Rent Killer's Kiss (1955)

3.4 of 5 from 69 ratings
1h 7min
Rent Killer's Kiss Online DVD & Blu-ray Rental
  • General info
  • Available formats
Synopsis:
Stanley Kubrick's second film, Killer's Kiss, made the world take notice. The young moviemaker won acclaim for this dazzling film noir about a struggling New York boxer (Jamie Smith) whose life is imperiled when he protects a nightclub dancer (Irene Kane) from her gangster boss (Frank Silvera). "Using his camera as a sandpaper block, Kubrick has stripped away the veneer from the prizefight and dancehall worlds," the New York Mirror proclaimed.
Killer's Kiss not only lends considerable insight into future Kubrick classics - such as 'The Killing' and 'Full Metal Jacket'- but is also a remarkable film in its own right: the boxing match may be the most vicious this side of 'Raging Bull', and the famed final battle remains an action tour-de-force. "An ambitious photographer...challenges the movie capital with Killer's Kiss," the New York Daily News enthused. "The suspenseful venture augurs well for young Stanley Kubrick!"
Actors:
, , , , , , , , , , , , , , ,
Directors:
Voiced By:
Jack Curtis, Peggy Lobbin
Writers:
Stanley Kubrick
Studio:
MGM
Genres:
Drama, Thrillers
BBFC:
Release Date:
15/07/2002
Run Time:
67 minutes
Languages:
English
Subtitles:
English, French
DVD Regions:
Region 2
Formats:
Pal
Aspect Ratio:
Full Screen 1.37:1
Colour:
B & W
Bonus:
  • Theatrical trailer

Rent other films like Killer's Kiss

Reviews (1) of Killer's Kiss

Punch Drunk Love - Killer's Kiss review by Count Otto Black

Spoiler Alert
29/08/2017

This very early Stanley Kubrick film is both a foretaste of things to come, and a very modest B-movie with the faults you'd expect from a good but inexperienced director working on a tiny budget. Like almost all his films, instead of having a conventional hero it centres around very flawed people who, even if they eventually do the right thing, need an awful lot of persuading, often by way of cruelly random twists of fate. The main characters aren't particularly nice people, but they're a lot nicer than the B-list crime-boss they work for, who of course forgets that even if you have the money and the hired muscle to treat your unfortunate employees like slaves, you can only push them so far before they turn on you, and that can get very nasty if the people you pushed too far happen to be trained to fight. Which is pretty much the entire plot of "Spartacus", and a major theme in quite a few of Kubrick's other films.

However, "Spartacus Begins" this ain't. The male and female leads were so unfamiliar to me that I looked them up, and both of them only appeared in one other cinematic feature and a few TV episodes, this being their moment of glory. Jamie Smith was presumably cast for his physique rather than his acting skills, and he's adequate at best. Irene Kane likewise looks the part, but she can't really do powerful emotions and mostly seems a bit stunned. Which is a pity, because as two people who, in different but not so very different ways, are treated like meat by their slimy boss before being driven to desperate defiance, they've got a lot of acting to do.

Even if the acting isn't great, the characters are less clich├ęd than you might expect, both of them being realistically afraid to risk their lives even for people they care about a lot. And the boxing match reveals a true master at work. If you pay close attention, you'll see that by showing us the fight from the chaotic perspective of the dazed and battered boxer who ends up losing, Kubrick's getting around the fact that his budget doesn't run to all the stunt-work and retakes a proper full-on boxing-match would require, and there are almost no shots in which we clearly see one actor swinging a potentially dangerous punch at the other. But we still feel that we're watching a real, punishingly brutal, totally unglamorous fight.

Compared with this sequence, the equally famous showdown is a bit of an anticlimax, and gives a prophetic foretaste of the flaws in some of Kubrick's later films. We've seen dance-hall girls who are only one small step up from prostitutes going about their business. Setting the showdown between hero and villain in a mannequin factory where, by sheer chance, they fight surrounded by passively sexualised "women" who are literally mindless objects, and even tear off parts of their bodies to use as weapons, is an early example of Kubrick grabbing hold of a good bit of symbolism and being unable to let go. Sometimes his visual excesses worked superbly, and sometimes they were just excessive, as they are in this fight, which goes on too long and overuses its simple gimmick to the point where it gets a bit silly. It's in no way a major film, but it's an important minor one that shows a master learning the tools of his trade.

0 out of 0 members found this review helpful.

Help & support

Find answers to frequently asked questions and contact us should you need to

How It Works

See prices and levels and find out how Cinema Paradiso service works

Friends for Films

Invite your friends to join and get free subscription each month