Review: Stanley Kubrick's "THE KILLING" is Still Killer Noir

TRASH IN MY EYE No. 85 (of 2007) by Leroy Douresseaux

The Killing (1956) – B&W

Running time:  85 minutes (1 hour, 25 minutes)

DIRECTOR:  Stanley Kubrick

WRITERS:  Stanley Kubrick with Jim Thompson for additional dialogue (based upon the novel by Lionel White)

PRODUCER:  James B. Harris

CINEMATOGRAPHER:  Lucien Ballard

EDITOR:  Betty Steinberg

COMPOSER:  Gerald Fried

FILM-NOIR/CRIME/DRAMA/THRILLER

Starring:  Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Elisha Cook, Jr., Marie Windsor, Ted DeCorsia, Joe Sawyer, James Edwards, Timothy Carey, Joseph Turkel, Jay Adler, Kola Kwariani, and Art Gilmore (narrator)

The Killing is a 1956 American Film-Noir thriller and crime drama from director Stanley Kubrick.  The film is based upon the 1955 novel, Clean Break, from author Lionel White.  The film follows a veteran criminal who assembles a five-man team to help him pull off a daring racetrack robbery.

Mention Stanley Kubrick’s name and most film fans will immediately think of his films such as Dr. Strangelove, 2001: A Space Odyssey, and A Clockwork Orange, or later Kubrick films like The Shining and Full Metal Jacket.  Not many will remember the film that first earned him the notice of Hollywood heavyweights like Kirk Douglas and Marlon Brando, a terrific little film-noir gem called, The Killing.

After spending five years in Alcatraz, ex-convict Johnny Clay (Sterling Hayden) decides that if he’s going to commit crimes, the reward should be worth the risk, and he’s found one that’s very worth the risk – a million dollar heist of a racetrack.  Clay masterminds a brilliant and complicated scheme to steal $2,000,000, and recruits several conspirators including track employees and a crooked cop.  The only flaw in Johnny’s near-perfect plan is that one of his gang members, George Peatty (Elisha Cook), tells his shrewish wife, Sherry (Marie Windsor), about the planned robbery, and she shares it with her boyfriend.  Add a little dog and things get complicated very quickly.

The Killing is one of the best heist films I’ve ever seen.  A superb cast of character actors, most used to playing tough guys, policeman, and shady types, gives this film a solid Film-Noir atmosphere and creates a edgy, taunt little thriller that you can’t stop watching until its concluded.  Sterling Hayden plays Johnny Clay as a firm, no-nonsense guy that any hood would follow, and in a quiet, subtle fashion, he gives this film added edge.

Stanley Kubrick shaped The Killing using a non-linear structure, in which the narrative moves backwards and forwards in time.  Many viewers will recognize non-linear structure as a Quentin Tarantino signature style in such films as Reservoir Dogs and Pulp Fiction.  In fact, Tarantino credits The Killing with influencing his decision to shape his film narratives in a non-linear structure.

The film has a few problems that keep it from being a truly great film.  Art Gilmore’s narration is poor, delivered in that stereotypical monotone used for crime films.  Some of the dialogue is a bit too stiff, and the film drags much of the first half hour.  However, The Killing pays off the viewers’ patience quite handsomely in the form of an excellent crime film about small time hoods masterminding the perfectly plotted heist.

8 of 10

A

★★★★ out of 4 stars

Original Post:  Sunday, June 03, 2007

EDITED: Wednesday, May 1, 2024

NOTES:

1957 BAFTA Film Award:  1 nomination: “Best Film from any Source” (USA)

The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint or syndication rights and fees.

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Review: Marilyn Monroe and Don Murray Still Heat Up "Bus Stop" (Remembering Marilyn Monroe)

TRASH IN MY EYE No. 12 (of 2004) by Leroy Douresseaux

Bus Stop (1956)
Running time:  96 minutes (1 hour, 36 minutes)
DIRECTOR:  Joshua Logan
WRITER:  George Axelrod (based on the plays of William Inge)
PRODUCER:  Buddy Adler
CINEMATOGRAPHER:  Milton Krasner (D.o.P.)
EDITOR:  William Reynolds
COMPOSERS:  Cyril J. Mockridge and Alfred Newman
Academy Award nominee

ROMANCE/COMEDY/DRAMA

Starring:  Marilyn Monroe, Don Murray, Arthur O’Connell, Betty Field, Eileen Heckart, Robert Bray, and Hope Lange

The subject of this movie review is Bus Stop, a 1956 romantic comedy and drama from director Joshua Logan.  Bus Stop is based on two plays, People in the Wind and Bus Stop (1955), by American novelist, Pulitzer Prize-winning playwright, and Oscar-winning screenwriter, William Inge.  Bus Stop the movie focuses on a naive but stubborn cowboy (he’s a virgin) and a saloon singer whom the cowboy tries to take against her will back to his ranch in Montana.

