
The Brides in the Bath
2003

2002
Director
Harry Bradbeer
Runtime
99 minutes
Average Rating
No ratings yetSynopsis
Dramatisation of the true story of the notorious 'acid bath murderer' John Haigh, who murdered women and disposed of their bodies in vats of acid in the 1940s. He was only caught when the gallstones of one of his victims failed to dissolve in the acid and were detected by the pathologist who examined the residue from the acid bath.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film follows a heteronormative criminal framework centered on the targeting of female victims. There is no evidence of non-cisnormative identities or narratives that critique the social structures of the 1940s.
Gender Representation
The narrative centers on a male perpetrator and his female victims. While it highlights female vulnerability, it does not demonstrate the empowerment of women or subvert existing gender hierarchies.
Racial & Ethnic Diversity
The production likely reflects the homogeneous demographic norms of 1940s UK. Without specific details suggesting intentional diversity, the film appears to follow standard period-accurate depictions.
Religious & Cultural Diversity
The story operates within traditional Western legal and forensic institutions. It focuses on the triumph of scientific pathology and the rule of law rather than anti-institutional themes.
Disability Representation
There is no information regarding the portrayal of neurodivergence, physical disabilities, or mental health conditions within the characters or the investigation.
Strengths
Areas for Improvement
AI Analysis
A Is for Acid is a historical crime reconstruction that prioritizes forensic proceduralism over social exploration. The narrative focuses on the specific case of John Haigh and the scientific breakthrough involving undissolved gallstones. Because the film is a period piece set in the 1940s, it adheres to the rigid social and demographic homogeneity of that era. The storytelling follows traditional crime drama tropes rather than deconstructing intersectional identities. Ultimately, the film serves as a dramatization of a true crime event, emphasizing institutional efficacy and the mechanics of a criminal investigation rather than diverse representation.

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