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)

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Tura Satana, Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965
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Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966
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Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964
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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.”

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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!

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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
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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
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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! The Rose Tattoo (1955)

THE ROSE TATTOO (1955)

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I have become a huge fan of Anna Magnani ever since I saw her recently in …And The Wild Wild Women (1959)  & not to mention The Fugitive Kind 1960 Yet another  incredible performance not only by the charismatic Magnani but Marlon Brando their chemistry is combustible!… And…

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I’ve always loved Tennessee Williams. Just having finished watching The Rose Tattoo which won Magnani the Oscar for Best Actress in 1955, I felt like sharing one of the myriad of wonderful pieces of dialogue in this deeply emotional yet witty and engaging film directed by Daniel Mann.

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The Baroness Serafina Delle Rosa loved her man with a passion that rivaled the sun itself. But he was wild like a Gypsy and when he dies in a police chase smuggling something illegal under the bananas in his truck, Serafina falls apart. She believes her husband was a God and she a mere peasant who worshiped him and so she goes into mourning like a good Sicilian woman hiding herself away and waiting for a sign from the Madonna. She is a deeply faithful woman.

She lives under the delusion that her man was perfect even though everyone else in the village knows that Rosario Delle Rosa was stepping out on his wife with Estelle Hohengarten (Virginia Grey ) who works at a night club in New Orleans.

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Serafina makes Seaman Jack Hunter (Ben Cooper) kneel before the Madonna and promise to honor her daughter Rosa’s (Marisa Pavan) Innocence.
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She asks if her husband told Father Del Leo during confession about the other woman…

Even after the town’s Strega, the priest, the fish wives and everyone else knows Serafina’s husband was unfaithful, she keeps the urn of his ashes on the mantle and lets her heart go to seed.

Then, one day Alvaro Mangiacavallo-(Burt Lancaster) wants to be set up with the widow as he has a good heart but is poor and lonely. He wants a woman who doesn’t have to be beautiful she can be plump, but has her own business and a nice home.

Burt Lancaster is always bigger than life no matter if he’s Elmer Gantry or Ole Swede Anderson in The Killers (1946)

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Though he enters the film halfway through, his presence brings the oxygen that Serafina denies herself. She will not believe the lie, that her man was not ‘glorious’. She rants and raves and tears at herself dramatically throughout the story trying to deny what people say, and also denying herself as a sensual woman who deserves to be loved and desired.

I have always been so taken with how much Williams‘ perspective coming from the woman’s point of view is so sympathetic. His characters are usually flawed but very human, and filled with passion, and longing and a need to be desired and believed, and to be seen for who they are.

I am astounded by Magnani’s almost operatic performance as the volatile poignant authentic woman who holds on for as long as she can refusing to believe her ‘fictional’ beautiful man has betrayed her love. Even when she’s causing a commotion in town or shouting in Italian on her own front porch, her pain is palpable and you feel for her. Magnani is a muse for the passion in women that should never be taken for granted…Raw and bare… is Magnani’s Serafina.

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But then begins a comical, tumultuous and a bit unorthodox courtship…

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Alvaro- Do you have a bathroom in your house?”

SerafinaOf course we have a bathroom why”

Alvaro- “We don’t have one at our house and I would like to wash up because I think maybe I smell like a goat, you know…”

Serafina“Please help yourself”—-He leaves the room

Oh Madonna Sante… My husband’s body with the head… of a clown (hand gesture) A clown that smells like a goat…”

 

Your EverLovin Joey saying Oh Madonna Sante, I wish you all well!

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Quote of the Day! The Sweet Smell of Success (1957)

THE SWEET SMELL OF SUCCESS 1957

Sweet Smell of Success 1957

J.J. Hunsecker to Sidney Falco: “I’d hate to take a bite outta you. You’re a cookie full of arsenic.”

