Ethical Questions on Hollywood’s Portrayal of Crime in “Cherry”

The 2021 film *Cherry*, based on Nico Walker's semi-autobiographical novel, tells the story of a war veteran turned bank robber. While the narrative focuses on the protagonist’s struggles with PTSD and addiction, it has drawn criticism for sidelining the real victims of Walker’s crimes, including Rosa Foster, a bank teller who was pregnant when Walker robbed her in 2011.

The film and book have been praised as powerful explorations of trauma and redemption. However, critics highlight how Walker’s story, now a commercial success, erases the experiences of those affected by his crimes. Foster, who was never contacted by Walker, his publishers, or the filmmakers, expressed shock and frustration upon learning about the novel and film. "It was a horrible day," she said, underscoring the lingering effects of the robbery on her life.

The story raises ethical questions about profiting from criminal acts. According to Eric Rosen, a white-collar crime expert, while victims like Foster undoubtedly suffered, the lack of physical harm in this case limits their legal recourse under "Son of Sam" laws, which prevent criminals from profiting off their crimes. This legal gap has allowed publishers, producers, and even Walker to benefit financially, while victims remain overlooked.

Walker’s narrative fits into a broader cultural fascination with antiheroes and the romanticizing of certain crimes, particularly when perpetrators are white. Critics argue that the focus on Walker’s redemption perpetuates inequities in storytelling, where victims are often reduced to props in tales centered on perpetrators.

While *Cherry* has sparked important discussions about war, addiction, and justice, it also exemplifies the tension between storytelling and accountability. For Rosa Foster, and others like her, the trauma remains, raising the question: who truly owns the story of a crime?