“幻影”评论：德克萨斯州的致命司法流产，令人着迷且最终令人发指
‘The Phantom’ Review: A Fascinating and Ultimately Infuriating Look at a Fatal Miscarriage of Justice in Texas
辩护律师在“幻影”中的某个时刻指出：“如果你贫穷，没有钱，不能让自己真正给你的案件做出痛苦的律师，你会死。”这是一部引人入胜且最终令人发指的纪录片。这并不是对年轻的西班牙裔男子Befell Carlos DeLuna的完全合适的描述，他于1989年因1983年在科珀斯克里斯蒂（Corpus Christi）的残酷谋杀而被处决，他几乎肯定没有犯下。的确，这部电影由帕特里克·福布斯（Patrick Forbes）（“ Wikileaks：Secrets and Lies and Lies”）巧妙而震惊，表明Deluna的捍卫者并不是无动于衷或无能，但（可能是故意）误解了有关缓解证据的信息。然而：甲板被与居住在边缘居住的Deluna堆叠在一起，他的不在场证明从未得到认真的信任，他的内gui被警察和检察官渴望结束似乎是一个开放和审判的案件的罪名 - 而且，嘿，他只是另一种西班牙裔，有犯罪分子RD，尽管一个明显没有暴力犯罪。“ The Phantom”是不幸的是，不幸的是，关于得克萨斯州流产的长期纪录片，这是一个值得一提的补充，该阵容还包括Errol Morris的“薄蓝线”，Joe Bailey Jrey Jrey Jrey Jrey Jrey 。史蒂夫·米姆斯（Steve Mims）的“煽动性：威灵汉案”和阿尔·雷恩特（Al Reinert）的“一个虚幻的梦：迈克尔·莫顿的故事”。像那些早期电影的导演一样，《福布斯》平稳地将谈话头访谈，档案镜头和精明低调的重演融合在一起，以引人注目。正如他建议的那样，由于他作为警察线人的身份，真正的杀手可能逃脱了被捕。每个人，包括原始检察官，都有机会发表自己的作品。最后，您留下了令人不安的印象，即卡洛斯·德鲁纳（Carlos Deluna）可能被错误定罪，并给予了莱斯（Leth）Al注射，仅仅是因为他陷入了埋葬错误的系统的裂缝。这是无可争议的：1983年2月4日，位于科珀斯克里斯蒂市Sigmor Shamrock Gasiation的店员万达·洛佩兹（Wanda Lopez）被刺死她打了一个疯狂的911电话时的强盗。 （请注意：我们听到她的电话和她的尖叫声，这是足够的时间，以使陪审团为什么要惩罚某人，任何人。及时发现卡洛斯·德鲁卡（Carlos Deluca）躲在附近的汽车下没有衬衫的情况下（检察官或福布斯（Forbes）从未充分解释这个细节）。他的口袋里有149美元。根据逮捕官员的成绩，DeLuca起初犯了一个错误，因为它与无孤立的Braggadocio回应 - “您对我一无所有！我会像打败最后一个一样击败这个！” - 然后犯了一个更大的错误，即提供易于切碎的不在场证明。当他终于牵涉到熟人时，职业犯罪分子卡洛斯H作为真正的杀手，埃尔南德斯（Ernandez）用完了他几乎没有的信任。助理地方检察官史蒂夫·希维兹（Steve Schiwetz）是几十年来提供事后证词的几个人之一，他声称他的办公室努力找到了一个符合DeLuca的描述的卡洛斯·埃尔南德斯 - 富有想象力。在克莱尔·弗格森（Claire Ferguson）和格雷戈尔·里昂（Gregor Lyon）的快速爆发，令人震惊的编辑中，《福布斯·芬斯（Forbes Fashions）》（Forbes Fashions）是一个令人着迷的叙述，其中包括各种各样的受访者，包括像卡伦·布德里（Karen Boudrie），科珀斯·克里斯蒂（Corpus Christi）电视记者，诸如Karen Boudrie之类的杰出人物。在最初被德鲁卡（DeLuca）从监狱的信件中“爬出来”之后，质疑他的罪恶感。卡洛斯（Carlos）的兄弟曼努埃尔·德鲁卡（Manuel DeLuca）喜欢在类似情况下的许多兄弟姐妹，他是否可以做些事情来阻止卡洛斯（Carlos）的死亡之路；哥伦比亚法学院教授詹姆斯·利比曼（James Liebman执行，有助于启动对事实的重新评估。在“幻影”中，一位前检察官毫无疑问地引用了伊曼纽尔·康德的借口，而不是解释：“从人类歪曲的木材中，从来没有做任何直接的事情。”他认为，在任何人生的系统中，严重的错误是不可避免的。但是，当然，这只会让您想知道在德克萨斯州和其他地方继续犯了多少个类似的错误。福布斯显然打算将他的纪录片作为一个反资本惩罚的警示故事，而他的电影有效地强调了反对死刑的最佳论点：这是不精确的。
“If you’re poor and have no money, and can’t get yourself a lawyer who really gives a shit about your case, you’re going to die,” a defense attorney ruefully notes at one point in “The Phantom,” a fascinating and ultimately infuriating documentary.
