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An ex-con engineers a urge track heist in “The Killing,” a taut and suspenseful film noir from director Stanley Kubrick. Johnny Clay (Top-notch Hayden) is unusual out of Alcatraz after five years, and immediately goes to work on a job he figures to be worth upwards of two million dollars. He puts together a gang who are not right criminals, fair “Some guys with problems and a tiny larceny in them.” Marvin (Jay C. Flippen) is proper for some front money Johnny needs; George (Elisha Cook Jr.) is a cashier at the track, and Mike (Joe Sawyer) is a bartender there; Randy (Ted de Corsia) is a cop with loan shark payment problems. Clay’s got it all figured out, a precision belief that can’t go despicable as long as everyone does his section and keeps mild about it, before and after. But George has a wife, Sherry (Marie Windsor), who wants nice things, and he can’t resist the temptation to let her know it’s all going to score better proper soon. Anguish is, Sherry has a boyfriend, Val (Vince Edwards), who has more than a limited larceny in him, as well. As it is with all “perfect” plans, there are, after all, imperfections. The presentation of this film is not one of them, however; Kubrick keeps the tension high throughout, working with a tight tale and an out of sequence chronology through which he dispenses bits of information, building the suspense, until it all fits together in the extinguish like pieces of a giant puzzle (Grand the same as Tarantino would do with “Pulp Fiction” many years later) . The stoic delivery, coupled with the stark sad and white photography of the film, creates an almost surreal, fatalistic ambience that works so well with this material; especially at the slay, for it underscores the climax and heightens the drama of the final moment, all of which makes for a truly unforgettable scene. The supporting cast includes Coleen Gray (Fay), Kola Awariani (Maurice), Joe Turkel (Puny), and Timothy Carey, who makes his aloof and indifferent hit man, Nikki Arane, one of the most memorable characters in the film. It must be well-known, however, that Elisha Cook Jr. gives what may have been his best performance ever, here. His scene, after it all goes terrible for him and he stumbles into his apartment, bullet holes in his face and wide-eyed with acceptance, to confront Sherry, is so frigid and underplayed that it becomes one of the lasting impressions of the movie. Kubrick wrote the screenplay (with some relieve from Jim Thompson with the dialogue), adapted from the fresh “Desirable Fracture” by Lionel White. “The Killing” is one of Kubrick’s earliest and best films; and it’s not objective for Kubrick fans or for those who appreciate the “noir” genre. This is an generous part of work that will definitely be appreciated by anyone who likes generous movies.
The movie: THE KILLING (1956) by Stanley Kubrick, was the film which brought the twenty-eight year customary director to Hollywood’s attention. Based on the 1955 crime recent Well-kept Crash by Lionel White (and re-named THE KILLING for its 1988 redistribution), director Kubrick incorporated the author’s exercise of the staggered time interval (which began in chapter eight) within this well balanced and tightly paced fable of seven disparate characters brought together to orchestrate a logically planned two million dollar robbery of a speed track in mammoth daylight.
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A smart danger of film making by Stanley Kubrick as he demonstrated an impeccable choice in cast selection, choosing established ‘B’ movie actors such as: Elisha Cook, Jr. as George Peatty and Jay C. Flippen as Marvin Unger (both actors had appeared in “The Three Stooges” skits more than once) ; then Wonderful Hayden as the main character, Johnny Clay: though one of the beauties of this film is that all of the actors had such memorable performances. The petite acting abilities of these stars only added to the subtle gritty reality of their lumpenprolitariat roles which carried this film as great as any special finish.
While Stanley Kubrick wrote the screenplay and maintained a number of elements from the book, he eliminated Lionel White’s character of Maurice Cohen and had Johnny Clay engage those duties; and also replaced the boxer, Tex, with the chunky (and hairy) wrestler Maurice Oboukhof for the spectacular bar room fight diversion. In the book, Marvin Unger deeply despised Johnny Clay; but in the movie, Unger demonstrated a fatherly pride and deep paternal admiration for Johnny Clay – the movie is famed for its admirable male commeraderie!
But how great more was Stanley Kubrick influenced for this movie outside of the Lionel White unique was suggested during the genuine stick-up scene performed by Ample Hayden’s character, Johnny Clay. In the book, Johnny tied a loose handkerchief around his face as a disguise, but this was changed in the movie to a plump rubber clown screen – almost an genuine duplicate of the masks published in police photographs worn by the bandits in the 1950s Brinks robbery in Boston; a robbery that was then nationally advertised as “The Crime of the Century”! The similarities continued as the Brinks building was robbed of two million dollars by seven armed men in rubber masks and got shipshape away. This is too strong a resemblance to be ignored, and the well-read Stanley Kubrick may have also been influenced by this event, coupled with the original Well-kept Demolish, to acquire his advanced and visionary robbery debut film.
Still, the movie: THE KILLING by Stanley Kubrick, is a colorful and typically Kubrickian ahead-of-its-time work of art which is a *must* watching experience in dusky & white for all its lasting and consuming scenes.
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