Summary:
The true story of con artists turned serial killers, Martha Beck and Ray Fernandez.
My Thoughts:
I’ve been on a John Waters (director of “Female Trouble” and “Desperate Living”) kick for the past couple of years, so when Barnes and Noble held their bi-annual Criterion sale, I knew that I wanted to pick up a few recommendations from Waters’ Criterion Closet Picks Video (also in that video, Waters recommended “Beyond the Valley of the Dolls”, which turned out to be one of my favorite movies that I watched for the first time this year). This film came highly recommended from him, and the personal story that he had in attachment to the film made the movie even more intriguing to me. Apparently, when this film was released, Shirley Stoler (“The Deer Hunter”) whom plays Martha Beck, was told by multiple critics that she was like Divine, the transvestite muse of Waters. Waters went on to say that he only met Shirley once, but the comparisons to Divine infuriated her enough that Waters, said he, “thought she would kill me.” I found this tidbit of info to be rather amusing, and decided I needed to see Stoler in action.
Furthermore, I found out that that Martha Beck and Raymond Fernandez ended up in Wyoming, Michigan, which is a suburb of Grand Rapids (where TMM is based). Doing a bit more research, I learned that the final two murders committed by the pair were done just eight minutes from fellow TMM reviewer Michael McDonald’s home, and that, right there, sold me on watching this film (and also trying to scope out the house). Anyways, on to the flick.
“Are you lonesome tonight?”
Martha Beck (Stoler), a lonely, obese nurse writes to a Lonely Hearts Club ad in an attempt to find a boyfriend. After she receives a response from Ray Fernandez (Tony Lo Bianco, “The French Connection”), the two initiate a relationship, but soon Ray reveals his true colors, takes some money from her, and cuts all ties. Martha enlists her friend’s help in convincing Ray that she has attempted suicide, and Ray, feeling guilty, returns to Martha to apologize. Martha accepts Ray’s apology, and the two decide that they will work together in conning others out of their money. For a while, things go as planned, and the pair lure unsuspecting women into giving them money before they flee, but soon their plans go awry, and the con artists must turn to murder in order to prevent their capture.
I think the thing I liked most about this film was the starkly realistic way in which it depicted all of the events. The dialogue felt natural, the cinematography was stark and simple, and the brutality in which the murders were committed felt wholly realistic. It felt, in many ways, like a Cassavettes film (“Opening Night”, “The Killing of a Chinese Bookie”); just set up a camera and let the actors do their thing, and as a result, the film almost feels like a documentary. Also like a Cassavettes film, the characters tend to guard their emotions, so that even we, the viewers, don’t know what the characters will do until they’re upon the precipice of doing it. It makes for a few incredibly shocking moments; I watched this with my roommate and fellow TMM reviewer Karl Nagurski, and there was a moment where we simultaneously let out surprised exclamations.
I do think the first act of this movie drags a little bit. Up until Ray and Martha team up, the film essentially revolves around Martha and her complaining about how miserable her life is. While the pacing is a bit slow, the first act does do a lot to develop Martha’s character, as it’s the only explanation were given as to why Martha might want to run away and start a crime spree. Her relationship with her mother is contentious, and she seems to have no qualms about screwing over her friends if it means someone will love her, even if that someone is a grifter.
When the second act, as the cons begin, the film’s pacing really starts to ramp up, and then, about halfway, there comes a point in the film where Ray and Martha reach a moment of inevitability and make a choice that forever changes their lives. After that moment in the film, the whole atmosphere flips; Ray and Martha’s relationship gets worse, and the crimes they commit are more heinous. Kastle’s direction, nevertheless, stays the same; he doesn’t try to emphasize emotions with heightened shadows or camera tricks. Instead, he just lays the crimes bare, which, in turn, makes them feel more disturbing.
Verdict:
This is a very well done true crime film, and for those who enjoy that sort of thing, I’m sure you’ll find plenty to latch on to with “The Honeymoon Killers”. While the first act might be a touch slow, by the second act, the film is rolling along quite nicely, barreling towards disaster in such splendidly grotesque fashion that it’s nigh impossible to take your eyes off it.
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