This isn’t an entirely fitting description of what befell Carlos DeLuna, a young Hispanic man who was executed in 1989 for a brutal 1983 murder in Corpus Christi that he almost certainly did not commit. Indeed, the film, skillfully and compellingly directed by Patrick Forbes (“Wikileaks: Secrets and Lies”), indicates that DeLuna’s defenders were not indifferent, or incompetent, but grievously (and maybe deliberately) misinformed about mitigating evidence. And yet: The deck was stacked against fringe-dwelling DeLuna, his alibi was never given serious credence, his guilt was all-too-easily assumed by police and prosecutors eager to wrap up what appeared to be an open-and-shut case — and, hey, he was just another Hispanic with a criminal record, albeit one conspicuously absent of violent crimes.
“The Phantom” is a worthy addition to the unfortunately long list of documentaries about miscarriages of justice in Texas, a lineup that also includes Errol Morris’ “The Thin Blue Line,” Joe Bailey Jr. and Steve Mims’ “Incendiary: The Willingham Case,” and Al Reinert’s “An Unreal Dream: The Michael Morton Story.” Like the directors of those earlier films, Forbes smoothly entwines talking-heads interviews, archival footage, and shrewdly understated reenactments for compelling effect.
Just as important, Forbes avoids the facile labeling of characters in his real-life drama as heroes and villains — even as he suggests the real killer may have escaped arrest because of his status as a police informant. Everyone, including the original prosecutors in the case, gets a chance to speak their piece. In the end, you’re left with the unsettling impression that Carlos DeLuna may have been wrongly convicted, and given a lethal injection, simply because he fell through the cracks of a system that buries its mistakes.
This much is indisputable: On Feb. 4, 1983, Wanda Lopez, a clerk at the Sigmor Shamrock Gas Station in Corpus Christi, was stabbed to death by a robber while she was making a frantic 911 call. (Be forewarned: We hear a recording of her call, and her screams, more than enough times to make it easy to understand why the jury wanted to punish someone, anyone.) Police rushed to the scene too late to save the victim — but in time to find Carlos DeLuca hiding under a nearby car without a shirt (a detail never adequately explained by prosecutors or Forbes). He had $149 in his pocket.
According to arresting officers, Deluca at first made the mistake of responding with insolent braggadocio — “You ain’t got nothing on me! I’m gonna beat this like I beat the last one!” — then made the bigger mistake of offering an easily shredded alibi. When he finally implicated an acquaintance, career criminal Carlos Hernandez, as the real killer, he had run out of what little credence he had. Assistant district attorney Steve Schiwetz, one of several individuals offering decades-after-the-fact testimony, claims his office made an effort to find a Carlos Hernandez who would match DeLuca’s description — and ultimately decided that this was “a phantom” of DeLuca’s desperation-fueled imagination.
Leaning heavily on the rapid-fire, razzle-dazzling editing of Claire Ferguson and Gregor Lyon, Forbes fashions an arresting narrative supplemented by a diverse array of interviewees, including such standouts as Karen Boudrie, a Corpus Christi TV reporter who, after being initially “creeped out” by DeLuca’s correspondence from prison, came to question his guilt; Manuel DeLuca, Carlos’ brother, who like many siblings in a similar situation worries whether he could have done something to block Carlos’ path to Death Row; and James Liebman, a Columbia Law School professor who, 14 years after DeLuca’s execution, helps to launch a re-evaluation of the facts in the matter.
Late in “The Phantom,” one of the former prosecutors unapologetically quotes Immanuel Kant less as an excuse than an explanation: “Out of the crooked timber of humanity, no straight thing was ever made.” Grievous errors, he implies, are unavoidable in any system born of man. But, of course, that only makes you wonder how many similar errors continue to be made, in Texas and elsewhere. Forbes obviously intends his documentary as an anti-capital punishment cautionary tale, and his film effectively underscores the best argument against the death penalty: It is imprecise.
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发表于 2022-7-5 07:37:10
发表于 2022-12-1 17:40:40