Very dark satire with a screenplay by Clifford Odets. This is a Film Noir masterpiece directed by Alexander Mackendrick (The Lady Killers 1955)

Starring the enigmatic Burt Lancaster as J.J. Hunsecker… a power hungry columnist whose unethical practices and megalomania make his a force to be reckoned with. Tony Curtis plays the smarmy climber– press agent always on the make–Sid Falco. He’s J.J. wing man who has to clean up the wake of the destruction he leaves behind with his brutal and persuasive influence. It’s a dark and sinister condemnation of the world of entertainment, publishing, night clubs, social circles… the works!

The film also stars Martin Milner as Steve Dallas a jazz musician who wants to marry J.J.’s younger sister Susan (Susan Harrison) There’s a very strong undercurrent of incestuous fixation on the part of the J.J. toward his sister, as he controls her every move and tries to destroy the young woman’s relationship with Steve. Fantastic dialogue throughout and James Wong Howe’s cinematography is exquisitely framed for the dark and intriguing atmosphere of New York City’s nite life. Elmer Bernstein adds his wonderful score to this urban morality play.

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I love Barbara Nichols as Rita the cigarette girl…

Always sweet here at The last Drive In-Your EverLovin’ MonsterGirl!

Robert Siodmak’s The Killers (1946): Brutal Noir- The First 12 Killer Minutes!

Lancaster The Killers

“Noir exploits the oddness of odd settings, as it transforms the mundane quality of familiar ones, in order to create an environment that pulses with intimations of nightmare.”Foster Hirsch, The Dark Side of the Screen

You can read more about this iconic noir masterpiece in The Dark Pages feature issue

Here’s the link below to order a copy of The Dark Pages for yourself or subscribe all year round… so you’ll always get your fill of everything Noir from this sensational publication!

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The Dark Pages Giant Killer Issue

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Produced by Mark Hellinger (The Naked City, Brute Force and The Two Mrs Carrolls Music by Miklós Rózsa; Cinematography by Elwood Bredell (Ghost of Frankenstein 1942, Phantom Lady 1944). Boldly directed by the great Robert Siodmak. The Screenplay is by Anthony Veiller and uncredited co-writers John Huston and Richard Brooks.

The Killers (1946), with it’s doomed hero, flashbacks, and seedy characters is one of the finest in the film noir canon. The film is a gritty dream with carnal fluidity and monochromatic beauty. The Killers is a neo-gangster noir film with a liminal and evocative intensity. Director Robert Siodmak gives the film a violently surreal tone— it’s a stylishly slick, richly colorful black and white film where the players live in a world condemned by shadow. Burt Lancaster plays out the obsession theme with ‘unfaithful women’ leading to his ultimate demise.

Killers, The (1946)

The evocative opening scene is one of the most powerfully ferocious in film noir. It is faithful to Ernest Hemingway’s short story. The determined thrust of the first twelve minutes mesmerizes. It has a villainous and cynical rhythm, paced like shadowy poetry in a dark room with no open windows. The film opens with Miklos Rozsa’s ominous brassy jazz that later becomes the killers motif. Two men drive into a small town, Anywhere, USA. We see them from behind in darkest black silhouette inside the car.

While cars and trains are iconographic means of escape in noir films, the opening sequence of The Killers offers no escape. The two gun men enter the screen in their vehicle veiled by the darkness of the highway road. The vision is more like one of bringing the means of death to this ordinary environment. The peculiar, unsettling gunmen Al and Max (Charles McGraw and William Conrad) are two dark forces invading an ordinary landscape with their malicious and aggressive presence. The dark highway is a typical Hemingway metaphor for the eternal strife, of ‘going nowhere’ and his cycle of ‘heroic fatalism.’ The road is an unfinished trajectory, unpredictable and unknown with no way out but ‘the end.’

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coming from the dark

We see the two walking onto the street silhouetted in shadow. We know they are trouble. They enter a diner reminiscent of Edward Hopper’s 1942 painting ‘Nighthawks.’ Perhaps this American Diner scene influenced scavenger hunting director Quentin Tarantino for his Pulp Fiction in 1994.

The men ask about a man they’re looking for, ‘the Swede.’ They make no effort to hide their malevolence. They revel in belligerence as they demean and degrade the men in the small town diner. Al and Max begin to psychologically torture George (Harry Hayden) who works the counter and Nick the boy at the end of the counter. They exude an offensive egotism and a cruel antisocial spirit as they barrage the men with perverse assaults.

