Wikipedia

The Killing (film)

Not to be confused with Killing (film).

The Killing is a 1956 American film noir directed by Stanley Kubrick and produced by James B. Harris.[4] It was written by Kubrick and Jim Thompson and based on Lionel White's novel Clean Break. It stars Sterling Hayden, Coleen Gray, and Vince Edwards, and features Marie Windsor, Elisha Cook Jr., Jay C. Flippen and Timothy Carey.[1]

The Killing
Theatrical release poster
Directed byStanley Kubrick
Screenplay byStanley Kubrick
Dialogue byJim Thompson
Based onClean Break
by Lionel White
Produced byJames B. Harris
Starring
CinematographyLucien Ballard
Edited byBetty Steinberg
Music byGerald Fried
Production
company
Harris-Kubrick Pictures Corporation
Distributed byUnited Artists
Release date
  • May 19, 1956 (1956-05-19) (New York City)[1]
Running time
84 minutes[2]
CountryUnited States
LanguageEnglish
Budget$320,000[3]

Plot

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Johnny Clay, a career criminal recently released from prison, plans the heist of a horse racetrack, with an estimated take of two million dollars. His associate Marvin Unger provides financial backing for the plot, makes his apartment available as a hideout, and provides its address to two of the track's employees: cashier George Peatty, and bartender Mike O'Reilly. Corrupt police officer Randy Kennan joins the scheme. George, trapped in a loveless marriage with his materialistic wife Sherry, confesses the plan to her, which she immediately communicates to her boyfriend Val.

At the hideout, the five men conspire regarding the details of the heist. Johnny discloses that two other men will be involved, and paid low, flat fees for their roles: a sharpshooter will kill the favored horse in the race to sow confusion, and a wrestler will make a scene at the bar to create a diversion. Sherry is discovered to be eavesdropping on the plot, and the others separate George and Sherry. Johnny orders Sherry not to interfere further until the heist is completed.

On the morning of the heist, Marvin expresses paternal feelings for Johnny, suggesting that they go away together following its completion. Johnny rebuffs this suggestion, ordering Marvin to stay away from the track while the heist is in progress. Mike smuggles a gun into the track's locker room, opposite its money room. Marvin, who is very drunk, appears at the track, against Johnny's wishes, and to the disturbance of the others. Despite this, all others are in position, and they commit to the heist. As the wrestler starts a fight at the bar, drawing security away from the money room, George helps Johnny access the locker room. Johnny acquires the gun, dons a mask, and holds up the money room as the horse is shot, throwing a sack of money out the window, where Randy collects it. When the sharpshooter attempts to get away, his tire is punctured by a horseshoe just thrown on the ground by an attendant he'd antagonized, and he is shot dead.

At the hideout, the others await the return of Johnny, now in possession of the money. Val ambushes the hideout, a shootout ensues, and a wounded George is left as the last man standing. As George stumbles outside, Johnny sees that something is clearly wrong, and continues driving. He purchases a large suitcase, transfers the money into it, and struggles to secure it. George returns to his apartment, kills Sherry, and collapses. At the airport, Johnny reunites with his girlfriend Fay. They fail to register the suitcase as carry-on luggage, and have no choice but to check it. When a baggage cart driver swerves in order to avoid hitting a dog, the suitcase bursts open, and the money is scattered in the wind by a propeller. While attempting to leave, Johnny is identified by authorities. Although Fay urges Johnny to run, he refuses, calmly accepting his fate.

Cast

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Production

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I give Stanley a free hand to create, and he leaves the money problems to me.

— James Harris[5]

We want to make good movies, and make them cheap. The two are not incompatible.

— Stanley Kubrick[5]

While playing chess in Washington Square, Kubrick met producer James B. Harris, who had sold his film distribution company and was looking for a new young talent. Harris considered Kubrick "the most intelligent, most creative person [he had] ever come in contact with", and the two formed the Harris-Kubrick Pictures Corporation in 1955.[6] Harris purchased the rights to Lionel White's novel Clean Break for $10,000, beating United Artists, which was interested in the film as a vehicle for Frank Sinatra.[6] At Kubrick's suggestion they hired hardboiled fiction novelist Jim Thompson to write the script. United Artists told the pair that it would help finance the picture if Harris and Kubrick could find a high-profile actor to star. They signed Sterling Hayden, who agreed to accept $40,000. But Hayden wasn't a big enough star for UA, which wound up providing only $200,000 for the film; Harris financed the rest using $80,000 of his own money and a $50,000 loan from his father.[7] The film was the first of three on which Harris and Kubrick collaborated as producer and director over less than ten years.[8] Working titles for the film were Clean Break and Bed of Fear.[8] It was the last feature film completely filmed by Kubrick in the United States (interiors for Spartacus were shot on Universal's Hollywood sound stages, but its battle exteriors were shot in Spain).

