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Kirk Bage (1775 KP) rated M (Movie) (1931) in Movies
Jan 28, 2021
The maestro of dark shadows, Fritz Lang already had 14 feature films under his belt by 1931, including the much loved and much borrowed from Metropolis in 1927. It is said that he was such a slave driver with cast and crew alike that he had very few friends and was detested as a man. His work spoke for itself, however, and was always miles ahead of anything happening at the same time in Hollywood. Take the dark, sinister and serious M as an example. It tackles the subject of child abduction and murder, homelessness, crime in general and the punishment of a mob – subjects American cinema would never have touched in 1931, let alone done with such an exquisite non- melodramatic feel.
Peter Lorre as the killer compelled by his own weakness and madness gives an unfeasably nuanced performance for the era also. He is mesmerically creepy and unforgettable. Images and motifs (such as the whistle that indicates the murderer is lurking) abound, creating a landscape of pure mood and disease. As a morality tale it touches on issues of vigilantism and true justice that still has some relevance today. It also works as an entertaining thriller, and there wasn’t a minute I felt bored or distracted. The only jarring element are the scenes where Lang cuts the sound entirely to create tension and focus – they feel like technical mistakes, not deliberate choices. Otherwise, I could not have been more impressed and pleasantly surprised by this Euro classic for all time. If I were making a list of the best films ever made that disregarded the limitations of the age, then M would definitely make the cut.
Peter Lorre as the killer compelled by his own weakness and madness gives an unfeasably nuanced performance for the era also. He is mesmerically creepy and unforgettable. Images and motifs (such as the whistle that indicates the murderer is lurking) abound, creating a landscape of pure mood and disease. As a morality tale it touches on issues of vigilantism and true justice that still has some relevance today. It also works as an entertaining thriller, and there wasn’t a minute I felt bored or distracted. The only jarring element are the scenes where Lang cuts the sound entirely to create tension and focus – they feel like technical mistakes, not deliberate choices. Otherwise, I could not have been more impressed and pleasantly surprised by this Euro classic for all time. If I were making a list of the best films ever made that disregarded the limitations of the age, then M would definitely make the cut.
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Darren (1599 KP) rated Boys Don't Cry (1999) in Movies
Jul 25, 2019
Story: Boys Don’t Cry starts with Teena (Swank) a young woman that wants to become a man, she uses the name Brandon to go around small American towns looking to pick up women, which has got her in trouble in the past.
On his latest trip she finds a new group of people, with Lana (Sevigny) taking her eye, with her friends and family including John (Sarsgaard), Tom (Sexton III), Candace (Goranson) all welcoming her into the group as Brandon, when her true identity is revealed there will be shocking consequence.
Thoughts on Boys Don’t Cry
Characters – Teena is a young woman that is preparing for her sex change, before that she is going around as a young man Brandon, trying to meet women. She meets a young lady in Lana, makes new friends, but she is on the run which will soon catch up with her. This is a based on a real person that is going through the difficult process of wanting to have a sex change. Lana is the young lady that Brandon takes a shine to, she lives the dead end life that she isn’t enjoying and Brandon brings a new feeling about it, though she is left in a difficult position when the truth comes out. John and Tom are two of the group of friends that happily welcome Brandon into their group, when they learn the truth, they will go to extreme measures to get revenge.
Performances – Hilary Swank went on to win an Oscar for her role in the film, you can see why because she is fantastic in the difficult role. Chloe Sevigny shows us jus how her supporting role she can make a huge impact in the film. Peter Sarsgaard and Brendon Sexton III both are disturbing in their roles in the film which shows just how they could make to truly disgusting human beings come to life.
Story – The story here follows a young lady preparing for a sex change, that would go around looking for women, only for her secret to come back when the prejudice locals can’t deal with people somebody they can’t explain in their lives. This is a film way before it own time, even though it is only 20 years old, it is based on the real crime which would easily have been given a bigger spotlight in todays world. we do step into the world of transgenders, which is always difficult to word correctly because it is a sensitive subject. What occurs in the film is surprising and shocking that you couldn’t see happening.
Biopic/Crime/Romance – The film uses the biopic side of the film to show the romance and crime against Brandon Teena a young transgender that is still wanting to figure out how to get through the sex change.
Settings – The film keeps us in the locations which shows how the smaller towns can operate and have mindsets that don’t accept people that are different.
Scene of the Movie – The first night together.
That Moment That Annoyed Me – The actions of the men.
Final Thoughts – This is one of the most difficult movies you will see, it has a sensitive subject on the table which will show the way people can act towards people.
Overall: Must watch movie.
On his latest trip she finds a new group of people, with Lana (Sevigny) taking her eye, with her friends and family including John (Sarsgaard), Tom (Sexton III), Candace (Goranson) all welcoming her into the group as Brandon, when her true identity is revealed there will be shocking consequence.
