Click on the headline to link to a Wikipedia entry for the 1964 The Killers.
DVD Review
The Killers, starring Lee Marvin, Angie Dickerson, Ronald Reagan, Clu Gulanger, based on a short story by Ernest Hemingway, Universal Studios, 1964
As I have mentioned before at the start of other reviews in this crime noir genre I am an aficionado, especially those 1940s detective epics like the film adaptations of Dashiell Hammett’s Sam Spade in The Maltese Falcon and Raymond Chandler’s Phillip Marlowe in The Big Sleep. Nothing like that gritty black and white film, ominous musical background and shadowy moments to stir the imagination. Others in the genre like Gilda, The Lady From Shang-hai, and Out Of The Past rate a nod because in addition to those attributes mentioned above they have classic femme fatales to add a little off-hand spice to the plot line, and, oh ya, they look nice too. Beyond those classics this period (say, roughly from the mid-1940s to mid-1950s produced many black and white film noir set pieces, some good some not so good. I mentioned in a review of the 1946 version of the film under review, The Killers, starring Burt Lancaster (as the smitten fall guy) and Ava Gardner (as the femme fatale, what else) that for plot line, and plot interest, femme fatale interest and sheer duplicity that film was in the former category. This techno-color version pales (no pun intended) by comparison although in spots the twists in the plot line here are interesting.
Neither screen adaptation owes much, except the opening passages, to Ernest Hemingway’s short story of the same name. The beauty of the shortness of the Heminway story is that it left plenty of room for other possibilities to expand on his plot line. But in the end the central question of all three vehicles is the question- why did two professional killers, serious, badass killers want to kill the seemingly harmless fall guy (here, Johnny North, always a Johnny somewhere in these noir things, played by a young John Cassavetes)?. And why didn’t they run when they had the chance. But come on now, wake up, you know as well as I do that it’s about a dame, a frill, a frail, a women, and not just any woman, but a high roller femme fatale. In this case that frill I is Sheila Farr (here played by Angie Dickerson who whatever her charms for a 1960s audience pales, again no pun intended, to the earlier version’s Kitty Collins played by sultry, yes sultry, Ava Gardner, as a colleen).
As I have noted recently in a review of the 1945 crime noir, Fallen Angel, femme fatales come in all shapes, sizes and dispositions. But high or low all want some dough, and a man who has it or knows how to get it. This is no modernist, post-1970s concept but hard 1940s realities extended into the early 1960s. And duplicity is just one of the “feminine wiles” that will help get the dough. Now thoroughly modern Sheila, like Kitty is not all that choosy about the dough's source, any mug will do, but she has some kind of sixth sense that it is not Johnny, at least not in the long haul and that notion will drive the action for a bit.
And if you think about it, of course Sheila is going with the smart guy, the guy with things really figured out (Jack, played here by a demure Ronald Reagan wearing a smashing greased down pompadour hair-do and looking very non-presidential). And old chump Johnny is nothing but a busted-up old palooka of a race car driving (Swede was a prize fighter) past his prime and looking for some easy money. No, no way Kitty is going to wind up with him in that shoddy rooming house out in the sticks hustling for short dough on the jalopy circuit , waiting for the other shoe to fall.
Let’s run through the plot a little and it will start to make more sense. You already know that other shoe dropped for Johnny. And why he just waited for the fates to rush in on him. What you didn’t know is that to get some easy dough for another run at Sheila’s come hither affections he, Johnny North, is involved along with Sheila's current paramour, Jack, and a couple of other midnight grifters in a major hold-up of a old-timey rural U.S. Mail truck (go big, or don’t go at all, right) The heist goes off like clockwork. Where it gets dicey is pay-off time. Just like with the earlier version’s Kitty and Big Jim Sheila and Jack are dealing the others out, and dealing them out big time. And they get away with it for a while until the guys who did the “hit” on Johnny (played by Lee Marvin and Clu Glanger) get all balled up trying to figure out why Johnny just cast his fate to the wind start to figure things out.
And they lead, or are led, naturally to figure out the big double-cross. But double-crossing people, even simple midnight grifters, is not good criminal practice and so all hell breaks loose. Watch this film. And take the same advise I gave in the 1946 review stay away from dark-haired Irish beauties AND also tall, leggy, brunettes with no heart, especially if you are just an average Joe. Okay.
Note: This is not the first Hemingway writing, or an idea for a writing, that has appeared in film totally different from the original idea. More famous, and rightly so is his sea tale, To Have Or Have Not, that William Faulkner wrote the screenplay for and that Humphrey Bogart and Lauren Bacall turned into a steamy (1940s steamy, okay) black and white film classic.
Added note:
Ernest Hemingway was a prolific short story writer and I have argued in the past elsewhere in this space that perhaps some of these were his best literary efforts. Needless to say, a writer whose command of a sparse and functional style is going do very nicely when Hollywood comes a-calling. In this case the short story was indeed short. A couple of hired killers come into a lunch counter looking for someone on the run. He doesn't show and that is the end of the story. Although we presume his fate is foresworn. But not for Hollywood. In this remake of the 1946 film that starred Burt Lancaster the hired killers (played by Lee Marvin and Clu Gulager) remain but they are thoughtful (and greedy). They want to know why Johnny North (the guy on the run) does not run and stands for the hit. As befits a 1960's film they want to get the motive and will get it come hell or high water. Naturally, there is a woman (a young Angie Dickerson) involved that leads old Johnny astray. From there the film goes through a series of flashbacks to figure out how Johnny became the fall guy. The original is a little closer to Hemingway's sense of the dynamics that lead to the patsy's fatalism but this is an interesting take, as well.
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