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35 of 38 people found the following review helpful:
5.0 out of 5 stars
Not Great Literature, But A Page-Turner, March 11, 2004
It seems peculiar that Reynolds' 1992 account of the life and crimes of Aileen Wuornos has not been promoted in conjunction with the Oscar-winning film MONSTER, which was based on Wuornos's life. Perhaps the substantial liberties which the screenplay takes with the facts are the reason.MONSTER is a work of art, whereas DEAD ENDS is a fast-paced factual presentation of the crimes. Ty, Lee's sidekick, is little like the character portrayed by Christina Ricci. First, she's unequivocally unattractive physically. Second, in reality she was much older than Ricci's character and was far more responsible for her own actions. She was not merely a thwarted adolescent whose repressive family loathed her same-sex tendencies. Finally, she lived with Aileen Wuornos for several years before the murder spree began. The scriptwriter clearly wished her characters to have understandable motivations; in contrast, in DEAD ENDS, readers never get enough background information to fully make sense of Ty and Aileen's lengthy relationship--particularly why Ty stayed on with Aileen for so long. DEAD ENDS also is much less empathetic than MONSTER to Wuornos herself. Though it is clear that Wuornos grew up in a grotesquely dysfunctional family (her real father was a convicted pederast who probably hanged himself in prison; her adoptive father was her own grandfather, who committed suicide and very possibly murdered his wife, Wuornos's adopted mother; her real mother abandoned her and her brother while still a teenager; and on and on), DEAD ENDS lends little sympathy to this woman who murdered seven men in a sociopathic spree (which easily might have included far more victims, but for the machinations of Lady Luck). Aileen Wuornos was not the first but the thirty-fifth female serial killer documented in American history; however, her methodology--using violence in a world which tolerates only masculine force--is what seems to have made her so repugnant to Reynolds and others. It was an interesting tact to take on the part of the screenwriter of MONSTER: in the film, the audience cannot help feeling sorry for this wreck of a woman. On a planet where physical crimes by men against women astronomically exceed those by women against men, it is fascinating that the prosecutors of Aileen Wuornos, as well as Reynolds himself, find her so repulsive. Hollywood and the popular media project image after image of male violence inflicted upon females. How curious that in a global patriarchy, pathetic characters like Wuornos are so loathed (recall the furor caused by THELMA AND LOUISE?) while the groping Mr. Schwartzenegger is elected to the governership of California!
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