Three members of the cast—Hayden, Ted de Corsia, and Timothy Carey—had appeared together the previous year in the low-budget noir film Crime Wave. The art director, Ruth Sobotka, was Kubrick's wife at the time.[8] Kubrick and Harris moved from New York to L.A. to shoot the picture, and Kubrick went unpaid during the shooting, surviving on loans from Harris. In addition to Hayden, Kubrick cast actors from films noirs he liked, such as Carey, de Corsia, Elisha Cook Jr. and Marie Windsor. He chose former professional wrestler and old chess friend Kola Kwariani to play an aging, chess-playing grappler.[7] The Hollywood cinematographers' union told Kubrick that he could not be both director and cinematographer, so veteran cinematographer Lucien Ballard was hired to shoot the picture. He and Kubrick often clashed. On one occasion Kubrick favored a long tracking shot, with the camera close to the actors with a 25mm wide-angle lens to provide slight distortion of the image, but Ballard moved it further away and began using a 50mm lens. Kubrick sternly ordered him to put the camera back or he would be fired.[7]

Reception

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Theatrical run

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Without a proper release across the U.S., The Killing performed poorly at the box office. In spite of a last-minute promotion as a second feature to Bandido!, it failed to turn a profit. But it garnered critical acclaim, landing on several critics' top-ten lists for 1956. Time wrongly predicted that it would "make a killing at the cash booths"—asserting that Kubrick "has shown more audacity with dialogue and camera than Hollywood has seen since the obstreperous Orson Welles went riding out of town on an exhibitors' poll"—as the film recorded a loss of $130,000.[9][5]

Critical response

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New York Times film critic A. H. Weiler wrote, "Though The Killing is composed of familiar ingredients and it calls for fuller explanations, it evolves as a fairly diverting melodrama. ... Aficionados of the sport of kings will discover that Mr. Kubrick's cameras have captured some colorful shots of the ponies at Bay Meadows track. Other observers should find The Killing an engrossing little adventure."[10]

Variety liked the acting and wrote, "This story of a $2 million race track holdup and steps leading up to the robbery, occasionally told in a documentary style which at first tends to be somewhat confusing, soon settles into a tense and suspenseful vein which carries through to an unexpected and ironic windup ... Hayden socks over a restrained characterization, and Cook is a particular standout. Windsor is particularly good, as she digs the plan out of her husband and reveals it to her boyfriend."[11]

Kubrick and Harris thought the positive critical reception had made their presence known in Hollywood, but Max Youngstein of United Artists still considered them "not far from the bottom" of the pool of new talent at the time.[12] Dore Schary of Metro-Goldwyn-Mayer was impressed with the film, and offered the duo $75,000 to write, direct and produce another, which became Paths of Glory.[12]

The Killing has gained a cult following, among other Kubrick films.[8] For example, Eddie Muller placed the film 15th among his top 25 favorite noir films, saying, "If you believe that a good script is a succession of great scenes, you can't do better than this. Hey, that scene was so good, let's do it again from somebody else's perspective".[13]

In 1998, Jonathan Rosenbaum of the Chicago Reader included the film in his unranked list of the best American films not included on the AFI Top 100.[14]

In 1999, film critic Mike Emery wrote, "Kubrick's camerawork was well on the way to finding the fluid style of his later work, and the sparse, low-budget circumstances give the film a raw, urgent sort of look. As good as the story and direction are, though, the true strength of The Killing lies in the characters and characterizations."[15] The same year, director Peter Bogdanovich wrote in The New York Times that while The Killing did not make money, it, along with Paths of Glory, established "Kubrick's reputation as a budding genius among critics and studio executives."[16]

