Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground

“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
Sigmund Freud

“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)

Faster Pussycat
Tura Satana, Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965
Cul-de-Sac
Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966
the Naked kiss
Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964
Shock Corridor
Peter Breck plays a journalist hungry for a story and gets more than a jolt of reality when he goes undercover in a Mental Institution in Sam Fuller’s Shock Corridor 1963
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Bobby Darin is a psychotic racist in Hubert Cornfield and Stanley Kramer’s explosive Pressure Point 1962 starring Sidney Poitier and Peter Falk.

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Constance Towers as Kelly from The Naked Kiss (1964): “I saw a broken down piece of machinery. Nothing but the buck, the bed and the bottle for the rest of my life. That’s what I saw.”

Griff (Anthony Eisley) The Naked Kiss (1964): “Your body is your only passport!”

Catherine Deneuve as Carole Ledoux in Repulsion (1965): “I must get this crack mended.”

Monty Clift Dr. Cukrowicz Suddenly, Last Summer (1959) : “Nature is not made in the image of man’s compassion.”

Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”

Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962“When People are Kind to each other why do they have to find a dirty word for it.”

The Naked Venus 1959“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”

Darren McGavin as Louie–The Man With the Golden Arm (1955): “The monkey is never dead, Dealer. The monkey never dies. When you kick him off, he just hides in a corner, waiting his turn.”

Baby Boy Franky Buono-Blast of Silence (1961) “The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”

Lorna (1964)- “Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”

Peter Fonda as Stephen Evshevsky in Lilith (1964): “How wonderful I feel when I’m happy. Do you think that insanity could be so simple a thing as unhappiness?”

Glen or Glenda (1953)“Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”

Glen or Glenda
Ed Wood’s Glen or Glenda 1953

Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”

Dr. Moreau (Charles Laughton) Island of Lost Souls: “Do you know what it means to feel like God?”

The Curious Dr. Humpp (1969): “Sex dominates the world! And now, I dominate sex!”

The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham “I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”

Delphine Seyrig as Countess Bathory in Daughters of Darkness (1971)“Aren’t those crimes horrifying. And yet -so fascinating!”

Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)“I was so young. I already knew that to love the world you have to get away from it.”

The Killing of Sister George (1968) -Suzanna York as Alice ‘CHILDIE’: “Not all women are raving bloody lesbians, you know” Beryl Reid as George: “That is a misfortune I am perfectly well aware of!”

The Killing of Sister George
Susannah York (right) with Beryl Reid in The Killing of Sister George Susannah York and Beryl Reid in Robert Aldrich’s The Killing of Sister George 1960

The Lickerish Quartet (1970)“You can’t get blood out of an illusion.”

THE SWEET SOUND OF DEATH (1965)Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”

Peter O’Toole as Sir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”

Maximillian Schell as Stanislaus Pilgrin in Return From The Ashes 1965: “If there is no God, no devil, no heaven, no hell, and no immortality, then anything is permissible.”

Euripides 425 B.C.“Whom God wishes to destroy… he first makes mad.”

Davis & Crawford What Ever Happened to Baby Jane?
Bette Davis and Joan Crawford bring to life two of the most outrageously memorable characters in Robert Aldrich’s What Ever Happened to Baby Jane? 1962

WHAT DOES PSYCHOTRONIC MEAN?

psychotronic |ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia

In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!

FILM NOIR HAD AN INEVITABLE TRAJECTORY…

THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!

I just got myself this collection of goodies from Something Weird!

weird-noir
There’s even this dvd that points to the connection between the two genres – Here it’s labeled WEIRD. I like transgressive… They all sort of have a whiff of noir.
Grayson Hall Satan in High Heels
Grayson Hall -Satan in High Heels 1962
mimi3
Gerd Oswald adapts Fredrick Brown’s titillating novel — bringing to the screen the gorgeous Anita Ekberg, Phillip Carey and Gypsy Rose Lee and Harry Townes in the sensational, obscure and psycho-sexual thriller Screaming Mimi 1958
The Strangler 1964 Victor Buono
Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964
Repulsion
Catherine Deneuve is extraordinary as the unhinged nymph in Roman Polanski’s psycho-sexual tale of growing madness in Repulsion 1965

Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. While Film Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.

