happen, but we're sure something bad
will happen. The scene keeps going and going with the victim still not
seeing he or she is in danger, adding to the tension. We want to cry
out,
to do something, but we can't do anything, not even turn our head away.
Then when the victim realizes he or she is in danger, Blair doesn't
make
it a quick killing. Blair extends the sequence to show the victim
suffering
in the hands of the killers, or trying desperately to escape to safety,
always while in hot pursuit by Hawkins or one of his friends. Both of
these
results are at times almost unbearable to watch, because they seem like
what would happen in real life. No snarling, over-the-top villains, but
cold, brutal real people who kill other real people.
One of the key to a movie like this is how believable
the villain is.
Robert A. Burns, a production designer (who also did that same task for
this movie) does an outstanding job as Hawkins. He looks creepy, and
wisely
acts in an understated manner, telling the authorities what he's done
in
a matter-of-fact tone. Burns also narrates his flashbacks, and without
snarling, growling, or making gratuitous statement, he manages in his
tone
of voice to show his character's deep hatred of women as well as his
utter
lack of humanity. It's too bad that this role seems to be Burns'
only role to date; it's clear from this movie that he deserves more
roles.
Also, Burns' production design, and Blair direction give this movie the
gritty look and feel it needs - this is a case where slick design and
direction
would be disastrous. Though it's clear that they were working with a
pitiful
budget, they actually used it to their advantage - seeing no-name stars
in locations that are more accessible to audiences give this an even
more
convincing feel.
The movie is actually an improvement over Henry in
one
regard - it takes some time to show us the central character's life in
his early years, showing what helped shaped him into a cold-blooded
killer.
Not a lot of time, but better than the device of using passing
references
in Henry. So is then Confessions of a Serial
Killer
better
than Henry: Portrait of a Serial Killer? Though it comes
close, I don't think it quite matches the better known movie. The
sickness
of the characters in Henry and their killings were more
graphic
and intense, and they were more memorable. We don't learn much about
Moon
and his sister in Confessions, or what makes them tick.
The
last quarter or so of Confessions is pretty much one
story
that we know how it will end, only it takes some time to get to that
end.
As well, since we see Hawkins telling the story via flashback in
custody,
we know eventually what's going to happen to him. Despite this, Blair
ends
the movie like Henry's ending, in a way that has us
wondering,
"My God, what now?" This movie may not be as good as Henry,
but it is a
very good movie. Good enough that, if
released
first, Confessions of a Serial Killer might be the
movie
that's talked about while
Henry stayed in the obscurity that
this movie unfortunately now is in.
Check
for availability on Amazon (VHS)
Check for availability on Amazon (DVD)
See also: Madman, Manson, The Other
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