The Killers 1946 diner

George: “What’ll it be, gentlemen?”
Max: “I don’t  know. What you want to eat, Al?”
Al: “I don’t know what I want to eat.”
 Max: “I’ll have the roast pork tenderloin with apple sauce and mashed potatoes.”
 George: “That’s not ready yet.”
 Max: “Then what’s it on the card for?”
 George: “Well, that’s on the dinner. You can have that at six o’clock. That clock is ten minutes fast. The dinner isn’t ready yet.”
 Max: “Never mind the clock. What have you got to eat?”

The conversation is absurd and meaningless. It is just a mechanism to bully these townsmen. They continue to harass George asking “you got anything to drink?” George tells them “I can give you beer, soda or ginger ale.” Al: “I said you got anything to drink?” George submits a quiet “no.” Max says “this is a hot town, whatta you call it?” George: “Brentwood.” Al turns to Max “you ever hear of Brentwood?” Max shakes his head no. Al asks George “what do you do for nights?”

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Max takes a deep breath and groans “They eat the dinner, they all come here and eat The Big Dinner.” The outsider mocks the small town conformity of eating whatever is served. George looks downward murmuring “that’s right” and Al says “you’re a pretty bright boy aren’t you?” He uses “boy” to demean. George mutters “sure” and Al snaps back “well you’re not!”

Al now shouts to the young man at the end of the counter“hey you, what’s your name?” he looks earnestly at Al and says “Adams. Nick Adams.” Al says, “Another bright boy.” There is sadism at work here, almost subconsciously homophobic/homoerotic in the way they are using the term “boy” to subvert these bystanders’ manhood. Max says, “town’s full of bright boys.”

The cook comes out from the kitchen bringing the plates. ”One ham and one bacon and” George starts to serve the men the food and asks “which one is yours?” Al says “Don’t you remember bright boy?” the continued use of this phrase truly begins to tear at the layers of our nerve endings. George starts laughing and Max says “What are you laughing at?” “nothing.”

“You see something funny?” “No.” “Then don’t laugh.” “Alright.” Again Max says ”He thinks it’s alright.” Al says “Oh, he’s a thinker.” It’s an antisocial backlash to an intellectual society that would perceive Al and Max as outcasts. This is where a noir film begins to break the molds of Hollywood civilized society. The two intruders have trespassed into an ordinarily quiet community to shatter it’s sense of security. It is the death of humanism in film language.

Max and Al tie up Nick and the cook in the kitchen. “I’ll tell ya what’s gonna happen, we’re gonna kill the Swede, you know big Swede, works over at the filling station.” He lights a cigarette. George says, “You mean Pete Lund?” Max takes the cigarette out of his mouth and the smoke enervates George’s face, “If that’s what he calls himself… Comes in every night at 6 o’clock don’t he?”

Georges asks “what are you gonna kill him for? What did Pete Lund ever do to you?” Max replies,”He never had a chance to do anything to us he never even seen us.” The conversation is so matter of fact that it’s chillingly absurd. Again George asks, “What are you gonna kill him for?” Max smirks “We’re killing him for a friend.” Al pokes his head through the sliding window to the kitchen “shut up you talk too much” but Max says ”I gotta keep bright boy amused don’t I?”

When George explains that ‘the Swede’ never comes in after 6pm, the killers head to the station where he works. George unties the men in the kitchen. Nick leaves to warn ‘Swedes,’ jumping fences on his way to the rooming house.

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At the rooming house, Pete (Lancaster) is on his bed in almost complete darkness, face hidden in the shadows, his body’s repose in stark contrast to the backdrop of the frenetic orchestration by Rozsa. Nick enters and urgently warns him about the two dangerous men. Nick asks, “Why’d do they want to kill ya?” He replies: “There’s nothing I can do about it. I did something wrong. Once. Thanks for coming.” His tone is soft and fatalistic.