Continue reading “Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground”

Quote of the Day! Night of the Hunter 1955

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Lillian Gish as Rachel Cooper : “I’m a strong tree with branches for many birds. I’m good for something in this world and I know it too. “

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THE NIGHT OF THE HUNTER (1955)

Based on Davis Grubb’s novel and James Agee’s screenplay, Charles Laughton directs this visual masterpiece that plays like a dark fairy tale about children in danger-being pursued by a relentless human monster.

nightofthehunter-powell and children

Robert Mitchum is sublime drifter Harry Powell  a bible spouting psychopath with the words LOVE & HATE tattooed on each knuckle of both hands. Having been cellmate to Ben Harper (Peter Graves ) who committed a robbery and stashed the money with his two little children John (Billy Chapin) and Pearl (Sally Jane Bruce)

Powell first moves in on their mother Willa Harper (Shelley Winters) but John sees right through his righteous facade very quickly.

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Powell marries their mother (Shelley Winters) murders her after she overhears him asking Pearl about the money, and then proceeds to hunt and terrorize the children across a nightmarish yet beautifully shot landscape by cinematographer Stanley Cortez (The Three Faces of Eve 1957, Back Street 1961, Shock Corridor 1963, The Naked Kiss 1964)

Featuring wonderful performances by James Gleason as Birdie Steptoe, Evelyn Varden as Icey Spoon.

In the midst of this allegorical mayhem, Lillian Gish as Rachel Cooper supplants all adults like a fairy god mother protecting street children with her wise and fearless resolve…

One of many birds… Your Everlovin’ MonsterGirl

Witness Mr. Burgess Meredith, a charter member in the fraternity of dreamers.

“I was born a character actor. I was never really a leading man type.” –Burgess Meredith

Burgess Meredith
Oliver Burgess Meredith

WHAT A CHARACTER! BLOGATHON 2014

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It’s here again! The most fabulous blogathon honoring those unsung stars that add that certain singular glimmer to either the cinematic sphere or the small screen sky–The character actors we’ve grown to love and follow adoringly. Thanks so much to Aurora at Once Upon A Screen, Outspoken & Freckled and Paula’s Cinema Club  for hosting such a marvelous tribute once again!

This post’s title comes from the opening narrative for Rod Serling’s favorite Twilight Zone episode “Time Enough At Last.”  ‘Witness Mr. Henry Bemis, a charter member in the fraternity of dreamers’ From Season 1 episode 8 which aired on November 20th 1959.

THE TWILIGHT ZONE “TIME ENOUGH AT LAST”

Directed by John Brahm, “Time Enough At Last” tells the story of a little bespectacled bibliophile bank teller named Henry Bemis ,a bookworm, a slave to the iron fisted hand of time and all it’s dreary inescapable obligatory scars and yearnings.

Burgess Meredith Twilight Zone still

Browbeaten by his wife, boss and even the public at large who see him as an outcast because of his ravenous appetite to read books! Henry can’t even sneak away to read a newspaper during work hours. He’s forced to resort to studying the labels on condiment bottles. She won’t even let him read the ketchup. His harpy of a wife Helen ( Jacqueline deWit) even blackens in the lines of his books at home, calling it “doggerel“– One day as fate would have it, he steals away to the basement vault of the bank to catch up on his beloved preoccupation, when –as many Twilight Zone episodes had been infused with a dose of Rod Serling’s nihilism (as much as there is his hopeful message), the feared 50’s bomb annihilates our vision of the world that was swarming just a few moments before. Suddenly poor Henry seems to be the last man on earth. But wait… perhaps not poor Henry.

Henry Bemis still

As he stumbles through the debris and carefully placed set pieces– the remnants of man’s destructive force, Henry comes upon the city’s public library filled with BOOKS!!! Glorious books…

While he must struggle against the approaching loneliness of the bleak future ahead, he begins to see the possibility of a new world where he could dream, and wander through so many scrawled worlds. Already an outsider he could finally live a life free to be as his boss rebuked him, a “reader.’

Henry starts to amass various piles of selected readings. There was time now. Time enough at last to read every word on the written page without interruption, interference or judgement.

Yet…fate once again waves her fickle finger via The Twilight Zone and leaves bewildered Henry without his much needed glasses, now they have fallen on the great stone steps, crushed by Henry’s own feet. As with every role Meredith brings to life the character of Henry Bemis with so much mirth and pathos.

He’s always just a bit peculiar, idiosyncratic, eccentric, lyrical, salty, sometimes irascible, but always captivating and distinctive, His voice, his persona, his look, his style… Burgess Meredith could always play the Henry Bemises of the world and grab our hearts because he has that rare quality of being so damn genuine.

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Let’s face it even when the prolific Burgess Meredith is playing a cackling penguin– nemesis to the caped crusader Batman or the devil himself (alias the dapper and eccentric Charles Chazen with Mortimer the canary and his black and white cat Jezebel in tow) in The Sentinel 1977 based on the novel by Jeffrey Konvitz and directed by Michael Winner–he’s lovable!

