Crime movies often portray the serial killer as a symbolic character, creating a mix of fear and entertainment. When these movies are based on real cases, they offer an extra level of excitement and fascination. An example of this is the 1968 film "The Boston Strangler," which is inspired by a true story. The film uses documentary-style filmmaking techniques and flexible split screens to provide detailed insights into the killer's perspective. By shifting the focus from the unsettling social environment of the 1960s to the killer himself, the audience may start to gain certain understanding towards schizophrenia.

However, despite its innovative filmmaking techniques, this film closely follows the typical Hollywood portrayals of serial killer crime movies that often take a male perspective, whether that of the male killer or male investigators. For example, "The Boston Strangler (1968)" includes multiple scenes that display the bodies of tortured and killed women. The nudity, fearful expressions, piercing screams, and cries all contribute to the perverse allure of male serial killers in this genre of movies, satisfying the audience's voyeuristic desires. It is clear that there is a fascination with female suffering intertwined with the thrills presented in the movie. This undoubtedly represents a specific manifestation and continuation of the male gaze in Hollywood crime movies.

In contrast, the 2023 film adaptation of the same case, "Boston Strangler, (2023)" takes a different approach in this genre. Instead of the usual male perspective, it tells the story through two female investigative journalists. The film focuses on the fear the case might bring to society. While the main storyline still revolves around investigating the killer, it doesn't show explicit details of the torture and killing of female victims. There is no nudity or the killer's perspective on murdering women. Instead, the film gives glimpses into the victims' lives before their deaths, portraying them as real individuals rather than just symbols of victimization.
Despite not depicting the torture details, the film still manages to create a sense of horror. It doesn't try to empathize with the killers and find reasons for their crimes. Instead, it shifts the focus to the obstacles and threats faced by the female protagonists during their investigation, highlighting the common fear experienced by actual victims and potential victims, as well as the challenges faced by women seeking truth and justice in such an environment. In this film, the Boston Strangler symbolizes the struggle and fear experienced by a group of women, rather than simply making them a sensational spectacle.

The most obvious anxiety in the movie comes from the protagonist's workplace dilemma. When Lorreta reports her findings to her boss, he considers the elderly victims who died in their apartments as ordinary and not newsworthy. After Lorreta publishes the murders in the newspaper, he says he is proud of her just because the story has boosted newspaper sales. This boss shows no genuine concern for the victims or the terrifying killers they faced. Lorreta frequently gets into arguments with male colleagues at the office as she fights for minor privileges to further her investigation. Her challenges stem not only from the intricacies of the case, but also from the lack of representation and recognition a woman faces in the workplace.
The pressure from Lorreta's family makes her investigation process more challenging. As a mother of three children, she initially received her husband’s support when she began to establish herself as an investigator. However, as she spends more time on the front lines, her husband starts to complain. Eventually, they separate. According to societal expectations at that time, if a woman cannot fully dedicate herself to motherhood, she is considered a failure. Consequently, criticism of Lorreta not being a full-time mother arises not only from her husband but also from other individuals, including her relatives and colleagues.
However, an even greater challenge to overcome, compared to workplace discrimination and family pressure, is the pervasive discrimination and animosity towards women, as exemplified by the Boston Strangler and other individuals. This is exemplified in the movie through Detective Conley, who is arrested for abusing his power. He states, "There are many Albert DeSalvos out there, and your small little world is just a delusion. Men kill women. It didn't start with Albert, and sure as hell doesn't end with him either. The entire city just wanted to move on. Nobody bothered to get the truth. And people got away with murder." It seems that a false lie is more attractive than the cruel but unchangeable truth,. The only ones who truly care about the truth and the victims are the two female journalists, Loretta and Jean. However, as they try to dig out the truth, they face obstacles from their superiors, families, and threats from society.

Through Loretta's experiences before and after investigating the case, the difficulties and discrimination faced by women in the 1960s are portrayed from multiple angles. When facing the structural discrimination and oppression, they display feminine quality rarely seen on the screen: calmness and wisdom. Loretta's coolness and agility during the investigation process enable her to gradually deduce the truth of the case from the interviewees' fragmented words. Jean is as reliable and calm as always, taking on the role of a male tutor in a traditional detective film. When the newspaper asked them to take personal photos for publicity, she understood that it was a gimmick, but quickly made a decision to cooperate. She knew that the most important thing was to continue pushing forward investigative reporting, while the other things could be compromised.
It is important to note that they are not portrayed as being brilliant like Sherlock Holmes; their pursuit of the answer to the mystery does not rely on innate deductive abilities or sudden inspirations. In the movie, they are often surrounded by stacks of files in the office. This gives the audience the impression that they have to write a complete report, which involves a lot of desk work. The movie's dark and gray color tones also create a strong atmosphere of seriousness and calmness. In my opinion, this is also one of the characteristics of realism displayed in the movie - a gloomy air of desperate heaviness and seriousness envelopes the entire film as a result of the deviation from the typical narrative of a detective movie, in contrast to the pleasure of thrills conveyed by the latter.

The movie has another aspect that pleases me. In this film, I finally see two women toasting in the bar to celebrate the temporary success of their hard work, finding the truth behind the murders, and seeking justice for innocent people. They discuss the case, their work, and the most serious issues in society. The Boston Strangler in 1968 also had similar scenes, but at that time, there were almost no female voices among the investigators and in the bar. In my opinion, this is a rare depiction of female friendship on the big screen. The relationship between Loretta and Jean is not a self-pitying and sympathetic one, which is very common in other narratives of sisterhood. It is more akin to the camaraderie between men, such as Holmes and Watson.
At the conclusion of the movie, subtitles and real photos are incorporated to honor the two female journalists, once again highlighting their commitment and ambition in their professions as well as their friendship. Loretta later achieved great success as a medical reporter at The Boston Globe and was recognized with awards. She was one of the pioneers in reporting on the AIDS crisis. Jean, on the other hand, continued her career as an investigative reporter for the following three decades. Throughout this time, she maintained a strong friendship with Loretta. .


The growth of the two female journalists in real life gives the audience an emotional release from the serious tone of the movie, while also inspiring hope. While individual efforts may not immediately solve the challenges faced by a whole group, they are vital for the individuals themselves. The improvement in the situation of women as a collective starts with numerous women like Loretta and Jean, who work towards their own truths and justice in their respective areas.