The true story of suburban housewife Gertrude Baniszewski, who kept a teenage girl locked in the basement of her Indiana home during the 1960s.The true story of suburban housewife Gertrude Baniszewski, who kept a teenage girl locked in the basement of her Indiana home during the 1960s.The true story of suburban housewife Gertrude Baniszewski, who kept a teenage girl locked in the basement of her Indiana home during the 1960s.
Elliot Page
- Sylvia Likens
- (as Ellen Page)
Hannah Leigh
- Shirley Baniszewski
- (as Hannah Leigh Dworkin)
Storyline
Did you know
- TriviaThe real-life daughter, Paula Baniszewski, was released from prison and changed her name. She ended up getting a job as a guidance counselor aide in an Iowa school and worked there for 14 years before anyone found out about her real past. She was immediately fired.
- GoofsJames Franco tells Catherine Keener that he needs money to visit his brother in Le-ba-NON, as in the country. Anyone from Indianapolis would correctly refer to that small Indiana town, just west of Indianapolis, as Leb-a-NONE. The two are spelled the same, but pronounced differently.
- Quotes
Sylvia Likens: Reverend Bill used to say, "For every situation God always has a plan." I guess I'm still trying to figure out what that plan was.
- Crazy creditsThe final credit states "Sylvia Likens, 1949-1965".
- ConnectionsFeatured in The 60th Primetime Emmy Awards (2008)
- SoundtracksDowntown
Written by Tony Hatch
Performed by Petula Clark
Courtesy of Disques Vogue and Sony BMG Music Entertainment (France)
By Arrangement with Sony BMG Music Entertainment
Review
Featured review
Wallowing Down With the Sickness
What a tragedy that I will never have an opportunity to see this film in a theatre. The cast alone that includes the currently very popular Ellen Page should have merited something better than Saturday night Showtime.
Because of this, the impact will be blunted, however even in its limited presentation, the film was stunning and will easily end up among my favorites for the year. The quiet contemplation of the mood and the selection of a hideous story from post-Beaver Cleaver trivial innocence, pre-late 1960s tumult creates a moment so far outside our expectations of this nonsense daily on 24/7 news channels that its impact nails you full frontal.
I particularly like some of the discussions of this film that complain that it was not graphic enough and because of this, didn't hit people 'in the gut.' This alone warrants a short meditation.
To paraphrase one of the best commentaries I've read on this thing, there is an inner sadist in all of us. America's history of violence and tolerance of violence just gives license to bring it out more often and intensely. And despite our strong sense of individuality and our braggadocio about freedom, we have this very strange conformist streak. The confluence of these two conflicted tendencies can lead to bad places.
This film meditates subtly and, yes, beautifully on all of this. By eschewing potential excesses that some complaining viewers apparently desired, the story puts us in a disturbing place where we might not suspend disbelief and acknowledge the raw emotions as something potentially alive within.
I believe it is this troubling recognition of possibility that branded this film in various ways keeping it from ever being seen in a theatre. By exposing it first on pay TV, the unwashed masses might easily mistake it for a poorly done version of sensational MSNBC serial killer crap. Stuff like this is pleasurable to many because it lets them wallow 'down with the sickness' while pretending they are above it.
There is a wonderful moment in the story when the almost involuntarily sadistic mother utters 'there are things in life we have to do whether we like them or not.' I can't help but think this was borrowed from the sadistic father figure in the original 'Texas Chainsaw Massacre,' a film that many wanted this to be so as to give them some form of absolution from their own demons 'An American Crime' exposes.
Because of this, the impact will be blunted, however even in its limited presentation, the film was stunning and will easily end up among my favorites for the year. The quiet contemplation of the mood and the selection of a hideous story from post-Beaver Cleaver trivial innocence, pre-late 1960s tumult creates a moment so far outside our expectations of this nonsense daily on 24/7 news channels that its impact nails you full frontal.
I particularly like some of the discussions of this film that complain that it was not graphic enough and because of this, didn't hit people 'in the gut.' This alone warrants a short meditation.
To paraphrase one of the best commentaries I've read on this thing, there is an inner sadist in all of us. America's history of violence and tolerance of violence just gives license to bring it out more often and intensely. And despite our strong sense of individuality and our braggadocio about freedom, we have this very strange conformist streak. The confluence of these two conflicted tendencies can lead to bad places.
This film meditates subtly and, yes, beautifully on all of this. By eschewing potential excesses that some complaining viewers apparently desired, the story puts us in a disturbing place where we might not suspend disbelief and acknowledge the raw emotions as something potentially alive within.
I believe it is this troubling recognition of possibility that branded this film in various ways keeping it from ever being seen in a theatre. By exposing it first on pay TV, the unwashed masses might easily mistake it for a poorly done version of sensational MSNBC serial killer crap. Stuff like this is pleasurable to many because it lets them wallow 'down with the sickness' while pretending they are above it.
There is a wonderful moment in the story when the almost involuntarily sadistic mother utters 'there are things in life we have to do whether we like them or not.' I can't help but think this was borrowed from the sadistic father figure in the original 'Texas Chainsaw Massacre,' a film that many wanted this to be so as to give them some form of absolution from their own demons 'An American Crime' exposes.
helpful•8127
- dalefried
- May 11, 2008
Details
Box office
- 1 hour 38 minutes
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