The true story of suburban housewife Gertrude Baniszewski, who kept a teenage girl locked in the basement of her Indiana home during the 1960s.The true story of suburban housewife Gertrude Baniszewski, who kept a teenage girl locked in the basement of her Indiana home during the 1960s.The true story of suburban housewife Gertrude Baniszewski, who kept a teenage girl locked in the basement of her Indiana home during the 1960s.
- Nominated for 1 Primetime Emmy
- 3 nominations total
Elliot Page
- Sylvia Likens
- (as Ellen Page)
Hannah Leigh
- Shirley Baniszewski
- (as Hannah Leigh Dworkin)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
First off to anyone that has, will or wants to see this film I would also suggest The Girl Next Door, which is based on the same story but takes liberties as this film does. It is very interesting to see the differences between the two interpretations of the same events. The other interesting thing is, in my opinion these movies are perfect if you put them together, everything one does wrong the other does right and visa versa. An American Crime was great in its more detailed set up to these events along with it's amazing court room scenes that added a much need closer element that The Girl Next Door was desperately lacking. On the other hand The girl Next Door was much better at visualizing the actual events, don't get me wrong what happened to this girl was horrible, but in An American Crime it was just not portrayed as well by Ellen Page. I know that sounds weird for me to say too, but I assume that it was either the directors choice or an attempt at realism, but Ellen Page's character just shut down. Were as in The Girl Next Door, we saw more of a fighter in Blythe Auffarth's portrayal of the same character, someone who was changed by the experience. Also The Girl Next Door did not shy away from the violence as An American Crime did, now for some I'm sure that is a blessing, because I have heard of several people who could not finish watching The Girl Next Door for that very reason, and because these situations all involved young kids it is completely understandable. My overall point is that together these two films would make a wonderful film, but definitely not a film for everyone. Both films still do leave me wondering, what exactly did happen, exactly, so many liberties have been taken that some of the facts are a little fuzzy.
I rate the movie a 7, as it does introduce individuals to this most horrible series of events. However, in my opinion the movie does not portray the abuse of Sylvia Likens to the extent to fully represent the horror and suffering of her torture. In researching this case, I find the movie "light" on the true depth of this crime. Sylvia Likens had at least 100 burns, contusions, and cuts on her body when she was found. She was starved, placed in scalding baths, and suffered extreme and prolonged abuse. I'm not voyeuristic, but I think that the film really lacks the details of the sequence and scope of events to provide the emotional and intellectual impact that the Likens case calls for. In contrast, "The Girl Next Door" appears to go a little too far in portraying a couple of events that may not have happened (I hope!) - but I believe that "The Girl Next Door" will leave you with a better sense of the true nature of the tragic murder of this young girl.
I attended the world premiere of "An American Crime" at the 2007 Sundance Film Festival. Among the several decidedly downbeat films I saw this past week, this one was by far the hardest to watch. But something about it is compelling, like craning your neck to see what horrors can be spotted at the scene of a car crash. You know it can't be anything pretty, yet you can't take your eyes off it. Perhaps it was knowing that the film is, in fact, based on a true story. The opening courtroom scenes and disclaimer that "actual transcripts" were used make that clear. There's something about a "true crime" drama that triggers a desire to sit through whatever terrifying images lie ahead. And the images conjured up here are bone-chilling.
In 1965, Betty Likens (Romy Rosemont) and her husband Lester (Nick Searcy) decided it was best to leave their two daughters with a neighbor while they went off with a traveling carnival. So Sylvia Likens (Ellen Page) and her sister Jennie Fae (Hayley McFarland) settled in with the Baniszewski clan. And what a clan it was. Mother Gertrude (Catherine Keener) already had five of her own in tow, and now she added two more. What happened then, well documented in the record, is now played out for us with horrifying realism.
This is Keener and Page's film, despite the large ensemble cast assembled for the story. And both actors create frighteningly devastating portrayals of characters we still can't quite believe really endured these horrors. Mommie Dearest doesn't hold a candle to Keener's Gertrude, and Page is as heartbreaking as any victim I've seen in modern cinema. Both turn in award-winning performances that left me with chills.
In addition to the numerous family members, an assortment of school chums has the opportunity to get involved in some way. Coy Hubbard (Jeremy Sumpter) is the boyfriend of one of the Baniszewski brood. Known to most from 2003's "Peter Pan," we can't help but feel that he will be the hero here. Teddy Lewis (Michael Welch), is an enigma from the start. One of our most prolific yet underrated young actors today, Welch is perfectly cast as the boy whose blood runs hot or cold depending on the prevailing winds. Other notables include The West Wing's Bradley Whitford as prosecutor Leroy K. New.
This is a period piece set in the mid-60s, and the costumes, sets, and palette of colors effectively evokes that era to a T. Much of the film's look can be attributed to the cinematography of Byron Shah, who had two films here at Sundance (his "The Go-Getter" was one of my favorite film' at this year's festival).