Burgess as Charles Chazin

He always manages to just light me up. Ebullient, mischievous  and intellectually charming, a little impish, a dash of irresolute cynicism wavering between lyrical sentimentalism. He’s got this way of reaching in and grabbing the thinking person’s heart by the head and spinning it around in dazzling circles with his marvelously characteristic voice. A mellifluous tone which was used often to narrate throughout his career. (I smile even at the simplest nostalgic memory like his work on television commercials , as a kid growing up in the 60s and early 70s I fondly remember his voice for Skippy Peanut Butter. Meredith has a solicitous tone and whimsical, mirthful manner. Here’s a clip from a precious vintage commercial showcasing Meredith’s delightfully fleecy voice.

And his puckish demeanor hasn’t been missed considering he’s actually played Old Nick at least three times as I have counted. In The Sentinel 1977, The Twilight Zone and Torture Garden! While in Freddie Francis’ production he is the more carnivalesque Dr. Diabolo–a facsimile of the devil given the severely theatrical make-up, goatee and surrounding flames… he is far more menacing in Michael Winner’s 70s gem as the spiffy Charles Chazin.

Torture Garden 1967
Burgess Meredith as Dr. Diabolo in Torture Garden 1967

And while I resist even the notion of redoing Ira Levin/William Castle and Roman Polanski’s masterpiece Rosemary’s Baby if, and I’m only saying if… I could envision anyone else playing along side Ruth Gordon as the quirky and roguish Roman Castevet it could only be Burgess Meredith who could pull that off!

burgess & ruth

Also being a HUGE fan of Peter Falk’s inimitable Columbo– I ask why why WHY?! was Burgess Meredith never cast as a sympathetic murderer for that relentless and lovable detective in the rumpled rain coat to pursue! Could you imagine the chemistry between these two marvelous actors!

columbo & burgess

Burgess Meredith all of 5′ 5″ tall was born in Cleveland Ohio in 1907. His father was a doctor, his mother a Methodist revivalist. We lost him in 1997 at the age of 89. That’s when he took his “dirt nap…” the line and that memorable scene from Grumpier Old Men 1993 that still makes me burst out laughing from the outlandish joy of it all!… because as Grandpa Gustafson (Meredith) tells John Gustafson (Jack Lemmon) about how he’s managed to live so long eating bacon, smoking and drinking his dinner–what’s the point…? “I just like that story!”

Meredith, Burgess Street of Chance 1942
Leading man material… Street of Chance 1942

Burgess Meredith said himself, that he wasn’t born to be a leading man, yet somehow he always managed to create a magnetic draw toward any performance of his. As if where ever his presence in the story was, it had the same effect as looking in a side view mirror of the car “Objects are closer than they appear”–What I mean by that is how I relate his contribution becoming larger than the part might have been, had it been a different actor. Like the illusion of the mirrored reflection , he always grew larger in significance within the story–because his charisma can’t help but consume the space.

He took over the landscape and planted himself there like a little metaphysical essence, animating the narrative to a higher level of reality.

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Meredith started out working with the wonderful Eva Le Gallienne joining her stage company in New York City in 1933. His first film role was that of Mio Romagna in playwright Maxwell Anderson’s Winterset 1936 where Meredith plays the son of an immigrant wrongfully executed for a crime he did not commit. He also joined the ranks of those in Hollywood who were named as “unfriendly witnesses’ by the House Un-American Activities Committee finding no work, being blacklisted in the 1950s.  

During the 1960s Meredith found his way back in various television roles that gave us all a chance to see and hear his incredible spectrum of performances. One of my personal favorites, dramatically potent and vigorously absorbing was his portrayal of Duncan Kleist in  Naked City television series episode directed by Walter Grauman (Lady in A Cage 1964Hold For Gloria Christmas

The groundbreaking crime and human interest series NAKED CITY– cast Meredith as a 60s beat poet & derelict Dunan Kleist who is literally dying to leave the legacy of his words to a kindred spirit.

A powerful performance told through flashback sequences that recollect his murder as he storms through the gritty streets and alley ways of New York City  a volatile alcoholic Greenwich Village poet trying to get back his precious manuscript of poems that were stolen as he bartered them away bit by bit for booze -he has bequeathed his work to the anonymous Gloria Christmas. The chemistry between Burgess Meredith and Eileen Heckart who plays his estranged wife is magnificent exuding years of anguish and disappointment. Heckart is another character actor who deserves a spotlight.

