I’m just an old man, and I smell bad, remember? – Killer’s Kiss (1955)
Killer’s Kiss (1955)
The second full-length film of a future legendary director, where he reveals techniques that he will reuse in the other eleven renowned films he directed. This film was not the director’s only foray into Film Noir, going to next make one of the top Film Noirs of all time.
The amazing director used his passion for photography to make this film visually striking and tense. The director wrote, produced, edited, served as the cinematographer, and directed this film. It was shot commando style on the streets of New York City without permits or authorization.
Hello to all of the classic people that are returning. I am glad you are back. I want to welcome any new visitors. Today on Classic Movie Review, we are taking on Film Noir Killer’s Kiss (1955). This film was created by renowned Stanley Kubrick before he went on to direct Film Noir The Killing (1956), the anti-war film Paths of Glory (1957) with the great Kirk Douglas, the epic Spartacus (1960) again with Douglas, Lolita (1962), Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb (1964), one of the best spoof ever, 2001: A Space Odyssey (1968), A Clockwork Orange (1971) although I am not a great fan of either, Steven King’s The Shining (1980), and Full Metal Jacket (1987) to name a few films. Amazing.
This film has a rather low 6.6 rating on iMDB.com[1]. On Rottentomatoes.com, the film has a mixed rating of 83 percent on the Tomatometer and only 58 percent audience approval[2]. I like it, and it’s a good way to spend an hour or so.
When the film was originally released, it was met with tepid reviews. However, when reexamined with Kubrick’s catalog of films in the rearview mirror, the film is more favorably treated, such as in the 2003 review written by New York Times film critic Janet Maslin[3].
Maslin wrote:
“Killer’s Kiss brought the director onto more conventional territory, with a film noir plot about a boxer, a gangster and a dance hall girl. Using Times Square and even the subway as his backdrop, Mr. Kubrick worked in an uncharacteristically naturalistic style despite the genre material, with mixed but still fascinating results. The actress playing the dance hall girl, billed as Irene Kane, is the writer Chris Chase, whose work has frequently appeared in The New York Times. Jamie Smith plays the boxer, whose career is described as ‘one long promise without fulfillment.’ In the case of Mr. Kubrick’s own career, the fulfillment came later. But here is the promise.”
Actors – Killer’s Kiss (1955)
Frank Silvera played criminal and all-around bad guy Vinnie Rapallo. Silvera was born in what is now Jamaica in 1914. Silvera was one of those actors who, as a light-skinned African-American, was able to be cast as black, Latino, generic natives, and white. While generally not acceptable now, this practice has kept many actors, such as Michael Mark, J. Carrol Naish, and Anthony Quinn, working in Hollywood.
Silvera was raised in Boston and studied at Northwestern University. He began acting on stage with the Harlem’s American Negro Theatre. He also worked with the Actor’s Studio. Silvera’s films include Stanley Kubrick’s first full-length film, Fear and Desire (1952), Viva Zapata! (1952), he joined Kubrick for today’s film, Killer’s Kiss (1955), Hombre (1967) with Paul Newman, and the good gangster film The St. Valentine’s Day Massacre (1967).
Silvera was active in Civil Rights and formed “The Theatre of Being” to help black actors break into show business. In a senseless accident, Silvera died of a heart attack after being electrocuted trying to repair a garbage disposal in 1970.
In 1973, Morgan Freeman and others founded “The Frank Silvera Writers’ Workshop Foundation, Inc.” in his honor.
Irene Kane played taxi dancer Gloria Price. Kane was born in New York City in 1924. At the time of her first film, she was a model. Later, she became a writer and television journalist, using the name Chris Chase.
She is known for two widely separated films, Killer’s Kiss (1955) and All That Jazz (1979). Kane also worked in episodic television, such as “Love of Life” 1962-1965, but iMDB.com does not list the number of episodes, “The Naked City” 1958-1963 for two episodes, and “The Doctors” 1964 for five episodes.
Kane co-authored the autobiographies of Alan King, Josephine Baker, Rosalind Russell, and First Lady Betty Ford. She died in 2013. Kane may be familiar to you if you have ever watched TCM’s “Open All Night.” Her role in today’s film is shown in montage.
Jamie Smith was cast in the role of middleweight boxer Davey Gordon. There is very little information available concerning Smith. He studied drama while attending Carnegie Tech. After graduation, he served in the Office of Strategic Services during World War II.