"An American Crime" is not for everyone. It's a horror film that isn't a work of fiction. If it was from the hand of Stephen King it would be scary and delicious. Instead it's scary and nauseating. Yet it deserves the label "important," because the subject matter is worthy of discussion. And that's because the horrors exposed in this film are still occurring today. That's the real crime.
In 1965, Betty Likens (Romy Rosemont) and her husband Lester (Nick Searcy) decided it was best to leave their two daughters with a neighbor while they went off with a traveling carnival. So Sylvia Likens (Ellen Page) and her sister Jennie Fae (Hayley McFarland) settled in with the Baniszewski clan. And what a clan it was. Mother Gertrude (Catherine Keener) already had five of her own in tow, and now she added two more. What happened then, well documented in the record, is now played out for us with horrifying realism.
This is Keener and Page's film, despite the large ensemble cast assembled for the story. And both actors create frighteningly devastating portrayals of characters we still can't quite believe really endured these horrors. Mommie Dearest doesn't hold a candle to Keener's Gertrude, and Page is as heartbreaking as any victim I've seen in modern cinema. Both turn in award-winning performances that left me with chills.
In addition to the numerous family members, an assortment of school chums has the opportunity to get involved in some way. Coy Hubbard (Jeremy Sumpter) is the boyfriend of one of the Baniszewski brood. Known to most from 2003's "Peter Pan," we can't help but feel that he will be the hero here. Teddy Lewis (Michael Welch), is an enigma from the start. One of our most prolific yet underrated young actors today, Welch is perfectly cast as the boy whose blood runs hot or cold depending on the prevailing winds. Other notables include The West Wing's Bradley Whitford as prosecutor Leroy K. New.
This is a period piece set in the mid-60s, and the costumes, sets, and palette of colors effectively evokes that era to a T. Much of the film's look can be attributed to the cinematography of Byron Shah, who had two films here at Sundance (his "The Go-Getter" was one of my favorite film' at this year's festival).
"An American Crime" is not for everyone. It's a horror film that isn't a work of fiction. If it was from the hand of Stephen King it would be scary and delicious. Instead it's scary and nauseating. Yet it deserves the label "important," because the subject matter is worthy of discussion. And that's because the horrors exposed in this film are still occurring today. That's the real crime.
First of all someone said " The Girl Next Door" wasn't based on actual events .You'd have to be oblivious not to see it's based on this case with some minor changes.
I feel that The Girl Next Door is a much more disturbing film then An American Crime because the degree of abuse is much more accurate in relation to what happened in real life.
Also I was somewhat disturbed that the the director tried to show Gertrude in a somewhat sympathetic light as if he was trying to make some sort of feminist statement that Gertrude was a victim of 50's male oppression.In reality she was a sexual sadist of unspeakable proportions.
I feel that The Girl Next Door is a much more disturbing film then An American Crime because the degree of abuse is much more accurate in relation to what happened in real life.
Also I was somewhat disturbed that the the director tried to show Gertrude in a somewhat sympathetic light as if he was trying to make some sort of feminist statement that Gertrude was a victim of 50's male oppression.In reality she was a sexual sadist of unspeakable proportions.
The "disclaimer" at the end of "An American Crime" could not be more appropriate. Why does Hollywood have to make up "fake scenarios" about one of the most horrific crimes ever committed? Are the actual facts not "interesting" enough for the big screen? I can assure you, they are indeed, and need to be told. Anyone who has ever comprehensively researched this case can tell you, there is very little "fact" here. The ferocity and unrelenting cruelty of the monster "Gertrude," as well as the "enthusiasm" of the children who participated in the torture of Sylvia Likens, particularly, daughter Paula, has been falsely conveyed and greatly understated. It's really a travesty and dishonors the memory of an innocent young girl. They had a great opportunity to show the truth, and they blew it. Shame on them.
Storyline
Did you know
- TriviaThe real-life daughter, Paula Baniszewski, was released from prison and changed her name. She ended up getting a job as a guidance counselor aide in an Iowa school and worked there for 14 years before anyone found out about her real past. She was immediately fired.
- GoofsDuring the big "rescue" scene Ricky and Sylvia flee from Gertie in a 67-68 model Ford Mustang, a blatant error considering the movie is set in 1965.
- Quotes
Sylvia Likens: Reverend Bill used to say, "For every situation God always has a plan." I guess I'm still trying to figure out what that plan was.
- Crazy creditsThe final credit states "Sylvia Likens, 1949-1965".
- ConnectionsFeatured in The 60th Primetime Emmy Awards (2008)
- SoundtracksDowntown
Written by Tony Hatch
Performed by Petula Clark
Courtesy of Disques Vogue and Sony BMG Music Entertainment (France)
By Arrangement with Sony BMG Music Entertainment
Details
Box office
- Budget
- $2,000,000 (estimated)
- Gross worldwide
- $1,306,875
- Runtime1 hour 38 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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