In the black-and-white photograph of Georgann Hawkins, she beams at the camera, a big, posed smile, and a flower tucked into her long hair. Her puffed floral sleeves barely fit into the photograph’s cropped frame. She is young and looks happy. The photograph of Hawkins should be unremarkable, the kind of photograph that’s tucked away in nearly every photo album in the country. The kind of photograph that’s kept to remember a moment or a look. But this photograph of Hawkins isn’t a personal keepsake; instead, it was unwillingly transformed, made part of an aging and grim archive of smiling girls and women who were murdered by Ted Bundy.
“This story has been told many times by men, now is the time to talk about our own story [...],” Elizabeth Kendall says to the camera. It’s almost ironic then thatcame about because of men telling Kendall’s story. According to the reissue of Kendall’s 1981 memoir, with a new introduction by both Elizabeth and daughter Molly, she was “stunned” to find out that director Joe Berlinger wasabout Kendall and Bundy’s six-year relationship.
But the experience made both Elizabeth and Molly realize that their silence was only serving the Bundy mythos.is, in some ways, Molly and Elizabeth reclaiming their story. What becomes clear throughout is that Elizabeth and Molly are Bundy’s victims too; their story is a salient reminder that the story doesn’t begin with Bundy’s first murder and end with his execution in 1989. It’s still happening, and it’s happening to real women, not simply black-and-white photographs.
Perhaps that’s why Karen Sparks Epley, Bundy’s first confirmed victim who survived a brutal attack that left her with permanent brain damage, never spoke publicly before. “Women who are survivors keep their secrets to themselves,” Sparks Epley says. “We’re taught to just get on with it.” This kind of silent resilence runs throughout the documentary. It strikes an extremely different tone than previous Bundy docs which often drip with the self-congratulations of men and insist on Bundy’s glamour.
At times, Wood’s examination of how exactly misogyny worked to protect Bundy can feel a bit stretched. She suggests that Bundy was angrily reacting to the women’s liberation movement and weaves in interviews with second-generation activists, including a women’s self-defense teacher.
still remains a necessary intervention, charting how to tell a victim-centered story and resist the myths that surround the popular notion of the “serial killer,” myths that have been repeated so often that they become powerful and seem true, particularly in the case of Bundy. Many of those myths are deconstructed here as Wood interrogates their origin in the media and even in the justice system.
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