Also known as: Kiss Me, Kill Me (working title)
Release Date: September 21st, 1955 (New York City premiere)
Directed by: Stanley Kubrick
Written by: Howard Sackler, Stanley Kubrick
Music by: Gerald Fried
Cast: Frank Silvera, Jamie Smith, Irene Kane, Ruth Sobotka
Minotaur Productions, United Artists, 67 Minutes
“It’s crazy how you can get yourself in a mess sometimes and not even be able to think about it with any sense-and yet not be able to think about anything else. You get so you’re no good for anything or anybody. Maybe it begins by taking life too serious. Anyway, I think that’s the way it began for me. Just before my fight with Rodriguez three days ago…” – Davy Gordon
I consider myself to be a massive Stanley Kubrick fan. However, I’ve yet to see this film, which came very, very early in his career. Like his other early film The Killing, this one is a classic film-noir, shot in black and white but with an extra level of grittiness that can only be described as Kubrickian.
Now this came out a year before The Killing and in a lot of ways, it feels like a rough draft or a practice run before he made that other, superior noir picture.
That’s not to say that this is weak or unworthy of admiration. The Killing was absolutely superb but I don’t think that Kubrick could’ve made it as good as it was without having done Killer’s Kiss first.
This film shows that even if Kubrick hadn’t quite reached greatness, at this point, he was always a visual storyteller. While employing several atmospheric tropes of the classic film-noir style, this movie also uses a lot of interesting angles and it showcases New York City in a way that even in its cold bleakness, it feels alive and becomes a character within the picture.
The story is about an aging boxer, at the end of his career. He falls for a taxi dancer across the courtyard from his apartment but he gets pulled into her seedy world and draws the ire of her villainous employer. One thing leads to another and their world is turned upside down. Luckily, this one surprisingly has a happy ending and the two lead characters are at least good people just trying to escape the hell that has become their lives.
Nothing all that remarkable happens in the movie. The plot is straightforward with a few noir-esque swerves but it’s very, very short and even if the plot has a lot of stages to it, it’s still pretty simplistic.
The film’s greatest quality is its look and its style. Experimenting with the noir genre here, allowed Kubrick’s The Killing to be a much better movie than just its script. But this certainly isn’t a waste of anyone’s time. This is pretty solid and engaging with characters that you care about.
In the end, this isn’t a bad outing from Stanley Kubrick and it helped lay the foundation for one of the greatest careers in film history.
Pairs well with: Kubrick’s other noir picture: The Killing.