By Katherine Ramsland
(Continued)
In addition to the documentary, Borowski includes captivating special features, among them an interview with him about his inspiration and process as an artist, an interview with former French cannibal Nico Claux, a history of the electric chair, and the detailed portrait that Joe Coleman painted of Albert Fish. Coleman's provocative commentary, pieced throughout the film, boldly proposes Fish as a symptom of society and a dark shaman. He'd acquired Fish's original letter about Gracie Budd, which he considers a privilege to own (an interesting tale in itself), and anyone who knows about serial killer art will recognize this unique opportunity to hear Coleman's observations.
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| Nico Claux |
Fish was the oldest person to be sent to New York's electric chair. Borowski has his own opinion about what society should do with such killers, so he seems determined to show that executing this offender was a mistake. In sum, he offers plenty of material in his second docudrama to generate many conversations, raising his work above B-movie gore into the realm of philosophical discourse. More information can be viewed at www.albertfishfilm.com.
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