Year: 1994
Director: Jane Gillooly
Cinematographer: Charles Jeremovic, Andrew Neumann
Cast: Leona Gordon, Geraldine ‘Gerri’ Santoro
Running Time: 57 min.
In 1973, shortly after the famous Roe v. Wade decision, Ms. magazine published a photograph of an anonymous, blood-spattered woman crouched naked on the floor of a hotel room, dead from a botched abortion attempt. The powerful photo became an iconic symbol of the Pro-Choice movement. Jane Gillooly’s film, Leona’s Sister Gerri, uncovers the identity of this woman, Geraldine “Gerriâ€? Twerdy Santoro, and tells her story. Although she may stand for thousands of women who have died as a result of illegal abortions, Gerri’s story is unique, personal, and very moving. Gerri’s sister, Leona Twerdy Gordon, recalls recognizing that the woman in the photo was her sister, even though her identity was not revealed in print. Through interviews with Leona, her brother John Twerdy, Gerri’s best friend Joyce Carboni, and her now grown daughters Joanna Griffin and Judy Blare, we learn Gerri’s story.
Born into a large Connecticut farming family, Gerri impulsively married Sam Santoro, a man she had just met. Over the years, Sam physically abused her and their two daughters. While separated from her husband, Gerri was seduced by the smooth-talking Clyde Dixon. Gerri became pregnant as a result and then feared for her life if Sam were to find out. On the evening of June 8 1964, Dixon attempted to perform the illegal abortion in a hotel room and then fled when it became evident that it had gone horribly wrong, leaving Gerri to die alone at the age of 28.
Thirty years later, Gerri’s sister and daughters have differing views of whether the photo should have been used, differing views on abortion, and differing ways of coming to terms with Gerri’s death.
Though only 57 minutes long, this film packs a powerful punch in a short time. Gillooly’s focus on details, such as Leona going through the contents of her sister’s purse, or zooming in on a photo of a hopeful teenage Gerri sitting on the hood of a 1949 Dodge, allow us to understand the life of the woman who is more than a symbol.