An innocent (and infantile) rodeo cowboy named Beauregard “Bo” Decker (Don Murray) temporarily leaves his Montana ranch to attend a rodeo in Phoenix, Arizona.  His surrogate father Virgil (Arthur O’Connell), who travels with him, thinks it time for the sexually inexperienced 21-year old to find a wife.  What Virgil didn’t have in mind was for Bo to fall in love with Cherie (Marilyn Monroe), an abused bar singer with a lot of man mileage on her.  Bo, used to having his way and naively regarding women as if they were nothing more than life stock, stalks and kidnaps Cherie in order to bring her back to the ranch.  It’s at the titular bus stop where Bo finally gets him comeuppance, but does love still bloom?

Many people consider Bus Stop, based upon a well-known stage play of the time, to be the film in which Marilyn Monroe showed that she could act and that she wasn’t just a hot, blond tart.  Although her performance is a bit over the top (wildly over the top in some places to the point of giving a performance that verges on hysteria), she seems to really fit this film.  Don Murray, however, steals Bus Stop, in his first movie role after getting recognition for his stage work.  He earned an Oscar® nomination as a supporting actor for Bus Stop, but he is really the lead, as the film and story revolves around Murray’s Bo and Arthur O’Connell’s Virgil.  The thoroughly handsome Murray is a lightning bolt and a ball of boundless energy.  He really does sell the notion that he is a virginal cowboy who knows nothing about women, and he also makes the father-son relationship with O’Connell feel real.

Bus Stop is an odd and quirky film that is equally parts romance and comedy, more of a comic romance than a romance comedy.  Joshua Logan (Picnic, 1955) does a fine job with what could have been a curious film disaster by keeping the pace fast, never letting us focus on the story’s logical missteps.  He makes the audience laugh with the characters, and he turns up the romance just at the proper moments.

8 of 10
A

NOTES:
1957 Academy Awards, USA:  1 nomination: “Best Actor in a Supporting Role” (Don Murray)

1957 BAFTA Awards:  1 nomination: “Most Promising Newcomer to Film” (Don Murray-USA)

1957 Golden Globes, USA:  2 nominations: “Best Motion Picture - Musical/Comedy” and “Best Motion Picture Actress - Comedy/Musical” (Marilyn Monroe)

Updated:  Monday, August 05, 2013

Review: "I Vampiri" is Not Great, But is Unique (Remembering Mario Bava)

TRASH IN MY EYE No. 109 (of 2007) by Leroy Douresseaux

I Vampiri (1956) – B&W
COUNTRY OF ORIGIN: Italy
Running time: 78 minutes (1 hour, 18 minutes)
DIRECTOR: Mario Bava with Riccardo Freda
WRITERS: J.V. Rhemo; from a story by Piero Regnoli and Riccardo Freda
PRODUCERS: Luigi Carpentieri, Ermanno Donati, and Piero Donati
CINEMATOGRAPHER: Mario Bava
EDITOR: Roberto Cinquini
COMPOSERS: Franco Mannino and Roman Vlad

HORROR with elements of drama

Starring: Dario Michaelis, Gianna Maria Canale, Carlo D’Angelo, Wandisa Guida, Angelo Galassi, Renato Tontini, Charles Fawcett, Gisella Mancinotti, Miranda Campa, Antoine Balpêtré, and Paul Muller

The subject of this movie review is I Vampiri (The Vampires), a 1956 Italian horror film. The film is apparently the first sound era Italian horror film, as the genre had been banned in the 1930s and 40s.

Although Riccardo Freda, working under the name “Robert Hampton,” is credited with directing the Italian horror film, I Vampiri, the movie was actually finished by cinematographer Mario Bava after Freda quit the production. I Vampiri has been was first released in the United States as The Devil’s Commandment (1956) and later as Lust of the Vampire (1963).

After a series of young women are found dead with the blood drained from their bodies, the citizens of Paris are calling these the “Vampire Murders.” Inspector Chantal (Carlo D’Angelo) and the French police aren’t the only ones investigating the murders. Pierre Lantin (Dario Michaelis) is a curious journalist determined to solve the murders, but he finds his investigation distracted by the lovely Giselle (Gianna Maria Canale), the niece of Margheita, the Duchess du Grand, who was obsessed with Lantin’s late father.

What Lantin doesn’t know is that back at the Duchess’ castle, mad scientist, Dr. Julien du Grand (Antoine Balpêtré), is draining young women of their blood. When Lorrette Robert (Wandisa Guida), a beautiful student, turns up missing, Lantin follows his suspicions to the Duchess and to the horrifying secret deep in the heart of her castle.