From 1947-1948, Smith was a member of José Ferrer’s theatrical company. He then left to study at the Sorbonne in Paris. In Paris, Smith performed as an assistant director and narrator for a few documentary films. He later joined Orson Welles’ acting company.
Smith’s few film roles include The Faithful City (1952) and today’s film Killer’s Kiss (1955). After Killer’s Kiss (1955), Smith only worked on episodic television such as “True Story” 1957-1958, “The Naked City” 1961, and “Route 66” 1963.
Kubrick’s wife, Ballerina Ruth Sobotka, served as the art director for the film and performed the dance sequence as Iris. She was also the art director for Kubrick’s next film, the great Film Noir The Killing (1956).
Story – Killer’s Kiss (1955)
This movie, like all great Film Noirs, begins in the present and tells the story in flashback. Davey Gordon (Jamie Smith) stands in the beautifully lit New York Penn Station. Davey impatiently waits as the sound of trains coming and going is heard. As he paces and smokes, he begins to think about the mess he has gotten himself into.
He flashes back to three days prior, very Biblical, prior to his boxing match with a fighter named Kid Rodriguez. It is October 25th, and the fight will be held in the City Arena. Davey spends time looking in the mirror at the scarring from fight cuts. Pictures of an isolated farm line the outside of the mirror. He paces and fidgets in his apartment until a young woman, Gloria Price (Irene Kane), can be seen in the other tower of the building.
This building, constructed in 1925, was still standing in 2021 at the corner of Perry Avenue and East 205th Street in the Bronx. However, I could not determine if it was still standing using Google.
Davey is filmed through the fishbowl as he watches his goldfish eat. First, is this a metaphor for him and Gloria being trapped in their life roles? Second, does Rocky (1976) steal this bit for his turtles?
Davey gets a call from his manager, Albert (Jerry Jarrett), saying he has car trouble and that Davey should take a cab to his boxing match.
It then switches to Gloria in her scantly furnished and bleak apartment. It is a match to Davey’s apartment, with hotplates instead of ovens and clothes hanging haphazardly. Gloria is very pretty as she dresses for work as a taxi dancer. They are both clearly living their small existence in a tiny bubble. She looks out her window and watches Davey prepare to leave as she finishes her coffee.
Davey has a machete on his wall, while Gloria has a bra on hers, reflecting the roles the two lonely people are locked into. Davey heads down the stairs of his tower, and at the same time, Gloria leaves through her tower. Davey removes a letter from his mailbox. Both stairways arrive at the exit of the building. They exit the building at the same time. Davey takes the subway to save the cab fair, and Gloria is picked up by her boss, Rapallo (Frank Silvera).
Rapallo starts questioning Gloria about seeing Davey. She says she doesn’t know him. Rapallo says Davey used to be a good fighter and, in fact, is fighting that night. Rapallo says he and Gloria can watch it on television.
Davey reads the letter on the subway. It is from his uncle, who lives on a farm in the northwest. It transitions from the peaceful letter to the sound of boxing and the arena crowd. Davey gets taped in the dressing room.
Director Kubrick shows wholesome storefronts before switching to the posters for dancing partners and the sleazy place where Gloria works. A booth sells tickets for a dollar each, so this is clearly up from the dime-a-dance in other movies such as Lured (1947) and Dance Hall Racket (1953). The women try to look interested as they dance with strange men. Menacing bouncers watch for anyone getting out of line.
Gloria undresses as she prepares for her work, and Davey is shown only in his boxing trunks getting ready for his work. Davey is announced on television as having a record of 88 victories, 9 losses, and 2 draws, making this his 100th fight. Davey, the announcer, is also known to fold during important bouts.
Rapallo pulls Gloria from a dance with a GI. When the soldier objects, Rapallo goons step in. Gloria and Rapallo go into the office to watch the fight. To sum up the fight, Davey takes a beating from the younger fighter. Rapallo is excited by the violence. The bout is well filmed, and the views shift as Davey begins losing.
Rapallo puts the moves on Gloria, but she is sidetracked by the television. It cuts away, but Gloria is shown walking home alone. Davey sits in his dark apartment, thinking about being knocked out and his future. The light comes on in Gloria’s apartment as she returns alone. She is shaken by the night’s events.
Davey gets a call from his uncle. He invites Davey to come visit the farm. In a mirror reflection, Gloria undresses in the background while Davey is on the call. Davey goes to sleep and dreams of the city as he hears angry comments from the fight fans. Director Kubrick used the negative image rather than the developed footage to make the scene seem unreal.
