The Killing of John Lennon (2006) (movie-semi-documentary)
“I was nobody until I killed the biggest somebody on earth.”
Those are the boastful words of John Lennon’s assassin, Mark David Chapman (Jonas Ball), who shot Lennon on Dec. 8, 1980, in front of his home at the Dakota, the Manhattan apartment complex at 72nd Street and Central Park West.
Everything Mr. Chapman says in “The Killing of John Lennon,” Andrew Piddington’s devastating re-enactment of events leading up to, including and immediately after the murder, is taken from interviews, depositions and court transcripts. Because much of the dialogue is voice-over, the film takes place largely inside Mr. Chapman’s feverish mind. Lennon appears in the movie but only briefly, and in shadow: a phantom to be slain.
Shot in a quasi-documentary style at the actual locations where the events took place, including the sidewalk outside the Dakota, the movie is extremely uncomfortable to watch. Using a minimum of photographic tricks, it evokes episodes of mental disorientation in which images jiggle and blur into one another. Its fragments from the movies “Raging Bull,” “Taxi Driver” and “Ordinary People” suggest the volatile interaction of popular culture and mental instability. And its sampling of vintage clips of the Beatles and of Lennon is heartbreaking....
Read entire article at NYT
Those are the boastful words of John Lennon’s assassin, Mark David Chapman (Jonas Ball), who shot Lennon on Dec. 8, 1980, in front of his home at the Dakota, the Manhattan apartment complex at 72nd Street and Central Park West.
Everything Mr. Chapman says in “The Killing of John Lennon,” Andrew Piddington’s devastating re-enactment of events leading up to, including and immediately after the murder, is taken from interviews, depositions and court transcripts. Because much of the dialogue is voice-over, the film takes place largely inside Mr. Chapman’s feverish mind. Lennon appears in the movie but only briefly, and in shadow: a phantom to be slain.
Shot in a quasi-documentary style at the actual locations where the events took place, including the sidewalk outside the Dakota, the movie is extremely uncomfortable to watch. Using a minimum of photographic tricks, it evokes episodes of mental disorientation in which images jiggle and blur into one another. Its fragments from the movies “Raging Bull,” “Taxi Driver” and “Ordinary People” suggest the volatile interaction of popular culture and mental instability. And its sampling of vintage clips of the Beatles and of Lennon is heartbreaking....