I’ve been involved in quite a few violent scenarios this week. The Black Dahlia, initially unsuccessful at the box office and a neo-noir film that puzzled both critics and viewers, seems to have had its merits overlooked. Despite the ongoing criticism of Brian De Palma and the unwillingness to acknowledge Josh Hartnett's acting ability compared to performers in films like Pearl Harbor, it’s a movie worth watching again for those who enjoy the genre or style. The story centers on the infamous murder of Elizabeth Short in Hollywood in 1947—an aspiring actress whose body was discovered brutally mutilated, and whose killer remains unidentified. De Palma and writer Josh Friedman adapted from a novel by noir author James Ellroy. The core narrative follows two detectives who become entangled in the Short case, quickly uncovering a complicated situation with many layers – or so it seems? De Palma has always been drawn to film noir, experimenting with it over time; not everything he’s done works, but he often delivers for those with similar tastes. With high expectations and following the success of L.A. Confidential, The Black Dahlia never really had a chance to achieve its ambitious goals, yet it's remarkably well-crafted from a noir perspective, showcasing the director’s technical skill. The criticism that it is confusing holds some truth; it presents a twisting narrative with stories within stories and characters who are difficult to understand, but this was also true of The Big Sleep! I realize that this film doesn’t measure up to Hawks' masterpiece, but intricate plots have always been an essential element of many noir films, so why the negative reaction to this one? Especially considering the rich detail in the period design, costumes, styling, and character portrayals. For example, Hartnett’s detective embodies the classic gumshoe archetype, while Scarlett Johansson and Hilary Swank play alluring femme fatales with playful mischief. However, De Palma then explicitly explains things in the finale, providing a sort of macabre resolution for those who needed it. Regardless, he was destined to fail; it's too intricate, and didn’t require such explanations. We have to tell Mr. De Palma that his characters feel distant—what about that?! This is film noir territory, a place populated by bad people, fools, naive dreamers, double-crossers, and so on. There's even an implication of necrophilia present, and that’s before we even consider the schemes of the two femme fatales, a family lacking in wholesome values, and police officers with questionable intentions. Yes, it is cold, and De Palma attempted to satisfy everyone by covering all bases, but it’s far from being terrible. Those who dislike De Palma, Hartnett, or complex noir stories can deduct two points from my rating; otherwise, I give it 7/10.

Source on TMDB