Christie (Richard Attenborough, future director of Gandhi) claimed knowledge of then-illegal abortion procedures, to Beryl Evans's fatal misfortune.
Trading in British working-class miserabilism as if born to it (even Ken Loach would be impressed), the distressing yet nonhyperbolic Rillington delivers one credible version of the much-disputed case. Everything about it is astutely controlled, but two performances — Attenborough's and Hurt's — push that description into the realm of brilliance, indelibly etching the respective banalities of evil and of innocence.
One might call this sober replay of sordid reality an anomaly for Fleischer, but what film of his isn't? Like several other major-league commercial directors of the ’60s (Robert Wise, Stanley Donen), he hung on through the ’70s but developed a serious case of irrelevance in the ’80s. Indeed, the embarrassments lined up like ducks: Neil Diamond in The Jazz Singer, Brigitte Nielsen in Red Sonja, Amityville 3-D. No doubt he enjoyed the retirement that by then was so richly deserved. It is reported that he liked playing tiddlywinks with his granddaughter, perhaps while seated near his Mickey Mouse head–shaped swimming pool. (This despite his own father being Betty Boop creator Max Fleischer, Walt Disney's leading early rival.) The director of Boston Strangler and Mandingo must have been a very nice, normal man to accommodate so many contradictions with so little fuss. He may be in the grave now, but it's we the living who are spinning. SFBG
10 RILLINGTON PLACE
Thurs/20, 7:30 p.m.
Yerba Buena Center for the Arts Screening Room
701 Mission, SF