Nick offers “I can tell you what they’re like?” Swede replies “I don’t wanna know what they’re like… thanks for coming.” ”Don’t you wanna go and see the police?” “No that wouldn’t do any good.” Nick asks “Isn’t there something I could do?” “There ain’t anything to do.” “Couldn’t you get out of town?” He answers “No… I’m through with all that running around.”

A merciful violin plays while Swede remains resigned to the dark bed. His large hands rub his face. We hear the squeaking of a door downstairs as it opens slowly then shuts. The Swede turns his head looking slightly worried for the first time. He leans up in the bed, the light from outside hitting his face, as Al and Max mount the staircase that leads to his room.

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The Swede listens like a trapped animal. He does not betray any fear, only a gloomy resignation that his life is about to end. It is not death that he ponders, memories and another enemy. Cinematographer Elwood Bredell switches between closeups of Lancaster’s face and the door, then suddenly the two men come in blasting. From pitch black begins a light show, arcing like electricity striking a void. The canon fire gunshots pound into a field of blackness. The killers walking up the stairs acts as foreplay and the gunfire like violent intercourse… White hot flashes of light break grave blackness. The last image we see as it fades to black is Lancaster’s hand falling limp by the bedpost. The last words we hear are Swede uttering “Charleston was right, Charleston was right.”

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This is where the powerful prolog ends and Hemingway’s story leaves us with no explanation as to the reason for Swede’s murder, nor insight into why he acquiesces to his death by not trying to elude the killers and his fate. From this moment on Veiller’s screenplay starts to expose the back story to the killing.

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Look at the killer chemistry between Lancaster & Gardner… I’d get shot up in the dark for either one…!

This has been a killer post! Your Everlovin’ Joey

The Film Score Freak Recognizes: Mark Hellinger and Jules Dassin’s Prison Noir Masterpiece Brute Force (1947) & Jo Gabriel’s ‘The Simple Truth’

“HUMAN DYNAMITE! Told the Raw, Ruthless “KILLERS” Way!”

BRUTE FORCE 1947

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Produced by Mark Hellinger and directed by Jules Dassin, the film is a strikingly potent Prison Noir Masterpiece. Brute Force (1947) is one of my all time favorite films that transcends genre labeling. The entire cast performs the piece like a well oiled Tanker filled with nitro glycerine speeding out of control. With a collection of characters pushed to the brink of fury, dominated by a sadist who reigns over the social institution and the beautiful women who wait for the men who are never coming home.

Richard Brooks wrote the screenplay and William H Daniel’s was responsible for the explosive cinematography that grips you by the throat. With an equally compelling score by the master composer Miklós Rózsa.

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Starring Burt Lancaster is Joe Collins, Hume Cronyn is the savage and psychopathic Captain Munsey, Charles Bickford is Gallagher, Yvonne De Carlo is Gina Ferrara, Ann Blyth plays Ruth, Ella Raines is Cora Lister, Anita Colby is Flossie, Sam Levene is Louie Miller #7033, Jeff Corey plays the rat ‘Freshman’ Stack, John Hoyt plays Spencer, Jack Overman is Kid Coy, Sir Lancelot is Calypso and Jay C Flippen is Hodges the guard.

I couldn’t resist mashing up in the mixing bowl, this brutal bit of noir with my tough as satin nails ‘The Simple Truth’ somehow the confluence of visual collective upheaval and raw honesty of my song… a track off my debut album ‘Island’

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for the international label Kalinkaland Records, just seemed to feel right to me… I hope you enjoy this little homage. Here’s MonsterGirl as Jo Gabriel lending her music to a fire storming montage of images from Brute Force

Always brutally truthful -Your MonsterGirl

Postcards From Shadowland No.7

La Belle et la Bete (1946)
Caged (1950)
Criss Cross (1949)
Devil Girl From Mars (1954)
Les Diaboliques (1955)
Experiment in Terror (1962)
Les yeux sans Visage (1960)
Les yeux sans visage (1960)
Gloria Grahame The Cobweb (1955)
I Bury The Living (1958)
Island of Lost Souls (1932)
Kiss The Blood Off My Hands (1948)
Lady in a Cage (1964)
Mother Joan of The Angels (1961)
Belle et la Bete (1946)
Strait-Jacket (1964)
Sunrise (1927)
The Haunting (1963)
The Queen of Spades (1949)
Vampyr (1932)
The World’s Greatest Sinner (1962)