 

BURNT OFFERINGS 1976Dan Curtis’ priceless treasure of creepy camp featuring Karen Black, Oliver Reed and once again uniting the incredible Eileen Heckart with our beloved Burgess Meredith as the ominous Roz and Arnold Allardyce.

Eileen Heckart and Burgess in Burnt Offerings-Dan Curtis
Roz & Arnold… charming… creepy!

Another memorable role for me, is his spirited performance as Charles Chazin alias The Devil in one of my all time favorite horror classics The Sentinel. “Friendships often blossom into bliss.” – Charles Chazin. Ooh that line still gives me chills…

Many people will probably love him for his iconic character study of a crusty cantankerous washed up boxing trainer named Mickey in the Rocky series of films. Or perhaps, for his colorful cackling or should I say quacking villain in the television series Batman -his iconic malefactor — The Penguin!

IMDb fact-His character, the Penguin, was so popular as a villain on the television series Batman (1966), the producers always had a Penguin script ready in case Meredith wanted to appear as a guest star.

Burgess Meredith will always remain one of the greatest, most versatile & prolific actors, character in fact… beloved and eternal…

BURGESS MEREDITH TELEVISION & FILMOGRAPHY ON IMBD HERE

BURGESS MEREDITH

 

“Like the seasons of the year, life changes frequently and drastically. You enjoy it or endure it as it comes and goes, as it ebbs and flows.”- Burgess Meredith

“I’ll just take amusement at being a paradox.”- Burgess Meredith

[on his childhood] “All my life, to this day, the memory of my childhood remains grim and incoherent. If I close my eyes and think back, I see little except violence and fear. In those early years, I somehow came to understand I would have to draw from within myself whatever emotional resources I needed to go wherever I was headed. As a result, for years, I became a boy who lived almost totally within himself.”- Burgess Meredith

 

Continue reading “Witness Mr. Burgess Meredith, a charter member in the fraternity of dreamers.”

Sam Fuller’s The Naked Kiss (1965): Part I: “There’ll be no later, this town is clean”

The Naked Kiss (1965) Shock and Shame, the story of a Night Girl.

Directed by the maverick auteur Samuel Fuller, with a screenplay by Fuller and black, gray and white shades in the striking cinematography by Stanley Cortez

-(The Maginficent Ambersons 1942, Since you Went Away 1944, The Night of the Hunter 1955, Shock Corridor 1961), Cortez creates a sense of space that is almost surreal and disconnect to the outside world. The Naked Kiss stars Constance Towers as Kelly, Anthony Eisley as Griff, Michael Dante as Grant, Marie Devereux as Buff, Patsy Kelly as Mac and one of my favorite unsung actresses Virginia Grey (The Women 1939, All The Heaven Allows 1955, Crime of Passion 1956, Backstreet 1961) as Candy.

Let me say that this is one of my favorite films. I think that it’s such a bold concoction of visual style, specific alienation that we as spectators experience along with Kelly our female Protagonist. The undercurrent of sexual pathology of a perverse nature and a raw energy that fuels some crude reactionary moments on film. Normally I wouldn’t write about the ending of a film as not to ruin it for the viewer, yet Constance Tower’s remarkable performance and Fuller’s raw cinematic veritae must be experienced, the story will not lose anything by my relating it here. I actually consider this part of my women in peril series, but more aptly put, it’s a womanhood in peril film.

Samuel Fuller’s B post noir films are not like anyone else’s. Fuller’s work is often confrontational and visceral considered the kinkiest of all the B post noir auteurs. Naked Kiss is his most potent work along side his noir masterpiece Pickup on South Street (1953) starring Richard Widmark and Thelma Ritter as Moe Williams.


From Alain Silver and James Ursini’s Film Noir Reader 2Fuller’s Naked Kiss “boldly offers a different kind of descriptive pause. Fuller takes on Patriarchy and directly assaults the spectator with a bizarre opening”

 

In their book they inform us that Fuller actually attached a camera to actor Monte Mansfield who plays Kelly’s pimp Farlunde, the guy she pummels in his swanky apartment right from the tip of the film. He has shaved off her hair and in retaliation she takes her primal vengeance out on his, beating him with her purse and high heels. Kelly only takes the money owed to her. The scene already prepares us, and what is created is an off kilter and disorienting mood. The opening of The Naked Kiss, is perhaps for me one of the most audacious beginnings to any cinematic work. It sort of punches you right in the face along with Farlunde.