Thoughts on Boys Don’t Cry
Characters – Teena is a young woman that is preparing for her sex change, before that she is going around as a young man Brandon, trying to meet women. She meets a young lady in Lana, makes new friends, but she is on the run which will soon catch up with her. This is a based on a real person that is going through the difficult process of wanting to have a sex change. Lana is the young lady that Brandon takes a shine to, she lives the dead end life that she isn’t enjoying and Brandon brings a new feeling about it, though she is left in a difficult position when the truth comes out. John and Tom are two of the group of friends that happily welcome Brandon into their group, when they learn the truth, they will go to extreme measures to get revenge.
Performances – Hilary Swank went on to win an Oscar for her role in the film, you can see why because she is fantastic in the difficult role. Chloe Sevigny shows us jus how her supporting role she can make a huge impact in the film. Peter Sarsgaard and Brendon Sexton III both are disturbing in their roles in the film which shows just how they could make to truly disgusting human beings come to life.
Story – The story here follows a young lady preparing for a sex change, that would go around looking for women, only for her secret to come back when the prejudice locals can’t deal with people somebody they can’t explain in their lives. This is a film way before it own time, even though it is only 20 years old, it is based on the real crime which would easily have been given a bigger spotlight in todays world. we do step into the world of transgenders, which is always difficult to word correctly because it is a sensitive subject. What occurs in the film is surprising and shocking that you couldn’t see happening.
Biopic/Crime/Romance – The film uses the biopic side of the film to show the romance and crime against Brandon Teena a young transgender that is still wanting to figure out how to get through the sex change.
Settings – The film keeps us in the locations which shows how the smaller towns can operate and have mindsets that don’t accept people that are different.
Scene of the Movie – The first night together.
That Moment That Annoyed Me – The actions of the men.
Final Thoughts – This is one of the most difficult movies you will see, it has a sensitive subject on the table which will show the way people can act towards people.
Overall: Must watch movie.
Jesters_folly (230 KP) rated The Fast and the Furious (2001) in Movies
May 18, 2021
Contains spoilers, click to show
So this is the first time I've seen 'The Fast and the Furious' and the only other film in the franchise I've seen is 'Hobbs and Shaw', Which I knew was a (slightly) different beast but, with the new film out soon I thought I may as well start from the beginning.
First thoughts, 'The Fast and the Furious' is 'Point Brake' with cars instead of of surf boards. It's been a while since I've seen Point break but I'm sure the plots are very similar. Actually that's not quite true, my first thoughts were that it was a high school film with the races instead of the school. The first time we meet Dominic's Team they're acting like the typical 'Jock' or bully group who pick on the 'New kid' or weirdo, in this case Brian. Then we have the first race we see Brian at, when he looks around the track we see the different 'clicks', each one represented by a (slightly) different genre of music, all we needed was for one of the characters (probably Letty or Mia) to walk on and introduce the group's "Over here we have the goth's, there are the cheerleaders." etc.
Then the film settles down to 'Point Break mode, the big revel (near the start of the film) that (Spoilers) Brian is a cop and we're introduced to the people he works with and, to be honest they would almost fit into an 80's U.K. police show (or 'Life on mars/Ashes to Ashes' for those of you are too young for the 80's).
We have lots of cars and almost no crime. Really most of the crime is just talked about or a red herring. Then the big race, but we don't see that because we now have the actual heist and the set up Brian's big decision (although it's pretty obvious which side he'll choose). Big action scene, betrayed (kind off), some one dies for character development (but, surprisingly, not a woman), another race, for reasons, character bonding. Cut to credits.
So a bit formulaic, but that ok, a bit of Macho one upping, but that's ok, lots of cars, of course and surprisingly no sex. All of which is good, it suits the film. Even the early revel that Brian is a cop is ok, you don't need to put much though into 'The Fast and the Furious' meaning that you can just sit back 1 hour 45 and enjoy a no brainer whilst turning off your brain.
First thoughts, 'The Fast and the Furious' is 'Point Brake' with cars instead of of surf boards. It's been a while since I've seen Point break but I'm sure the plots are very similar. Actually that's not quite true, my first thoughts were that it was a high school film with the races instead of the school. The first time we meet Dominic's Team they're acting like the typical 'Jock' or bully group who pick on the 'New kid' or weirdo, in this case Brian. Then we have the first race we see Brian at, when he looks around the track we see the different 'clicks', each one represented by a (slightly) different genre of music, all we needed was for one of the characters (probably Letty or Mia) to walk on and introduce the group's "Over here we have the goth's, there are the cheerleaders." etc.
Then the film settles down to 'Point Break mode, the big revel (near the start of the film) that (Spoilers) Brian is a cop and we're introduced to the people he works with and, to be honest they would almost fit into an 80's U.K. police show (or 'Life on mars/Ashes to Ashes' for those of you are too young for the 80's).
We have lots of cars and almost no crime. Really most of the crime is just talked about or a red herring. Then the big race, but we don't see that because we now have the actual heist and the set up Brian's big decision (although it's pretty obvious which side he'll choose). Big action scene, betrayed (kind off), some one dies for character development (but, surprisingly, not a woman), another race, for reasons, character bonding. Cut to credits.
So a bit formulaic, but that ok, a bit of Macho one upping, but that's ok, lots of cars, of course and surprisingly no sex. All of which is good, it suits the film. Even the early revel that Brian is a cop is ok, you don't need to put much though into 'The Fast and the Furious' meaning that you can just sit back 1 hour 45 and enjoy a no brainer whilst turning off your brain.
