Film Review: The Sniper (1952)

Release Date: May 9th, 1952 (New York City premiere)
Directed by: Edward Dmytryk
Written by: Harry Brown, Edna Anhalt, Edward Anhalt
Music by: George Antheil
Cast: Adolphe Menjou, Arthur Franz, Gerald Mohr, Marie Windsor, Richard Kiley, Ralph Peters (uncredited), Karen Sharpe (uncredited)

Stanley Kramer Productions, Columbia Pictures, 88 Minutes

Review:

“You know how much coffee I’ve had today? 17 cups. The Brazilians ought to give me a medal.” – ER Doctor

Up until this was featured on Noir Alley, I had never heard of The Sniper. But man, this film was pretty damn remarkable. It will also have to go on my eventually updated list Top 100 Classic Film-Noir Pictures of All-Time. This is a film that will be pretty high up on that list.

For a movie released in 1952, this was pretty darn realistic and had a serious grit to it that put it at a different level than most film-noirs, which typically have a hefty amount of grit already. The subject matter was pretty heavy, even by today’s standards and I was surprised by what they were able to get away with in this.

Additionally, the film is scary, as it deals with a mentally deranged man that hates women to the point that he shoots and kills them from rooftops throughout the city. But this doesn’t feel like exploitation, it is well made, well crafted and spends enough time dealing with the mental state of the character that it has some real depth and meaning.

There are a lot of narrative paths this film can take you down. People today might see it as toxic masculinity run rampant, some may see it as a critique on a justice system that is broken, others may see this as an exploration of mental health and mania and some might even see this just as simple exploitation.

Regardless of how one views The Sniper, it asks a lot of questions and explores a lot of this territory pretty bluntly. But this is why it sticks out among the run of the mill film-noirs of the classic era.

The level of violence was pretty high but even though you see heinous acts committed on celluloid, it’s similar to Texas Chain Saw Massacre in that a lot of the violence happens in your mind, as it fills in the blanks. An example of this is when our killer shoots a woman and she smashes into glass, headfirst. There’s no gunshot wound or blood but your mind interprets it as more shocking than it actually was within the shot.

Edward Dmytryk did a damn fine job directing this motion picture. He had noir experience with Crossfire and Murder, My Sweet but this eclipses those films, in my opinion. And frankly, those films were damn good too.

The Sniper is highly unsettling but it has aged tremendously, as it is still unsettling and it’s narrative still works in 2018, two-thirds of a century later.

Rating: 9.25/10
Pairs well with: Other film-noir pictures directed by Edward Dmytryk: Crossfire and Murder, My Sweet, as well as other noirs like Murder by ContractHe Walked by Night and Gun Crazy.

Film Review: The Narrow Margin (1952)

Also known as: The Target (working title)
Release Date: April 25th, 1952 (Cincinnati premiere)
Directed by: Richard Fleischer
Written by: Earl Felton, Martin Goldsmith, Jack Leonard
Music by: uncredited stock music
Cast: Charles McGraw, Marie Windsor, Jacqueline White

RKO Radio Pictures, 71 Minutes

Review:

“[opening her compartment door in the morning and seeing Brown strap on his gun] What’re you gonna do, go out and shoot us some breakfast?” – Mrs. Neall

When talking about film-noir with others, The Narrow Margin has always been highly recommended as something worth watching. I finally got around to checking it out and it exceeded any expectations I had for it.

To start, it’s a short movie at just 71 minutes but that’s fairly common with classic noirs of the ’40s and ’50s. Also, it mostly all takes place in a confined space: the interior of a train.

The plot is about a cop that has to transport the wife of a mob boss on a train to the where she is going in an effort to testify against her vile husband. The cop must protect her from the possibility of mob hitmen who could be gunning for her. Well, they are gunning for her and they also try to bribe him into stepping out of their way.

This film is a real nail biter and incredibly suspenseful. It does a lot for its scant running time and it makes great use of its environment.

Frankly, this may be one of, if not the best, suspenseful train movie ever made. Everything feels cramped and the film even goes as far as including a fat character to make its point. The fat guy isn’t used in a disrespectful way but just to show that there isn’t a lot of room for moving around. Since this picture moves around in the confines of the train a lot, there had to be some natural roadblocks.

This is well shot, well directed, well executed and features maybe the best performance that Charles McGraw ever gave. He was stellar in this, as the cop trying his damnedest to protect himself and the woman he’s guarding while doing things by the book and not succumbing to the lucrative offers made by the mob.

I loved this movie and it is definitely something I’ll revisit again.

Rating: 8.25/10
Pairs well with: Other film-noir pictures like On Dangerous GroundCrossfireThe Set-Up and Angel Face.

Film Review: The Killing (1956)

Also known as: Bed of Fear, Clean Break, Day of Violence (working titles)
Release Date: May 19th, 1956 (New York City premiere)
Directed by: Stanley Kubrick
Written by: Stanley Kubrick, Jim Thompson
Based on: Clean Break by Lionel White
Music by: Gerald Fried
Cast: Sterling Hayden, Coleen Gray, Vince Edwards, Elisha Cook Jr., Marie Windsor, Joe Turkel

Harris-Kubrick Pictures Corporation, United Artists, 85 Minutes

Review:

“You like money. You’ve got a great big dollar sign there where most women have a heart.” – Johnny Clay

The Killing is one of the really early films in auteur director Stanley Kubrick’s long and storied oeuvre. It came out less than a year after his previous film and first attempt at film-noir, Killer’s Kiss. With similar titles and coming out around the same time, the two films may confuse people looking back into Kubrick’s filmography. Also, Killer’s Kiss and The Killing are both noir pictures and presented in silvery black and white.

The Killing is the superior of the two pictures, however, and Killer’s Kiss feels like more of a practice run leading up to this damn fine motion picture, which boasts the star power of well known noir actors Sterling Hayden, Coleen Gray and Elisha Cook Jr. Plus, Marie Windsor is perfection in her role.

The plot of this film is about a high stakes heist at a horse track. A team is assembled, a greedy femme fatale enters the mix and we get scheming, violence and chaos. And it is all capped off by the immense talent of Kubrick behind the camera and a stellar and more than capable cast in front of the camera.

The truth is, The Killing, as great as it is, has always been overshadowed by Kubrick’s more famous pictures: 2001: A Space OdysseyThe ShiningA Clockwork OrangeDr. StrangeloveLolitaFull Metal Jacket, etc. The Killing is a top notch crime thriller and true to the film-noir style, even coming out late in the style’s classic run through the 1940s and 1950s. It is one of the best heist pictures ever made and like John Huston’s The Asphalt Jungle, it helped create a lot of tropes used in heist pictures since its time.

Being a fan of Elisha Cook Jr. for years, I especially love this film because he gets a really meaty and pivotal role. He is one of the top character actors of his day, was in more noir pictures than I can count and even went on to some well-known westerns and popped up in a few Vincent Price horror movies. He really gets to display his acting chops in this and it is nice to see the guy’s range, as he was a more capable actor than one being relegated to playing background characters and bit players.

The Killing was an incredibly important film in the career of Stanley Kubrick, as it lead to bigger things. He would go on to do Paths of Glory and Spartacus and eventually start making more artistic films that changed the filmmaking landscape forever. The Killing was a big part of Kubrick’s evolution and thus, the evolution of motion pictures in general.