The Killers (1946): Brutal Noir- A green silk hankerchief with golden harps

The Killers (1946) is the quintessential existentialist film. Based on Ernest Hemingway’s 1920’s short story who was immersed in the pre war existentialism of that time period, that fostered tales of crimes and violence. As the two French critics Raymond Borde and Etienne Chaumeton remark in their fantastic read and seminal work A Panorama of American Film Noir 1941-153 the killer’s gunmen walking into the diner in Brentwood N.J. and begin complaining about the menu predates the dark Absurdism of the existential movement of playwrights like Harold Pinter and Samuel Beckett.

It reminds me of how great directors like Quentin Tarantino pay homage to films like The Killers in Pulp Fiction, or the work of Samuel Fuller who didn’t hold back on the vicious realism that was ground breaking in it’s day.

According to Electric Sheep blog “the first twelve minutes of The Killers (1946) is a faithful (almost word for word) adaptation of Ernest Hemingway’s much-anthologized short story. Two hit men enter a diner (shot to look like Edward Hopper’s painting Nighthawks – itself apparently inspired by Hemingway’s story) typical Hemingway heroic fatalism.”

From what I’ve understood about Hemingway, the debate still rages on as to whether or not Hemingway was guilty of being a misogynist. Here is a decent essay about this question that tries to think about it critically and not write from a place of subjectivity or take a defensive stance. http://thequatrain.org/?p=285

The Killers (1946) the original version scripted by Hemingway himself, was produced by Mark Hellinger (The Naked City, Brute Force and The Two Mrs Carrolls– 3 of my favorite films,) and once again boldly directed by the great Robert Siodmak. With the rise of Nazism Siodmak left Germany for Paris and then for Hollywood. He’s singularly responsible for a great deal of the noir films that are so memorable.

In my opinion Siodmak’s film is a meatier piece of work that rendered a more brutal impression than the 1964 version directed by Don Siegel.

Perhaps due to it’s more neo-gangster noir style it gave it a liminal and evocative intensity. Siodmak’s Killers has a more violently surreal tone, than the stylishly slick and richly colorful pulpy Siegel version.The effective black and white environment of the 1946 Killers once again sets the stage for the players to live in a world that is condemned by shadow. While I love Siegel’s version, it does seem brighter and the world more aired out than usually frames noir desolation.

Although I’m a huge fan of Angie Dickenson and she was incredibly lush and provocative in the role of Sheila, Ava Gardner’s Kitty Collins was a more subtly carnal as the temptress who becomes Swede’s downfall. Siodmak’s version gives us the noir police investigation, there is a pervasive Machiavellian cruelty, and the characters have more stratum to their persona’s. John Cassavettes is more icy while Burt Lancaster’s Swede is a very sympathetic yet imperfect man, that fatalistic heroism.

Burt Lancaster plays Ole “Swede” Andersen ex boxer and con, Ava Gardner is Kitty Collins, Edmond O’Brien is  Jim Reardon insurance investigator, Albert Dekker is Big Jim Colfax (Dr. Cyclops) criminal mastermind and Virginia Christine is Lily Harmon Lubinsky (she cameos in the ’64 version as the blind secretary).

Sam Levene is Lt. Sam Lubinsky Swede’s old childhood friend and Charles McGraw( The Narrow Margin) is Al the killer and William Conrad (Cannon tv series)is Max the other killer. The Killers also casts Jeff Corey as “Blinky” Franklin (The Outer Limits O.B.I.T.episode) one of Big Jim’s criminal lackies with a “monkey on his back” implying that he has a drug addiction. And Vince Barnett as Swede’s devoted and world weary petty thief Charleston.