By no means a great film, I Vampiri is a nice introduction to Mario Bava’s ornate style of Gothic horror films. This moody curiosity, which features beautiful dream-like photography and splendid production values, is strangely mesmerizing. Somewhat over the top and yet strangely mannered and staid, I Vampiri is a unique movie treat.

6 of 10
B

Wednesday, July 25, 2007

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Review: "Seven Men from Now" Rises Above B-Movie Pedigree

TRASH IN MY EYE No. 178 (of 2006) by Leroy Douresseaux

Seven Men From Now (1956)
Running time: 78 minutes (1 hour, 18 minutes)
DIRECTOR: Budd Boetticher
WRITER: Burt Kennedy, from a story by Burt Kennedy
PRODUCERS: Andrew V. McLaglen and Robert E. Morrison
CINEMATOGRAPHER: William H. Clothier
EDITOR: Everett Sutherland

WESTERN

Starring: Randolph Scott, Gail Russell, Lee Marvin, Walter Reed, Donald Barry, and John Larch

Sometimes a “B” Western (a Western that wasn’t the main feature when it was released) makes such a lasting impression on some of its audience that they never see it as just another movie, and the film takes on a life of its own and never really dies. As time passes, this kind of movie comes to be seen a classic or, in retrospect, a great film. Director Budd Boetticher and writer Burt Kennedy’s Seven Men from Now is that kind of B-movie Western. The film was produced by John Wayne’s production company (Batjac Productions), and The Duke was one of the movie’s producers, although he did not receive a screen credit as a producer.

Ben Stride (Randolph Scott) was a man of the law when he was sheriff of Silver Springs for 12 years until he lost an election. Now, he’s just a man on a mission of revenge – looking for the seven men who robbed the Silver Springs express office. They stole a Well’s Fargo box holding $20,000 in gold and unknowingly killed Stride’s wife. Along his journey to retribution, he encounters and befriends a young Kansas City couple John and Annie Greer (Walter Reed and Gail Russell) who are also heading to Flora Vista, the place where Stride plans to settle scores. The trio eventually crosses paths with a criminal who has a past with Stride, the scoundrel Bill Masters (Lee Marvin) and his partner, Clete (Donald Barry), both of whom may know something about the men who killed Stride’s wife. Things, however, aren’t quite what they seem, and then, there’s the thing about Stride with his eyes on John Greer’s fetching wife, Annie.

The two things that make Seven Men from Now stand out are Budd Boetticher’s direction and Burt Kennedy’s script – in particular their quirky choices that make their film seem different from the standard Western while still looking like a standard Western. Here, Boetticher would focus on the loser in a gunfight instead of the shooter, which makes a duel sudden and jarring. Instead of only being some epic moment in a film, it heightens the sense of danger and gives the audience the idea that in this movie anything goes, which in turn makes the film’s central plotline (the quest for vengeance) an epic contest. This lets the audience know that these proceedings are serious business, and that Seven Men from Now is not just another by-the-numbers gun-slinging cowboy opera.

Boetticher also makes excellent use of the nicely written characters and vivid inter-character dynamics, motivations, and conflicts that Burt Kennedy wrote. Kenney uses a love triangle (John Greer, Annie Greer, and Ben Stride), an old rivalry (Stride and Bill Masters), and personal failure (Stride believing that his pride directly led to the death of his wife) to give Seven Men from Now a sense of drama and purpose that went beyond mere entertainment and into epic storytelling for what is basically a short, feature-length film. Boetticher was also keen on transforming Kennedy’s well-developed characters into players that made each other strong. A strong woman instead of a shrinking violent (Annie Greer) and a wily, eccentric villain who shows no fear of, but has respect for the hero instead of a standard bad guy (Bill Masters) actually makes Ben Stride appear more daring and gallant.

Boetticher also wrangled excellent performances from his cast. Southern gentleman Randolph Scott brings the stoic Ben Stride to life as the quintessential, more-action-than-talk hero. Gail Russell came back from a career beset by alcoholism to transform Annie Greer into a strong pioneer woman, while Walter Reed makes John Greer a genial determined man who is misunderstood by the kind of men who roamed the western outback. Lee Marvin is puckish as the crafty gunslinger manipulating his way to a super fortune in gold.

In Seven Men from Now, the viewer has the privilege of watching how Budd Boetticher employs his cast and transforms a superbly crafted script into an exceptional Western. Seven Men from Now looks like a Western, but it is also a fine drama cast in the Western mold. Too bad it isn’t a little longer.

8 of 10
A

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