The greater theme of the film is it’s narrative of womens’ role within society. In a way not unlike Elia Kazan, Fuller has created a sociological framework, to lay out questions of what womanhood, as well as motherhood, means discursively. While at the end of the film, Kelly is relegitimized as being a savior and not a whore, she is still not allowed to live amongst the clean town’s people. She is still an outsider. Silver and Ursini also correctly bring out in their noir reader the  fact that the context of the film is a “discursive-based attack on men and how they define women as well as the limits they place on them”. Also notable is the displaced female rage that only became better articulated later on with  feminists during the 60s and 70s.

It reminds me while watching television’s soap opera junk food Peyton Place with it’s pillory that sits prominently in the middle of the town square as a reminder of New England Puritanical morals and the lurking hypocrisy in the shadows of quiet provincial values, that warn girls to beware of giving away their virtue. Betty Anderson (Barbara Parkins) learns this when she is condemned as the archetypal whore, the tainted girl who gave up her purity to a boy during a summer fling then was thrown away like autumn trash. The pillory stands in the middle of the town, 200 years prior a woman like Betty had her head shaved bald, was locked in the pillory to be mocked and then was driven out by the good town folk of Peyton Place. Much like Kelly who we first meet at the shocking opening of the film (one reason The Naked Kiss is such a uniquely memorable excursion for me) is completely bald and striking back at the man who took her hair, her power away.

The Naked Kiss written, directed and produced by Sam Fuller, opens wide like a steel trap, with Constance Towers as Kelly viciously beating up a pimp Farlunde in his swanky apartment, smashing away at him with her handbag. Hitting his face and neck, it’s like watching a brutal choreographed dance. Fuller creates this wavering movement to give us a sense of the dizzying brutality. Farlunde begs “I’m drunk Kelly please,” “enough Kelly please.” The savage jazz riffs underscoring the bashing. Her wig comes flying off, and now we see a bald Kelly still attacking the man relentlessly. The jazz more coherent with hyper active saxophone.

Stripped of her hair looking like a mannequin (perhaps to show us Kelly as an “object”) she beats him till he staggers to the floor, spraying seltzer water in his face. He’s wasted by the beating, she rifles through his pockets and grabs some cash from his wallet. “Eight hundred dollars… you parasite… I’m taking only what’s coming to me.” She starts counting out bills, throwing them down upon his chest, “fifty, sixty, seventy-five… I’m not rolling you, you drunken leech, I’m only taking the seventy-five dollars that’s coming to me.”

She crumples up her share, shoves it into her bra and kicks him while he’s lying there. She stares at us like we’re her mirror. Gratified she puts her wig back on and the title rolls, The Naked Kiss. Sam Fuller’s story of alienation, gender subjugation and the question of immorality and deviant sexual pathology, opens up in a big way.

The Paul Dunlop score becomes more dreamy, with melodramatic strings and Kelly brushing her wig. getting it right. The credits roll and Kelly is applying her eye pencil transforming herself back into a woman and not blood thirsty she-devil. Now the blush is applied, the music fades back into the jazz number and we see Farlunde knocked out, lying on the floor.The saxophone is hurling trills at us, Kelly grabs a photograph down from a collection of beauties and she starts tearing it up to pieces, throws them on the ground, the Farlunde stirs, coughs a bit and starts to get up, Kelly slams the door.

As he starts picking up the debris Kelly has left in her wake he puts crumpled up bills on top of a calendar and we see the date July 4, 1961. A quick cut, flash forward to a banner in the street touting August 12, 1963 and the melodramatic music is serenading us again. The camera pulls out for a wider angle, we can see the entire banner now, it reads 2 years later. August 12, 1963 Fashion Show for Handicapped Children Grantville Orthopedic Medical Center

The top of a bus moving through the street, a parked car, a mostly empty street, with a few people crossing it, and mulling about. This is the suggestion of a quiet, quaint American town.

Then a car horn toots, 3 men standing outside a Bus Depot, Griff (Anthony Eisley) says “Ten bucks, that right Mike?” Mike says “why spend your own money on that punk?” Griff turns to the young man and says while stuffing it in his pocket “Here’s your ticket” smiles at him and shoves some money into his pocket as well. All the time the young man is looking down as if ashamed. He says “Thanks a lot Griff… I’ll pay you back.” Griff looks at him sternly, “I’m giving you a break, cause your brother was in my outfit… I don’t want to see you in this town again.” The young man looks down again.

Then a Greyhound bus pulls over to the curb. We see the marquee of the movie theater is playing Shock Corridor, a nod to Fuller’s other psychologically wrenching film about a newspaper reporter going undercover in a lunatic asylum, only to become one of the patients.

Continue reading “Sam Fuller’s The Naked Kiss (1965): Part I: “There’ll be no later, this town is clean””