Davey is awakened by a woman screaming. Through the window, he sees Rapallo assaulting Gloria. Rapallo closes the blinds and escapes into the stairwell as Davey comes over the roof to save Gloria. With Rapallo gone, Davey helps Gloria into bed.
She flashes back to an hour before. Rapallo knocks at her door and basically pushes his way inside. Latin tempo music loudly plays. Rapallo apologizes for earlier. She is not interested and orders him out. He continues to press, but she won’t have anything to do with him. She tells him he is an old man that smells bad. When he won’t leave, she screams.
Gloria falls asleep while Davey watches over her. Davey examines everything in Gloria’s apartment while she sleeps, including touching her hanging stockings. There is a picture of Iris (Ruth Sobotka) on the dresser.
Davey leaves but returns for breakfast the next morning. Davey gives his life story and his plans to move to Seattle and his uncle’s horse ranch. Eventually, Davey asks for Iris’ story about the pictures and her work at the dance hall. The pictures are of her father and her sister, Iris. As Gloria talks, Iris is shown doing a beautiful ballet dance.
The story is that Iris was a very talented dancer and her father’s favorite. Gloria tells that Iris was eight years old when she was born, and their mother died that same day. Iris looked like her mother, and Gloria was ignored. At twenty, Iris was dancing for the Ballets Russes. On Gloria’s thirteenth birthday, Iris announced that she received a proposal from a wealthy older man. However, she refused because the man wanted her to stop dancing. Their father laughed.
A few months later, their father became terminally ill. When all of the money was gone, Iris married the rich older man. The entire family moved to his Long Island estate and lived lavishly. Iris stopped dancing and mainly stayed with her sick father. After a year, the father died. Iris went to her room and committed suicide. Her note to Gloria said she loved her and was sorry for the mess. A few days later, Gloria went to the city and saw the sign for the dance parlor. She took a job on the spot. She said it was a depraved human zoo.
Gloria and Davey went for a long walk. Gloria became happy during their walk. But when Davey said he was leaving for Seattle, her sad mood returned. They returned to Gloria’s apartment and got busy with the kissy-facing. Davey pronounces his love after a few kisses. Fade to black and sunrise.
Gloria says she will go to Seattle Davey. They make train reservations and start trying to collect their paychecks. Gloria sends a message to Rapallo that she is coming in to pick up her salary. Rapallo is drinking and already in a rage.
Davey calls his manager, Albert, and asks for cash instead of a check for his last fight. Davey wants to meet in front of the dance hall. Albert agrees to 8:15 but says he will be in a rush.
That night, Davey and Gloria arrive outside the dance hall. Drunken Shriners are acting a fool. Gloria goes inside alone. Davey waits on the street as the Shriners dance around. Gloria meets with Rapallo in his office. Gloria is very clear that she is leaving. Rapallo threatens to kill her as he is not taking her leaving very well. When Rapallo discovers that she is leaving with Davey, who he considers a bum, he becomes more aggressive. He throws her out without her money.
Outfront, the Shriners take Davey’s scarf and start playing keep away. Davey chases the Shriners down the block as Albert arrives in a taxi. Rapallo sends his goons to attack Davey. Gloria waits near Albert without knowing who the man is. Davey is nowhere in sight.
One goon says if Gloria goes upstairs, Rapallo will pay her the money she is owed. She goes up, leaving Albert alone outside. Davey arrives back at the dance hall with his scarf. The goons have already taken Albert into the alley, thinking he is Davey. Albert tries desperately to escape, but the goons murder him. Gloria comes down with her money, and Davey thinks Albert ran out of time and has left.
Eventually, Davey and Gloria return to their apartments to pack for the trip. Davey leaves a note asking that his fish be fed each day. Davey crosses the roof over to Gloria’s tower. When he enters Gloria’s apartment, he finds that it is empty, and all of her belongings are gone. Davey hears banging from his apartment. He looks across to his apartment and sees the police enter his room with the landlord. Davey is suspected of killing Albert. Davey has no idea why Gloria is missing and does not know why the police are looking for him. Davey pulls a Lugar pistol from his suitcase. Lugars are usually a sign that you are a bad guy, but not in this case.
Rapallo leaves the dance hall and heads to the Lower East Side dock area. He does not know that Davey is following him in a taxi. When Rapallo stops at a light in a deserted area, Davey jumps from the taxi and gets in Rapallo’s car. Davey holds the gun on Rapallo and has figured out that he is the man behind the killing of Albert.