The film opens with Miklos Rozsa’s ominous brassy jazz score that later becomes the killers motif, as the two men drive into a small American town, anywhere USA,  we see them from behind in darkest black silhouette in the car. Then a long view of them walking onto the scene still surrounded in shadow, we know they are trouble. The opening scene of The Killers is perhaps one of the most powerfully ferocious I’ve seen from a 1940’s film.

The two men enter Henry’s Diner William Conrad’s Max and McGraw’s Al, are The Killers, who begin to psychologically torture George who works the counter and Nick Adams the boy at the end of the counter. They exude an obnoxious egotism. A cruel anti social spirit as they barrage the men in the diner with verbal assaults, having a somewhat perverse quality which begins with the menu.

George: What’ll it be, gentlemen?
Max: I don’t know. Whatta you want to eat, Al?
Al: I don’t know what I want to eat.
Max: I’ll have the roast pork tenderloin with apple sauce and mashed potatoes.
George: That’s not ready yet.
Max: Then what’s it on the card for?
George: Well, that’s on the dinner. You can have that at six o’clock. That clock is ten minutes fast. The dinner isn’t ready yet.
Max: Never mind the clock. What have you got to eat?
George: Well, I can give you any kind of sandwiches: bacon and eggs, liver and bacon, ham and eggs, steak…
Al: I’ll have the chicken croquettes with the cream sauce and the green peas and the mashed potatoes.
Max: Everything we want is on the dinner.

They continue to harass George, asking for alcohol, “Al: You got anything to drink? George tells them “I can give you beer, soda or ginger ale. Al: I said you got anything to drink?”George submits a quiet “no.”Max says “this is a hot town, whatta you call it?”George”Brentwood” Al turns to Max “You ever hear of Brentwood?” Max shakes his head no and then Al asks George “What do you do for nights?”Max takes in a deep breath and groans out “They eat for dinner, they all come here and eat The Big Dinner” George looks downward and murmurs  “that’s right”and Al says

“You’re a pretty bright boy aren’t you”, meanwhile George is a grown middle aged man. The term “boy” is designed  to demean him. George mutters “sure” and Al snaps back “Well you’re not!”

Al now shouts to the young man at the end of the counter “hey you what’s your name?” he looks earnestly at Al and says “Adams, Nick Adams.” Al says, “another bright boy.” There is an emerging sadism at work here, almost subconsciously homophobic/homo erotic, in the way they are using the terminology of “boy” working to subvert these bystanders’ manhood. Max says, “Town’s full of bright boys”

The cook comes out from the kitchen bringing the plates of ” one ham and one bacon and” George starts to serve the men the food and asks “which one is yours?”Al says “Don’t you remember bright boy?” the continued use of this phrase truly begins to flay the layers of our nerve endings. George starts laughing and Max says “What are you laughing at?” “nothing” “You see something funny?” “no” “Then don’t laugh” “alright” again Max says ” He thinks it’s alright” Al says “Oh, he’s a thinker” Here we see the anti social backlash to an intellectual society that would perceive them as outcasts. The term “thinker” is used pejoratively as is “boy.” This is where the film begins to break the molds of the Hollywood window dressing of a civilized society, when two intruders trespass on an ordinarily quiet community and shatter it’s sense of security. It is the death of humanism in film language.

Max and Al proceed to tie up Nick Adams and the cook in the kitchen. They further taunt George who asks “what’s this all about?” Max “I’ll tell ya what’s gonna happen, we’re gonna kill a Swede, you know big Swede, works over at the filling station” he lights a cigarette. George says, “you mean Pete Lund?” As Max takes the cigarette out of his mouth the smoke enervates in George’s face, “If that’s what he calls himself’, comes in every night at 6 o’clock don’t he?” Georges asks “What are you gonna kill him for? what did Pete Lund ever do to you?” Max replies,” he never had a chance to do anything to us he never even seen us.” The conversation is so matter of fact that it’s almost chillingly absurd. Again George asks, “what are you gonna kill him for?” and Max smirks “we’re killing him for a friend.” Al pokes his head in from the sliding panel window to the kitchen “shut up you talk too much” but Max says ” I gotta keep bright boy amused don’t I?”

