Problem: positive
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Answer: Okay, let's start off by saying this film is not an exact rendition of the crimes and legal pursuit of Andrei Chikatilo. While it may have been "official policy" in the Politburo that the USSR had no serial killers, in actuality the legal system had handled others, and "Killer X" (as he was actually called) was already being sought when Fetisov brought Burakov onto the case. In fact, as soon as it was realized they had multiple murders on their hands, the authorities assigned a task force of dozens of officers to track down and end the killing spree of a man that did not fit into what is perceived as normal serial killer parameters. It's good the director and writers consistently remind the viewer that the story is only "based upon actual events," for a docudrama this ain't.

***SPOILERS FOLLOW****

That said, this is a damn good example of a fast-paced Hollywood-style thriller that still gets across the basics of what happened. It is easy to follow and has just enough truth behind its version of events to make for compelling viewing. Yes, Chikatilo raped and murdered both children and adults, both male and female. Yes, shoddy lab-work set him free to continue killing for years. Yes, innocent men were accused of the murders and "confessed" to their crimes at police urging. Yes, the gay community was harassed while the crimes were being committed (albeit with Burakov's committed assistance). And yes, Chikatilo was brought to confession not by the haranguing of the special prosecutor, Gorbunov, but by the gentle understanding of a psychiatrist named Bukhanovsky (though Gorbunov was really nowhere near the egotistical martinet portrayed in this film). Quibbles about truth and veracity aside, all of these events are dramatized in a manner that consistently tightens the tension and fear.

It doesn't hurt that director and co-writer Chris Gerolmo has a pitch perfect cast. Stephen Rea's growing emotional involvement in the killings and developing expertise in detecting clues, Donald Sutherland's snarky manipulation of the Soviet party hacks and subtle spine that becomes evident when it is needed, Jeffrey DeMunn's seething undercurrent of rage hidden by a fear-filled demeanor, Max Von Sydow's boyish excitement at being part of a criminal investigation all enhance the sharp dialog and crisp editing in ways that cannot be underestimated.

Taken for what it is, "Citizen X" is almost pitch perfect (the "almost" due to one moment of self-congratulation at the end that just does NOT fit). Highly recommended as fiction well-told, not fact being presented...but considering the junky "serial killer" movies that Hollywood usually spits out, that's good enough for me.

Problem: negative
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Answer: We actually watched this twice in the theater because we could not believe how bad it was the first time. Maybe we'd missed something... nope, what's missing was missed from the beginning of preproduction. I actually went back to Robbin's novel to see if I could find the problem, and I discovered that what I thought was funny and exciting back in the day is now just so much disconnected and fuzzy-headed junk.

So, the initial problem with the film was deciding to do it at all, and the rest of the train wreck progressed from there. Absolutely nothing works - not a blessed thing. Some beautiful exterior photography gets steamrolled by random camera placement in interior shots. All of the actors look at least uncomfortable - Angie Dickenson looks positively mortified - except for Rain Phoenix, who gives the impression that she is too unaware to realize how awful her performance really is. The dialog is one, long, unwavering cringe. Scenes don't make sense from second to second, and the connections between them are nonexistent. And yet, the movie stumbles blindly on, convinced that it is saying something profound.

This is too bad to even be funny; it is simply excruciating. Gus Van Zant has done other good-to-great movies which I encourage you to see, and I'm happy he survived (and appears to have learned from) this mess.

Problem: positive
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Answer:
Some saying about 'The Play is the Most Important Thing', or something like that, is attributed to that old Bard of Avon, himself, William Shakewspeare. if it wasn't old Will, it may well have been our own, super-veteran film Director, Mr. Raoul Walsh. There are a large number of his films that would support this hypothesis. None are more appropriate than GENTLEMAN JIM(Warner Brothers, 1942).

