Nathan Leopold, Jar. , has several elements in its favor when the viewer first sits down to watch it. The black-and-white color scheme of the visual images presented draws audience members into the movie’s world of sass Chicago. Purposeful placement of anachronistic objects by the filmmakers slightly confuse the viewer and brings them further inside the artistry on display in order to figure out a reason.
Additionally, the most important of these elements would be that its narrative approaches territory ewe for films telling the story of this particular subject matter, namely that it focuses more on the homosexual relationship of the protagonists than the actual murder that they commit. In the end, though, Kaolin fails to utilize these elements in a way that makes his movie anything more than merely a massive time suck that most people would hate to have playing in the background while they multicast, much less actually sit down and watch it. The film is boring, plain and simple.
The writing and direction of the sectors provides the audience with absolutely no reason to invest themselves in these characters, to care about them or their Journey. In a film that focuses more on the gay relationship and the mentalities of these two men rather than the straight facts of case, this should be rather easy to do, yet Kaolin is unsuccessful in delivery. It may be true that these characters, or rather the real men that inspired them, are the murderers of a child, but that should not prevent the filmmakers from being able to make us devote ourselves to them for the runtime.
There is an inherent suspension of belief when checking out a film that makes our brains find solace and acceptance in characters where any sane person surely would not with real men. Take Walter White on Mac’s Breaking Bad (2008-2013), for example. This man is one of the most manipulative, devious, evil motherless that exist. He cooks and deals the purest crystal meet known to man; he has committed arson and kidnapping; and he has even gone as far as poisoning and killing children, albeit different children.
However, when it comes down to it, whether he is embattled with the drug lords he limbs into bed with or his DEAD agent brother-in-law, we, the audience, still want Walt to come out on top. This suspension of belief is also apparent in the Showtime series Dexter (2006-2013). Dexter Morgan (Michael C. Hall) is a forensics expert working in Miami, Florida, who moonlights as a serial killer. His “code” allots him the freedom to only kill criminals, particularly murderers, who have escaped Justice for one reason or another.
Now whether it is for this reason or the look-see the audience receives awards the character’s inner thoughts, despite the fact that audience members obviously know that it is wrong to be a serial killer, they still want Dexter to win. All in all, Loeb and Leopold could be so much more than they are, but they end up being two-dimensional stock characters as a result of poor writing, poor direction, or some combination of the two. If the viewer simply does not care, the movie will not succeed, and although it made a little money and won a couple film festival awards, it does not succeed. Success of Tom Kaolin’s Swoon By outpatients