Click on the headline to link to a Wikipedia entry for the early Stanley Kubrick crime noir, Killer’s Kiss.
DVD Review
Killer’s Kiss, directed by (and just about everything else except maybe janitor) Stanley Kubrick, United Artists, 1955
I have at this point run through many crime noir films, some good, some bad, some with sweet femme fatales, others with very dangerous, watch out femme fatales, and you really better take my advise on that. Some, as here in one of Stanley Kubrick’s early film, Killer’s Kiss, feature just an ordinary woman (although here with a somewhat exotic past). And the young woman (played by Irene Kane), a dime-a-dance worker in a shady Times Square seen better days walk-up dance hall run by a very, very shady gangster-ish older guy (played by Frank Silvera), is central to the plot line here. Seems said gangster is smitten, very smitten by this blonde fluff, although for my money I would just let her go. There are a million others around. Such though are the effects that some women have on guys, even tough gangster guys. But see she has turned cold on him, especially when one been-on-the-ring-floor-just-one-too-many-times boxer (and convenient next door neighbor in their walk-up cold water flat New York tenement world, played by Jamie Smith), pays some attention to her after a rough night of being pawed at by the gangster. Needless to say the world is not big enough for a small-time gangster, a small-time smitten very possessive gangster, and an ex-pug with eyes on the same woman. That “tension” drives the plot unto the final battles on the lonely warehouse back streets of black and white 1950s New York.
Ya, I know, not much of a plot, not something to throw in the crime noir classics archives. Agreed. Not like fall guy Robert Mitchum and gangster Kirk Douglas fighting it out over Jane Greer, who has them both looking over their shoulders, in the classic Out Of The Past. But hear me out. This is an early Stanley Kubrick film, almost a cinema school effort in fact, where he does all the heavy conceptual lifting (writer, director, editor, etc, and just maybe the janitor too). What is missing in plot line, dialogue, and that kind of thing that makes other films noir classics is made up for here by the feel of it. The feel of 1950s black and white New York with its all-night eateries, its trashy back alleys, and its seedy apartment buildings. This is not be-bop Greenwich Village/Soho New York, this is not Big Apple fixed-up, up-scale million/billion dollar New York, but the heart of corner boy New York, where things flare up just like that. And that is how Stanley Kubrick learned his craft, used to great effect later-on the mean streets of New York.
Showing posts with label New York City. Show all posts
Showing posts with label New York City. Show all posts
Sunday, October 16, 2011
Thursday, July 28, 2011
Out In The 1940s Crime Noir Night-“The Naked City”-A Film Review
Click on the headline to link to a Wikipedia entry for The Naked City.
DVD Review
The Naked City, starring Barry Fitzgerald, Howard Duff, Universal International, 1946
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been better left on the cutting room floor. The classics are easy and need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass. Some, such as the film under review from 1946, The Naked City, offer neither although the stark New York City cinematography and the voice-over narration place it firmly in the genre. This film is that old noir stand-by from the period, the police procedural with its never-ending cautionary tale about how “crime does not pay.”
A little plot summary is in order. Yes, New York City, well the New York City of the 1940s and 1950s had eight million stories, although maybe really just two, rich and poor, or maybe better getting richer or sliding down poorer, but that is the subject for another day. Of course telling eight million stories, other than as a few seconds relief slice-of-life scenes, would make me very sleepy, very sleepy indeed. So the plot line reduces the sleepiness to a minimum by telling one story, or rather one murder story that wraps quite a few people in its tentacles, including one major city homicide squad. A squad led by perennial Irish actor Barry Fitzgerald as the foot-sore but worldly-wise detective in charge. The grift (profit motive) that drives the story line is stealing jewelry from those self-same getting richer New York City swells, including an inside society swell finger man. But things turn awry when one drop-dead beautiful model (maybe I should not have used just that phrase, but I will let it stand) winds up being murdered by her some of her thieving confederates.
The twists and turns, such as they are, revolve around a mystery man lover, suitor, whatever it was never really clear, except he was daffy over that drop-dead beautiful model, and finding him as the logical guy to have done, or ordered the murder. In New Jack City and elsewhere that is hard to do, one and one half hours hard to do. But in the end Barry and his homicide squad cohorts get their man, a strangely agile bad man for noir who are usually just straight thugs. And the city moves on to the next…murder, mayhem or whatever. Not exactly my cup of tea in noir but if I recall this film was the model for a television series of the same name so somebody must have though well of it beyond the slice-of-New York life scenes interspersed in the story and the great black and white cinematography of the Big Apple just after the end of World War II.
DVD Review
The Naked City, starring Barry Fitzgerald, Howard Duff, Universal International, 1946
No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been better left on the cutting room floor. The classics are easy and need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass. Some, such as the film under review from 1946, The Naked City, offer neither although the stark New York City cinematography and the voice-over narration place it firmly in the genre. This film is that old noir stand-by from the period, the police procedural with its never-ending cautionary tale about how “crime does not pay.”
A little plot summary is in order. Yes, New York City, well the New York City of the 1940s and 1950s had eight million stories, although maybe really just two, rich and poor, or maybe better getting richer or sliding down poorer, but that is the subject for another day. Of course telling eight million stories, other than as a few seconds relief slice-of-life scenes, would make me very sleepy, very sleepy indeed. So the plot line reduces the sleepiness to a minimum by telling one story, or rather one murder story that wraps quite a few people in its tentacles, including one major city homicide squad. A squad led by perennial Irish actor Barry Fitzgerald as the foot-sore but worldly-wise detective in charge. The grift (profit motive) that drives the story line is stealing jewelry from those self-same getting richer New York City swells, including an inside society swell finger man. But things turn awry when one drop-dead beautiful model (maybe I should not have used just that phrase, but I will let it stand) winds up being murdered by her some of her thieving confederates.
The twists and turns, such as they are, revolve around a mystery man lover, suitor, whatever it was never really clear, except he was daffy over that drop-dead beautiful model, and finding him as the logical guy to have done, or ordered the murder. In New Jack City and elsewhere that is hard to do, one and one half hours hard to do. But in the end Barry and his homicide squad cohorts get their man, a strangely agile bad man for noir who are usually just straight thugs. And the city moves on to the next…murder, mayhem or whatever. Not exactly my cup of tea in noir but if I recall this film was the model for a television series of the same name so somebody must have though well of it beyond the slice-of-New York life scenes interspersed in the story and the great black and white cinematography of the Big Apple just after the end of World War II.
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