Albert Fish's story is one of the most fascinating and shocking American tales of the 20th century. If you haven't heard of him or seen this film, feel free to take the time to Google his name and get some backstory.
If you've already done that, then this film isn't really going to tell you anything new. "Albert Fish", the film, offers a confusingly paced story told through cheaply produced reenactments, with input from subjects without any real qualifications to be exploring the mind of a serial killer, sexual predator, and psychopath.
The film opens with the story of the Grace Budd murder, including a voice-over (portraying Fish) reading the infamous letter. During which we hear melodramatic sound effects including a second voice-over (portraying Budd) squealing "I'll tell Momma!" with a tone so campy I literally started laughing out loud. It's then explained how Westchester Police used the letter to finally arrest Fish. So right off the bat the most horrific and compelling chapter of Fish's disturbing life is laid out to us, removing all drama it could've held later.
But that's OK. This film isn't interested in drama. It's interested in exploring Fish's religious psychosis without any real narrative to follow. And it insists on laying out the depth of Fish's psychosis not through psychoanalyses, but through lots of projection from its interviewees and even more cheaply made dramatizations portraying what the film insists are the visions Fish had. Fish may very well have had some extreme religious psychosis, but the film makes little effort to produce the evidence of this.
It also provides little background of Fish himself. Mentioned sporadically throughout the film are anecdotes about his childhood and adult life, but rarely is this explained in any detail or with any connection to a narrative. The film notes his married life, fatherhood, and abandonment by his wife with little interest in the psychological impact any of these aspects had.
Many reviews have claimed Joe Coleman's inclusion in the film was superfluous, but I disagree. Coleman was the perfect allegory for what the film was trying to accomplish: heavy projection in lieu of evidence or thoughtful examination. Coleman's credentials hardly make him an authority on the subject of serial killers. Such as they are, his greatest attributes seem to be having a creepy collection of souvenirs and apparently stealing the Grace Budd letter from the police. Unable to speak authoritatively on Fish, he instead openly uses his own religious background to speculate greatly on the motives for Fish's crimes. Eventually he claims that he (Coleman) personally was meant to own the letter.
If you are hoping to learn anything new about Albert Fish, head to the library, because you won't find it here. It you'd like to literally watch paint dry (there's a reenactment in the film which gives us this opportunity) feel free to watch this film.
If you've already done that, then this film isn't really going to tell you anything new. "Albert Fish", the film, offers a confusingly paced story told through cheaply produced reenactments, with input from subjects without any real qualifications to be exploring the mind of a serial killer, sexual predator, and psychopath.
The film opens with the story of the Grace Budd murder, including a voice-over (portraying Fish) reading the infamous letter. During which we hear melodramatic sound effects including a second voice-over (portraying Budd) squealing "I'll tell Momma!" with a tone so campy I literally started laughing out loud. It's then explained how Westchester Police used the letter to finally arrest Fish. So right off the bat the most horrific and compelling chapter of Fish's disturbing life is laid out to us, removing all drama it could've held later.
But that's OK. This film isn't interested in drama. It's interested in exploring Fish's religious psychosis without any real narrative to follow. And it insists on laying out the depth of Fish's psychosis not through psychoanalyses, but through lots of projection from its interviewees and even more cheaply made dramatizations portraying what the film insists are the visions Fish had. Fish may very well have had some extreme religious psychosis, but the film makes little effort to produce the evidence of this.
It also provides little background of Fish himself. Mentioned sporadically throughout the film are anecdotes about his childhood and adult life, but rarely is this explained in any detail or with any connection to a narrative. The film notes his married life, fatherhood, and abandonment by his wife with little interest in the psychological impact any of these aspects had.
Many reviews have claimed Joe Coleman's inclusion in the film was superfluous, but I disagree. Coleman was the perfect allegory for what the film was trying to accomplish: heavy projection in lieu of evidence or thoughtful examination. Coleman's credentials hardly make him an authority on the subject of serial killers. Such as they are, his greatest attributes seem to be having a creepy collection of souvenirs and apparently stealing the Grace Budd letter from the police. Unable to speak authoritatively on Fish, he instead openly uses his own religious background to speculate greatly on the motives for Fish's crimes. Eventually he claims that he (Coleman) personally was meant to own the letter.
If you are hoping to learn anything new about Albert Fish, head to the library, because you won't find it here. It you'd like to literally watch paint dry (there's a reenactment in the film which gives us this opportunity) feel free to watch this film.