Abstract
In December 1968, in Newcastle-upon-Tyne, 11-year-old Mary Bell was found guilty of manslaughter by reasons of diminished responsibility after having strangled to death two younger boys, Martin Brown (aged four) and Brian Howe (aged three). Unlike other near-contemporary murder cases that had shocked the nation, such as the child-killings dubbed “the Moors Murders” in Manchester three years earlier, Bell’s crimes would not go on to inspire very much fictionalized representation, nor would they provide the fodder for lucrative true crime publications or “biopics.”1 The aberrant fact of a female child having killed other (male) children seems to have silenced the usual cacophony of lurid speculations and adaptations that follow murder cases, as if people simply did not know what to say about a killer who was both so young and, crucially, female. The only prominent books to be published about Mary Bell in the years following her trial would be Gitta Sereny’s two serious and impressive studies of Bell’s childhood and psychology, the latter revealing the physical and sexual abuse she claims to have suffered at the hands of her mother.2 Almost 40 years after the trial, in 2005, Tyneside actor and filmmaker Tony Hickson released a puppet animation short, Where’s Mary?, which is the only extant filmic treatment of the case to date. It tells the story of Bell’s childhood, culminating in two murders.
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Notes
The Moors Murders case, for example, provoked a glut of true-crime and semi-fictionalized books, with Emlyn Williams’s bestseller Beyond Belief: A Chronicle of Murder and its Detection (London: Hamish Hamilton, 1968)—published the year of Bell’s trial—being the most famous and successful. Various made-for-TV films and series about Hindley and Brady have followed, such as the two-part See No Evil (Menaul, 2006) and Longford (Hooper, 2006). Similarly, fact and fiction are blurred in such books as Gordon Burn’s account of the case of the
Yorkshire Ripper, Somebody’s Husband; Somebody’s Son: The Story of Peter Sutcliffe (London: Faber and Faber, 1984) and the film Peter, Portrait of a Serial Killer (Kite, 2011). Gordon Burn also treated in true-crime format the killings committed by the Wests in Happy like Murderers: The Story of Fred and Rosemary West (London: Faber and Faber, 1998) and Julian Jarrold directed the acclaimed TV drama about the Wests, Appropriate Adult in 2011. There is simply no Mary Bell equivalent.
Gitta Sereny, The Case of Mary Bell: A Portrait of a Child Who Murdered, with New Preface and Appendix (London: Pimlico, 1995 [1972]);
Gitta Sereny, Cries Unheard: The Story of Mary Bell (Basingstoke and Oxford: Macmillan, 1998).
Lisa Downing, The Subject of Murder: Gender, Exceptionality, and the Modern Killer (Chicago and London: University of Chicago Press, 2013).
See Philippe Ariès, Centuries of Childhood, trans. Robert Baldick (New York: Vintage, 1990);
Chris Jenks, Childhood (London: Sage, 1996);
Gill Valentine, “Angels and Devils: Moral Landscapes of Childhood,” Society and Space 14:5 (1996), 581–599.
Barbara Creed, The Monstrous Feminine: Film, Feminism, Psychoanalysis (Abingdon and New York: Routledge, 1993), p. 31.
Alison Young, Imagining Crime (London: Sage, 1996), p. 142.
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© 2016 Fiona Handyside and Kate Taylor-Jones
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Downing, L. (2016). Where’s Girlhood? The Female Child Killer in Where’s Mary? (Tony Hickson, 2005). In: Handyside, F., Taylor-Jones, K. (eds) International Cinema and the Girl. Global Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137388926_12
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