RETRO MOVIE REVIEW: KILLER'S KISS, 1955

KILLER’S KISS, 1955, written, co-produced, directed, photographed, and edited by the legendary filmmaker Stanley Kubrick. Starring Jamie Smith, Frank Silvera, and Irene Kane.

Actually, this is pre-legendary Kubrick, when he was still honing his filmmaking craft. I’d like to call KILLER’S KISS the last of Kubrick’s short film phase. The film runs a brisk one hour and seven minutes, and to me, it’s one reel short of it being an actual feature film. Nonetheless, I believe KILLER’S KISS to be one of Kubrick’s greatest films.

KILLER’S KISS is a great example of renegade independent filmmaking. It’s a bare-bones, character driven film that covers many themes; docudrama, suspense, thriller, sports, art, romance, all set in the wonderful and gritty location of post World War II New York City. The city itself is not just a backdrop or an elaborate location; it’s a living, breathing character providing a rich canvass for the performers and the story. I truly believe the film would not work if it were not shot in New York, a place that Kubrick knew and understood well.

To me KILLER’S KISS is an absolutely pure and true cinematic vision of Kubrick. He knew what the story was and he knew what he needed to shoot in order to capture his vision. Every shot of this film is Kubrick and his photography skills shine. It’s easy to see how his shooting style would translate in the editing room as well; at this time in his career, there was no time and extra money for prolonged shooting schedules or a vast amount of unnecessary takes. Yet, Kubrick still managed to tell his story in a fun and imaginative way.

The story follows Davey Gordon (Jamie Smith), a down-and-out middle-weight prize-fighter at the end of his career. Things aren’t going too well for Davey in the boxing world and he’s contemplating heading back to the family farm in Seattle Washington. He lives in a small, dingy, one room apartment in a crowded tenement, across the ally from Gloria Price (Irene Kane), a private dancer trying to escape her past. Now and again, they casually observe each other’s existence from across the way. Enter Vinnie Rapallo (Frank Silvera), the crooked, creepy owner of the private dance hall where Gloria works.

Vinnie is obsessed with Gloria and attempts an assault in her apartment. Davey comes to the rescue and the two lost souls kindle a romance, much to the dislike of Vinnie. In an attempt to crush the relationship Vinnie accidentally kills Davey’s manager, which really spins things out of control. The finale is a great chase sequence on foot through New York City, which has a bizarre and violent climax in a mannequin factory between Davey and Vinnie.

The film gets to the point at a breakneck pace. All the necessary story elements are there to progress the story forward without any extra filler. The film is a wonderful example of indie filmmaking, from the production to the story. Still, at its short running time, I do believe a few extra minutes are necessary, especially with the Vinnie character. Rather than just coming off as the usual heavy type, I think there is more to the character, and I would’ve liked to see more of his development.

All the other Kubrick films aside; I do believe KILLER’S KISS is the one that falls through cracks. This is a Kubrick film to watch, enjoy, and study.

Check it out!