In 2012, Roger Ebert added The Killing to his list of "Great Movies". In his opening remarks, Ebert writes, "Stanley Kubrick considered The Killing (1956) to be his first mature feature, after a couple of short warm-ups. He was 28 when it was released, having already been an obsessed chess player, a photographer for Look magazine and a director of March of Time newsreels. It's tempting to search here for themes and a style he would return to in his later masterpieces, but few directors seemed so determined to make every one of his films an individual, free-standing work. Seeing it without his credit, would you guess it was by Kubrick? Would you connect Dr. Strangelove with Barry Lyndon?"[17]

On the review aggregator website Rotten Tomatoes, 96% of 47 critics' reviews are positive, with an average rating of 8.6/10. The website's consensus reads: "An expertly crafted noir with more on its mind than stylishly staged violence, The Killing establishes Stanley Kubrick as a filmmaker of uncommon vision and control."[18]

Metacritic, which uses a weighted average, assigned the film a score of 91 out of 100, based on 15 critics, indicating "universal acclaim".[19]

Awards

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Nominations

Influence

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Quentin Tarantino has said that this film was an influence on Reservoir Dogs, that he thought of that film as "my Killing, my take on that kind of heist movie."[20]

Home media

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A digitally restored version of The Killing was released on DVD and Blu-ray by The Criterion Collection, which also included Killer's Kiss as a bonus feature.[21] On July 26, 2022, Kino Lorber (under the KL Studio Classics line) released a Ultra HD Blu-ray edition of the film from a new remaster of the original negative with new audio commentary by film historian Alan K. Rode.[22]

See also

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References

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  1. ^ a b The Killing at the AFI Catalog of Feature Films
  2. ^ "The Killing".
  3. ^ Stafford, Jeff. "The Killing". Turner Classic Movies. Retrieved July 24, 2024.
  4. ^ "The 100 Best Film Noirs of All Time". Paste. July 5, 2024. Retrieved July 24, 2024.
  5. ^ a b c "Cinema: The New Pictures". Time. June 4, 1956. Archived from the original on February 4, 2013. Retrieved July 21, 2010.
  6. ^ a b Duncan 2003, p. 37.
  7. ^ a b c Duncan 2003, p. 38.
  8. ^ a b c d "Notes for The Killing (1956)". Turner Classic Movies. Retrieved July 24, 2024.
  9. ^ Balio, Tino. United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987 p. 158
  10. ^ Weiler, A.H. (May 21, 1956). "The Killing: New Film at the Mayfair Concerns a Robbery". The New York Times. Retrieved February 7, 2008.
  11. ^ "The Killing". Variety. 1956. Retrieved February 7, 2008.
  12. ^ a b Duncan 2003, p. 42.
  13. ^ Muller, Eddie. "Endless Night: 25 Noir Films That Will Stand the Test of Time". Muller's official website. Retrieved July 21, 2010.
  14. ^ Rosenbaum, Jonathan (June 25, 1998). "List-o-Mania: Or, How I Stopped Worrying and Learned to Love American Movies". Chicago Reader. Archived from the original on April 13, 2020.
  15. ^ Emery, Mike (March 15, 1999). "Film review". The Austin Chronicle. Retrieved February 7, 2008.
  16. ^ Bogdanovich, Peter (July 4, 1999). "What They Say About Stanley Kubrick". The New York Times. Retrieved July 21, 2010.
  17. ^ Ebert, Roger (January 12, 2012). "The Killing (1956), Great Movies By Roger Ebert". Chicago Sun-Times. Retrieved August 10, 2013.. In 2015 Time Out named it the 2nd best gangster film ever made.
  18. ^ "The Killing". Rotten Tomatoes. Fandango Media. Retrieved April 5, 2024.  
  19. ^ "The Killing". Metacritic. Fandom, Inc. Retrieved April 5, 2024.
  20. ^ Hartl, John (October 29, 1992). "'Dogs' Gets Walkouts and Raves". The Seattle Times. pp. Arts, Entertainment, page F5. Archived from the original on January 26, 2009. Retrieved January 18, 2009.
  21. ^ "The Killing". The Criterion Collection. Retrieved August 24, 2012.
  22. ^ "Stanley Kubrick's The Killing (1956) Remastered With Dolby Vision On 4k Blu-ray". HD Report. Retrieved July 24, 2022.

Sources

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  • Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. ISBN 978-3836527750.
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