SURTALCHILGAAN DEER DARAHAD ARILJ KINO GARNA.
“The Dead Girl” is a motion picture with a chip on its shoulder. The tenacious enthusiastic brutality in it, a summary of five vignettes identified with a young lady whose stripped, mangled body is found on a fruitless slope, is of a level once in a while found in motion pictures, even those saturated with gut. There is some gut in “The Dead Girl,” however it is overshadowed in power by the verbal manhandle heaved by its urgently despondent characters at the general population nearest to them. Each of the five stories are set in the destroy exceptions of Los Angeles, depicted as a physical and enthusiastic no man’s land.
Exactly when it appears as if the dialect of affront and embarrassment couldn’t get any nastier, the film heightens the torrent. I believe we’re intended to think about it literally, just as the executive and essayist, Karen Moncrieff, were slapping our countenances and shouting at us to wake up and confront the terrible truth; this is what number of individuals (possibly a great many people) truly are. Seethe rules.
On the off chance that the concentrated bile is supporting to a point, I don’t absolutely get it. Ms. Moncrieff, whose promising introduction film, “Blue Car,” in 2002, investigated the temptation of a secondary school understudy by her verse educator, just doesn’t know where to stop. “The Dead Girl” seizes on a portion of the same mental powers and ratchets them descending on the monetary step while turning up the volume.
The horrid tone is built up instantly with “The Stranger,” the narrative of the body’s revelation by Arden (Toni Collette), an easygoing young lady administering to her matured mother (Piper Laurie), an indecent, out of commission unruly who requests to be served hand and foot and rewards that administration by calling Arden a no good whore and more terrible. The story takes after Arden (who has unusual servitude dreams) out on the town with Rudy (Giovanni Ribisi), a dreadful market representative who perceives her from the media scope of the body’s revelation and whose interest with serial executioners implies that he may be the killer.
Marcia Gay Harden as Melora, the mother of the casualty. Credit First Look Studios
In “The Sister,” the weakest of the five pieces, Rose Byrne is Leah, a clinically discouraged graduate understudy in legal sciences who trusts that the body ends up being that of her missing sister Jenny, who vanished numerous years before. On the off chance that it is, she can at long last move on and seek after her sentiment with Derek (James Franco), a delicate, thoughtful associate. Mary Steenburgen plays Leah’s mom, Beverly, who unshakably demands that her departed little girl is still alive.
The irate tone comes back with a retaliation in “The Wife,” in which Ruth (Mary Beth Hurt), a Bible-pounding harridan who lives in a trailer with her significant other, Carl (Nick Searcy), lectures him cruelly for his strange nonappearances amid which she is sure he is going to whores. Carl, who runs a storeroom, is so inured to her tirades that her wrath appears to bob off him. Scavenging through Carl’s things while he is out, Ruth finds confirmation of a fierce wrongdoing and must choose whether to report it or cover it up.
In “The Mother,” the most fulfilling vignette, Melora (Marcia Gay Harden), the mother of the dead young lady, who has been distinguished as Krista (Brittany Murphy), drives to the fleabag motel where her little girl imparted a space to Rosetta (Kerry Washington), a medication someone who is addicted and prostitute. Rosetta takes Melora, a run of the mill white collar class mother, to meet Krista’s 3-year-old little girl, Ashley. From Rosetta, Melora at last gains why Krista fled from home and has her rose-hued vision of her pure family life broke.
The closing story, “The Dead Girl,” backtracks to the most recent day of Krista’s life, in which she purchases a toy for Ashley’s birthday, and afterward — through a progression of revolting accidents including her pimp and beau (Josh Brolin) and a fierce john who beats Rosetta — winds up hitching a critical ride to visit her little girl in a neighboring town.
Ms. Murphy’s Krista is a fear: a thrashing, spitting and reviling live wire whose passionate stay in life is a kid she is excessively unsteady, making it impossible to administer to. In this theatrical execution by an on-screen character who even in parts that call for sweetness and appeal passes on hardness and resistance, Ms. Murphy and her offensive character work.