The Film also racks up another award, being named as Errol Flynn's favourite of his own starring vehicles. It clearly gives on screen evidence that would easily lead viewers sitting in the darkened theatre, or viewing it on their home TV or DVD, to conclude same.

To be sure, the story is a semi-serious Biopic, which takes a portion of factual material and blends it with a liberal dose of the old imagination to bring us a very satisfying, albeit somewhat fictionalized(what Biopic isn't?)occurrences.

The casting is excellent, as it makes good use of the natural athleticism of our lead, Mr. Errol Flynn. Though not a Swashbuckler, a Western or a War Picture, this GENTLEMAN JIM is perhaps the starring role that was the best fit for the rugged Australian.

Errol was a member of the Australian Olympic Boxing Team in either 1928 or 1932. His training and skills in the 'sweet science'are clearly in evidence throughout the film and especially in the "Big Fight" for the World's Heavyweight Boxing Championship with the great John L.Sullivan,Himself.(played in expert fashion by Ward Bond) The cast reads like a duty roster of Warner Brothers' resident supporting players. It features Alan Hale as Jim Corbet's father, a Livery Wagon operator*. His two brothers are Harry and George (Pat Flaherty and James Flavin), the two 'blue collar' men of the family, their occupations being stated as being 'Longshormen'.

The great Jack Carson does his usual masterful serio-comic performance in support as Jim Corbett's friend and fellow bank teller. The rest of those we can both recognize and remember are:John Loder, William Frawley,Madeleine LeBeau, Minor Watson, Rhys Williams,Arthur Shields,Dorothy Vaughn to name but a few.

Director Walsh also used a number of Pro Wrestlers in roles of various Boxers. Hence we have Ed "Strangler" Lewis and an unknown Grappler* are featured as the 2 waterfront pugs in the opening scenes. Others were Sammy Stein, Mike Mazurki(ever hear of him?)and "Wee Willie" Davis. These guys had a powerful,yet unpolished look about them that the old Pier 9 brawlers would have possessed.

We haven't forgotten Leading Lady, Alexis Smith. She is powerful in her characterization of an "independent" woman, yet maintains enough true ability as a comic player in many of the scenes. She displays quite a range in her part as poor little rich girl, Victoria Lodge.

With all these ingredients at hand, the trick is how to mix the elements in proper proportions to give it the 'just right' blend. Well, Director Walsh does so with a reckless abandon. Because he is looking for, above all, a great film. His treatment shows all of the skills he had honed to a fine tuning starting with his days as a player with D.W. Griffith. Mr. Walsh seems to have a special fondness for that period, the 1890's.*** Mr. Walsh's direction moves through the script at a fairly fast clip, breaking up the exposition scenes with a humorous punch-line, "the Corbetts are at it again!" Hence, he is able to maintain a light, even humorous touch to a story which could become too drab and serious.

Furthermore, in an almost unnoticed element, Brother Walsh gives us an authentic look of a San Francisco of the 1890's. And as a further example of his fondness for that period, he creates wide, dynamic images of the historic Prize Fights. There is a vibrant, joyful mood conveyed in those Boxing scenes. As a crowning glory to this great, perhaps underrated film, Director Walsh gave the image a look as if it were an illustration from The Police Gazette, which covered such events in those "Old Days".

But there's just one thing to remember before viewing. If it is for the first time, or if your seeing it once more:

"THE CORBETS ARE AT IT AGAIN!!"

* In my humble opinion as a historian of both Film and Pro Wrestling, it looks like Tor Johnson, who years later was a favourite of Director Ed Wood's.

** A 'Livery' is a somewhat archaic term for a vehicle for hire for local city transportation.

*** It's true. Mr. Raoul Walsh was a Griffith Veteran Player. He was the actor to portray John Wilkes Booth in THE BIRTH OF A NATION(1915).

**** Being born in 1887, Raoul Walsh was old enough to have his own memories of the 1890's and of the Sullivan-Corbett Championship Bout and what it meant to the Sporting Life in the America of those days.