Once the killers believe what George tells them, that Swede isn’t coming into the diner for his supper because it’s passed 6pm, they go to Swede’s boarding house. George unties the two men in the kitchen who have been bound up with dish rags, and Nick jumps over fences trying to head off the killers and warn Swede that they’re coming for him. Nick bursts into Swede’s room.

At first we only see the obscured figure of a man lying on his bed, only from the neck down to his feet. We do not yet see the figure clearly. Swede is framed in shadow.Nick tells him about the men at Henry’s Diner, they were going to shoot him when he came in for supper.”George thought I oughta come over and tell ya” out of breath Nick is panting , and we still only hear Lancaster’s substantial voice in a whispering tone “There’s nothing I can do about it” Nick says ” don’t you even wanna know what they’re like?” “I don’t wanna know what they’re like, thanks for coming” Don’t you wanna go and see the police?” “No that wouldn’t do any good” Swede tells Nick he’s sick of running and “I did something wrong (pause) once, thanks for coming” he ends very solemnly. Nick leaves. The last words we hear Swede utter are “Charleston was right, Charleston was right.”

Now we see Swede’s face just staring and waiting. Sitting up, as the killers come bursting into the room, blasts of light from the gun spray, we are left looking at Swede’s hand lying limp against the side of the bed, surrounded in shadow once again, he is dead.

The Killers relies a lot on the noir mechanism of the flashback. At times there are flashbacks within flashbacks.

We’re now at the police station with Nick and Sam the cook giving their statements. We see a silk scarf with harps among his effects. Swede left a death benefit life insurance policy for $2,500 that goes to a woman in Atlantic City. The case is now being investigated by an insurance detective for the Atlantic Casualty and Insurance Company. Edmond O’Brien plays Reardon, who refuses to drop the case even after his boss insists that it’s not financially worth the company’s time. But Reardon wants to know what happened to this man who had “8 slugs in him, nearly tore him in half.”

Reardon goes to the hotel in Atlantic City and talks to the old chamber maid, Queenie, who is the beneficiary of Swede’s death benefit. She tells Reardon that at least he could be buried in consecrated ground and Reardon asked why she thought it was a suicide.

Queenie tells him in flashback how she was working that night and came into Swede’s room to clean, and he was visibly disturbed, smashing and stomping the furniture crying out “She’s gone, she’s gone!” Queenie asks “who’s gone mister?” He picks up a chair and breaks the window and tries to jump out, but Queenie grabs him and tells him” for the sake of God, you’ll burn in hell for all time” and stops him from killing himself. The death benefit was his way of paying thanks for her kindness.

Reardon embarks on a journey to get the bell to ring in his head, about why the green silk handkerchief with the golden harps is on the tip of his mind.His boss says that claims are piling up and he’s off running around with a 2 for a nickle shooting, but Reardon wants to know why 2 professionals put the blast on a filling station attendant, a nobody. He also notices his hands, scarring which indicate that Swede had been a boxer at one time.

He meets up with Swede’s old boyhood friend from the 12th ward in Philly. Lt Sam Lubinsky who is now married to Swede’s one time girlfriend Lily played by the a young and ever present character actress Virginia Christine who was also in The Killer Is Loose. In The Killers, she is absolutely beautiful as the “nice girl” playing opposite Ava Garner’s femme fatale role as Kitty. Sam joined the police force and Ole Swede started fighting professionally. They always kept in touch, but “when you’re a copper, you’re a copper” and eventually after taking a savage beating in the ring, Swede breaks his knuckles beyond repair and has to stop boxing. Sam winds up putting ” the pinch”on his friend Ole later on.

In a flashback we see Lily and Swede at a party thrown at a swanky hotel by Jake, one of Big Jim Colfax’s men. Lily doesn’t like Jake, he’s got mean eyes. Swede sees Kitty for the first time sitting at a piano. Swede is mesmerized by Kitty. The women share competitive glances. Kitty says, “Jake tells me you’re a fighter” he says “Do you like the fights?” Kitty says “I hate brutality Mr Anderson the idea of 2 men beating each other to a pulp makes me ill.” Lily tells Kitty that she’s seen all Swede’s fights, but Kitty comes back with “oh really, I couldn’t bare to see the man I care about hurt” at that point Lily is finished once Swede remarks how beautiful Kitty is Lily leaves the party.

