Weeks after watching Zodiac, the story still stayed with me. I picture certain scenes, replay certain lines in my head. This film, much like the Zodiac Killer himself, is haunting. So many clues are left unexplained that in the end, there is no real closure. But this story reflects much of reality -- endless murder cases go unsolved every day in the world. The Zodiac Killer is just one of many unsolved cases, and just one of many cases that will never truly “close.”
The story of Zodiac remains in my mind as it probably did with many people who watched it. Robert Graysmith, author of the book this movie is based on, becomes obsessed with solving the crimes committed by the Zodiac Killer, and that obsession resonates to the audience. Not only does he become obsessed with finding the truth, he feels it’s his responsibility to save the rest of the innocent people.
The Zodiac Killer literally preyed on anyone at any time. He had no pattern, no motive, and no compassion. The most disturbing scenes were the depiction of the murders. Although there’s hardly any blood shown, the scenes focus only on the victims. While the Zodiac Killer attacks the couple in the field, we watch everything from the victim’s point of view. The audience feels a sense of their helplessness. But these horrendous attacks are only the first part of the film.
We are introduced to the story of Zodiac, the San Francisco Bay Area serial killer who murdered his first victim in 1969 and continued his rampage through the 1970s. Nick Toschi (Mark Ruffalo) and William Armstrong (Anthony Edwards) are the police detectives assigned to the case. Paul Avery (Robert Downey Jr.) is the San Francisco Chronicle crime reporter also assigned to the Zodiac case. Robert Graysmith is the Chronicle’s political cartoonist who takes an interest in the Zodiac case, and follows Avery around to draw out possible leads. All these people cross paths with each other when the Zodiac sends letters to the San Francisco Chronicle and the San Francisco Examiner, threatening them to print his cryptic messages otherwise he will kill another innocent victim. Both papers comply with the Zodiac’s commands, but people are still murdered.
This creative plot from the point of view of the media and the law enforcement demonstrated a great juxtaposition. While one entity strives on selling more papers, the other is determined to seek justice for the people. Even though their separate investigations were motivated by different reasons, both experienced the same false leads, red herrings and dead ends that eventually wore them out.
While Armstrong leaves homicide to enter another part of the police force, both Toschi, Avery and Graysmith become so obsessed with the mystery of the Zodiac, their involvement consumes their personal lives. Avery eventually leaves the Chronicle with an implied alcohol-abuse problem. Toschi himself becomes a suspect because of his close involvement in the Zodiac case. And Graysmith continues to personally investigate the remaining clues even after everyone moves on to other cases.
The second part to Zodiac is Graysmith’s decade-long investigation to solve the identity of the Zodiac. But his journey is only a frustrating one. Graysmith, much like the detectives assigned to the case, finds numerous clues that don’t add up. Several suspects that questioned, but none of them can be linked to all the murders.
Through Toschi and Graysmith’s investigations, we discover that the Zodiac escaped imprisonment by both skill and luck. In the 1970s, computers and the Internet were not as readily available as they are today. Evidence from one crime wasn’t easily shared with other law enforcement agencies, allowing vital clues to get lost in the system. The Zodiac repeatedly dodged the hands of the police due to this communication tangle between the San Francisco Bay districts.
Even though the end is saddening and predictable, this gripping story through the search for the Zodiac was incredibly compelling. David Fincher, who also directed Seven (1995), The Game (1997) and Fight Club (1999), proves again how great a storyteller he is.
Kristin’s Grade: A-
Director: David Fincher
Screenwriters: James Vanderbilt
Based on: Book by Robert Graysmith
Genre: Drama / Thriller / True Crime
Running Time: 160 minutes
Rated: R (for some strong killings, language, drug material and brief sexual images)
