Skip to main content

A Killer Uncaged review – life after death row

Can a person ever truly change? This three-part series follows a Texan prisoner who had his death sentence quashed – and his victim’s family, who believe he will kill again

Don’t let the title of A Killer Uncaged (Sky Crime) put you off. While it sounds like your average inflammatory, exploitative true-crime documentary, this three-part series is actually a balanced and nuanced look at capital punishment and the moral complexities of justice in the US, and Texas in particular.

“Thirty years ago, I killed a man,” says Dale Wayne Sigler, in an interview given when he was still behind bars. Softly spoken and emotional, he gives a crisp, but devastating account of his early life. He says his mother was “a child having children”; his father was violent and abusive. Sigler was molested when he was 10. His early adult life was a mess of drugs and petty crime. He lived on the streets. In 1990, he robbed a Subway sandwich shop at gunpoint. When the shop assistant, John William Zeltner Jr, fled to the back room in fear, Sigler shot him six times, killing him. Then he took $400 from the till.

After a tipoff to the police, Sigler confessed to the crime. In 1991, he was sentenced to death. Itamar Klasmer, the series’ director, is careful at all points to ensure that, while this is Sigler’s story, it also leaves room for Zeltner, his victim. Tommy Lenoir, one of the homicide detectives assigned to the case, explains why it was considered to be more serious than a robbery gone wrong. He calls the shooting “execution style” because Sigler shot Zeltner so many times. Greg Miller, from the prosecution team, described it as “particularly heinous” and “pretty cold-hearted”.

Continue reading...

from Culture | The Guardian https://ift.tt/3i8cnHv

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...