Lt. Lubinsky tells Reardon that “It seems like I was always in there when he was losing, ever see him fight? He took a lot of punishment.”

Ole’s manager leaves Swede after he isn’t any good as a money making fighter anymore since the bones in his hand are crushed. It’s why he didn’t use his right hand to fight the night he lost the bout to Tiger Lewis. That night his manager says ” no use hanging around here, never did like wakes”

In a flashback within a flashback, Ole starts dating Kitty Collins, Big Jim’s girl. Evidently she shop lifts a diamond pin, Reardon recognizes it as she’s wearing it at a table sitting with a group of thugs who work for Big Jim Colfax. She drops it into a plate of soup, but Reardon stops the waiter, fishes it out and rinses it off in a cup of coffee then tries to take Kitty in, but then “Ole” Swede walks in and winds up taking the rap for her spending 3 years in jail for Kitty’s robbery then he gets released for good behavior.

Kitty’s given him this green silk scarf with golden harps of hers, which he strokes in jail. Swede has a cell mate and friend in a man named Charleston, a petty larceny crook and old time hoodlum who bonds with Swede while in prison. Charleston brings up Jupiter one night. He liked to look at the stars after lights out, he knew their names because he got a book from the prison library.

“You can’t learn any better about stars then by staring” Swede and Charleston staring out the window at the stars, while Swede is stroking the silk scarf Kitty gave him. He asks Charleston is he knows what “harp” means. He says “yeah, angels play ’em” “they mean Irish, Kitty gave me this scarf.” But Kitty hasn’t come to see Swede once while he’s in prison for the robbery she pulled. Swede asks Charleston to look up Kitty when he gets out, because he’s worried about her. But Charleston knows she’s not sick or in trouble. Swede is too much in love to see it.

Later on Charleston relates to Reardon at a pool hall that he was told to bring Swede on the day after his release from jail, because Big Jim is planning a “big set-up.” Also in the room is a thug named Dumb Dumb and Blinky Franklin. Charleston opts out, he only wants easy pickings at his age he’s spent half his life in stir, but Swede seeing Kitty in the room, still Big Jim’s girl, says he’s in. Kitty becomes Swede’s mistress again. We see the glances between the two, and Swede knocks Jim down when he tries to hit Kitty. The two men swear that after the heist, they will even up the score with each other.

The last thing Charleston says to Swede before he leaves the room is “Want a word of advice?, stop listening to golden harps, they’ll land you in a lot of trouble.” We now know what Swede meant by his last words.Charleston leaves the room. Closing the door, hoping Swede will follow, but ” he never showed up, and I never seen the Swede again” We see the character Charleston in flashback standing outside the door. Framed by the shot making the door a principal moment in the film. Charleston staring at the door waiting, looking trapped and small. The door symbolizing the unknown and what lies behind or ahead.

Back at Atlantic Casualty and Insurance Co. Reardon tells his boss the “bell rang” he remembered hearing about it in relationship to a big caper that was pulled on July 20th, 1940 at The Prentiss Hat Company. Armed gunmen got away with quarter of a million of Atlantic’s money. One of the robbers was seen wearing a green scarf with golden harps wrapped around his face like a bandit. Swede was one of the people involved in the heist. Now hiding out under an assumed name, and working at a filling station supposedly hiding all the loot from the Hat Company heist, taken away from the other members of the gang.Who sent the killers to assassinate Swede and did Kitty Collins sign his death warrant?

The Killers, details double crosses of all double crosses, as The Killers go to the sleepy town of Brentwood to even a score with Swede, who didn’t take Charleston’s advice and stop listening to golden harps. In noir films there is often a fetishistic quality to an item or action. I think the scarf is a sexual symbol of Kitty for Swede. It bares her scent, it was a token of her sexuality being made of “real silk” as if her skin. the idea of touching something golden. The scarf acts as surrogate for Kitty’s body, as he strokes it in place of the real thing.