With the gun to Rapallo’s neck, the heel says that his goons kidnapped Gloria, and she is in a loft on 24th Street. Rapallo said he did it because she saw the guys that murdered Albert. Davey has Rapallo drive to the location. They ride the freight elevator to where Gloria is being held by two goons.
Davey lines the three bad guys against the wall and disarms them. Because he is holding the gun in one hand, Davey has to call one of the goons to untie Gloria. The two goons exchange a quick signal. Goon One, who is untying Gloria, pulls her hair and bites her neck. At the same time, the Goon Two, who is on the wall, throws a deck of cards at Davey’s face. Both goons jump on Davey. They beat Davey to the floor and take his gun. Gloria makes a play with Rapallo to save her own life. Rapallo seems to fall for the kisses, but he is only pretending.
Davey wakes on the ground and kicks the chair from under Goon One, who is guarding him. Davey leaps through the window like The Werewolf of London (1935), landing on the street. Goon One is left behind to guard Gloria while Rapallo and Goon Two chase Davey.
Davey runs into a dead-end alley. The vistas and framing are amazing as he flees. Davey climbs a fire escape to reach the building roof. The fog-shrouded bridge is seen in the background as he crosses massive warehouse roofs. Goon Two twists his ankle and falls out of the chase.
Davey enters a window and finds himself in a room full of mannequins. Rapallo comes in right behind him and loses his gun in a struggle with an employee. The now unarmed Rapallo searches through the plastic body parts for Davey. Rapallo throws a torso at Davey before pulling a fire ax off the wall. Davey throws mannequin parts at Rapallo as a cop car arrives below.
Rapallo tries to escape as Davey grabs a firefighting pole. Dozens of mannequins are destroyed as the offensive/defensive fight continues. At last, Davey stabs Rapallo. Rapallo’s scream turns into the whistle of a train as Davey is shown back in current time.
He tells that the police helped free Gloria and that the two hoods were arrested. He wonders if Gloria thought bad of him for leaving her behind. He wonders if she considered how her begging to Rapallo affected Davey. Davey continues that later, the cops said the killing of Rapallo was self-defense, and the two goons confessed to Albert’s murder. Davey left the police station an hour after Gloria, but he had not heard from her since.
Just before the train leaves, Gloria arrives in a taxi and runs down the steps to Penn Station. These are the same steps that had the baby carriage gunfight in The Untouchables (1987), which was basically pinched from Battleship Potemkin (1925).
She runs to Davey, and they kiss.
They live happily ever after. At least until they have known each other for three days.
Conclusion – Killer’s Kiss (1955)
This is a beautiful film. The way light was used to create half-shadows is a masterclass in photographic technique. This movie should be watched for the light and shadow as much as for the story.
Director Kubrick was working with only the money he could borrow from friends and family. Most of the filming took place with the required permits. Kubrick worked to hide the cameras while shooting. Sometimes, they would film from inside a parked car. They also used a pickup truck in place of a dolly system. Part of the film was shot with a handheld Eyemo camera that the director borrowed. It was stolen from his car during the film. That must have been a hard conversation to have.
Since the film was shot on the street, much of the dialogue was lost and had to be re-voiced in the studio. Also, the folley work had to be redone.
Director Kubrick used some techniques that he used in later big-budget films. The negative image dream sequence is very similar to the space corridor in 2001: A Space Odyssey (1968). Also, the fight with nude mannequin body parts was strangely revisited in A Clockwork Orange (1971).
The mannequin fight cost $15,000 for destroyed figures. That would be around $150,000 now. Oddly, United Artists and the censors were concerned about the mannequins being naked.
United Artists paid Kubrick $100,000 to distribute Killer’s Kiss (1955). They agreed to give him another $100,000 towards the production of what would turn out to be a great Film Noir, The Killing (1956). However, United Artists insisted that Killer’s Kiss (1955) have a happy ending. This was clearly not the case for The Killing (1956), as the ending turned out very bad for most of the characters.
There is a film, Strangers Kiss (1983), that is based on the making of this film. So, I will add that to my watchlist.
World-Famous Short Summary – Mannequins are creepy as hell
As a technical note, references and citations are listed for each show on the site at classicmovierev.com.
Beware the moors.
[1] https://www.imdb.com/title/tt0048254/
[2] Killer’s Kiss | Rotten Tomatoes
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