Darren (1599 KP) rated A Most Wanted Man (2014) in Movies
Sep 2, 2019
Thoughts on A Most Wanted Man
Characters – Gunther Bachmann is the German agent that is tracking known terrorists, his team has connections and keeps eyes on most of the suspects with their latest one being one wanted worldwide, he must figure out if this man is a danger or not. Martha Sullivan is part of the American team searching for the terrorist, she is trusting Gunther to do the right thing only she isn’t sure what he is going to do. Annabel Richter is an attorney that is trying to help the suspect get into Germany, she is just doing his job using her connection to help make his move go smoother. Tommy Brue is the bank manager that has been dealing with multiple nationalities through the years, he gets involved in trying to get the transfer of money done.
Performances – Philip Seymour Hoffman in the leading role steps into the German character with ease, showing the composure to take his character to be the standout of the film. Robin Wright, Rachel McAdams and Willem Dafoe fill the supporting roles well through the film.
Story – The story here follows the German and American intelligence agencies as they are trying to figure out if an immigrate is a potential terrorist suspect, both sides have difference of opinion on what is true and they must try to stay ahead of each other the best they can. This story does try to come off like an intense spy thriller that seems to get bogged down too easily, by making everything seem like it is just an everyday incident, this does move at a slow pace which only brings down everything because they do just seem to pick a random person, that could have reason to suspect from the early point in the film.
Crime – The crime side of the film shows how the authorities operate to try and tackle potential criminal actions, it does show that they could be above the law at times too.
Settings – We have the German backdrop for this movie, showing how they are planning to operate to keep tracks on terrorists.
Scene of the Movie – Pick up.
That Moment That Annoyed Me – It just seems dull.
Final Thoughts – This is a spy thriller that never seems to get going, it tries to play along with the idea that we are building, but we soon lose the attention because it is more of a political spy thriller over anything going on thriller.
Overall: Slow burning thriller that just doesn’t get going.
Characters – Gunther Bachmann is the German agent that is tracking known terrorists, his team has connections and keeps eyes on most of the suspects with their latest one being one wanted worldwide, he must figure out if this man is a danger or not. Martha Sullivan is part of the American team searching for the terrorist, she is trusting Gunther to do the right thing only she isn’t sure what he is going to do. Annabel Richter is an attorney that is trying to help the suspect get into Germany, she is just doing his job using her connection to help make his move go smoother. Tommy Brue is the bank manager that has been dealing with multiple nationalities through the years, he gets involved in trying to get the transfer of money done.
Performances – Philip Seymour Hoffman in the leading role steps into the German character with ease, showing the composure to take his character to be the standout of the film. Robin Wright, Rachel McAdams and Willem Dafoe fill the supporting roles well through the film.
Story – The story here follows the German and American intelligence agencies as they are trying to figure out if an immigrate is a potential terrorist suspect, both sides have difference of opinion on what is true and they must try to stay ahead of each other the best they can. This story does try to come off like an intense spy thriller that seems to get bogged down too easily, by making everything seem like it is just an everyday incident, this does move at a slow pace which only brings down everything because they do just seem to pick a random person, that could have reason to suspect from the early point in the film.
Crime – The crime side of the film shows how the authorities operate to try and tackle potential criminal actions, it does show that they could be above the law at times too.
Settings – We have the German backdrop for this movie, showing how they are planning to operate to keep tracks on terrorists.
Scene of the Movie – Pick up.
That Moment That Annoyed Me – It just seems dull.
Final Thoughts – This is a spy thriller that never seems to get going, it tries to play along with the idea that we are building, but we soon lose the attention because it is more of a political spy thriller over anything going on thriller.
Overall: Slow burning thriller that just doesn’t get going.
Hadley (567 KP) rated Those Bones Are Not My Child in Books
Nov 12, 2019
A different type of True Crime book (1 more)
Things you probably didn't know about the case
Writing transitions are confusing (1 more)
Smash poetry breaks up the flow
Toni Cade Bambara, a writer, documentary filmmaker and screenwriter, gives True Crime readers a unique viewpoint of the real Atlanta Child Murders. Bambara mostly writes from the eyes of Marzala, a mother of three whose oldest son goes missing during one of the worst murder sprees in Atlanta's history. Marzala and her family were not actual people during this time- - - all of them are based off of parents and siblings of the real victims. Not soon after Marzala does everything she can with the police to find her son, she joins a group of African-Americans that are outraged by the lack of progress to catch who is killing Atlanta's black children. This group forms what is called STOP (a citizen-run task force). For the majority of the book, Marzala with most of the black community in the area typed out letters to prominent government officials asking for help to stop the murders, also using Vietnam vets in the area to use their tracking skills to keep an eye on suspects, and investigating buildings that police refused to believe had anything to do with the childrens' disappearances and/or murders, which Bambara did an amazing job putting all the real facts together of the actual community members that were involved with this at the time. This story is upsetting, but enlightening on how politics may have caused so many children to be murdered. This is a story no reader will ever forget.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.