Monster: The Ed Gein Story – A Review of the Producer's Grim Murder Show

You've likely seen Psycho, The Silence of the Lambs, and the horror staple. Maybe you've even read the books that served as the basis for the first two films. Now prepare to meet the man behind Norman Bates, the serial killer, and the chainsaw-wielding villain. The infamous Ed Gein!

The first two seasons of the series in question centered around the Milwaukee monster – a name with widespread notoriety. This was followed by the sibling duo – a more niche story for enthusiasts of the genre. Attention now shifts to the Plainfield Ghoul. While he may lack the household name status of other notorious killers, and only killed two people, his grave desecrations and gruesome creativity with female corpses have made a profound impact. Even now, any film or show featuring mutilated bodies, flayed skin, or items crafted from human tissue likely draws inspiration to his actions from many decades past.

A Dismissive Approach

Do I sound flippant? It's clearly the intended style of the production team. It's uncommon to witness a television series that dwells so eagerly on the most heinous acts a person – and mankind – can commit. This includes a substantial narrative strand devoted to the horrors of the Third Reich, presented with minimal moral context.

Effective Pacing and Narrative

Structurally and stylistically, the show is impressive. The pacing is flawless, and the skillful blending of past and present is executed brilliantly. Viewers witness Charlie Hunnam as the killer in action – the murders, tomb violations, and assembling his collection. Simultaneously, the contemporary storyline follows Alfred Hitchcock, Robert Bloch, and Anthony Perkins as they craft the iconic film from Bloch's Gein-inspired novel. The blending of the real – Gein's religious mother and his obsession with women resembling her – and fictionalized scenes – lurid portrayals of Ilse Koch and SS officer gatherings – is handled with technical skill.

A Critical Shortcoming

The missing element, in a truly unacceptable way, is any moral dimension or meaningful analysis to counterbalance the protracted, admiring visuals of his immoral deeds. The series portrays his rich inner world and frames him as a man at the mercy of his controlling parent and an accomplice with dark interests. The implied message seems to be: What is a poor, schizophrenic guy to do? In one scene, the novelist speculates that without seeing certain images, Gein would have remained an unremarkable local.

A Departure from Precedent

You could argue that a show from this stable – renowned for sleek, exaggerated aesthetics – is the wrong place for profound human insight. But previous works like The People v OJ Simpson offered sharp analysis on media and justice. The Assassination of Gianni Versace delved into fame and culture. The Clinton scandal series examined embedded misogyny. Thus, it is possible, and Murphy has done it.

The Final Verdict

But not here. This installment feels like a commercialization of an underexploited true crime story. It asks for empathy for the man behind the masks without providing understanding into how he became a monster. Aside from the reductive "devout parent" explanation, there is little effort to understand the creation or prevent future cases. This is merely gratuitous spectacle to the lowest curiosities of viewers. The wartime sequences do have lovely lighting, though.