Wed 14 Dec 2016
A Movie Review by Jonathan Lewis: THE KILLING (1956).
Posted by Steve under Crime Films , Reviews[4] Comments
THE KILLING. United Artists, 1956. Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Ted DeCorsia, Marie Windsor, Elisha Cook, Joe Sawyer. Screenplay: Stanley Kubrick, with additional dialogue by Jim Thompson; based on the novel Clean Break by Lionel White. Director: Stanley Kubrick.
Much has been written about The Killing, one of Stanley Kubrick’s earliest films and the template for the crime film subgenre known as the “heist film.†In many ways, the story at the heart of this crime film — a ragtag group of men planning the perfect heist of a betting track — is less important than the way in which the story is told.
From the voiceover narration, which lends the movie a semi-documentary feel, to the reverse chronology in which certain key events in the unfolding story are depicted, Kubrick’s movie is revolutionary in the manner in which it frequently shifts the perspective from which the viewer engages with what is happening on screen.
At first look, the movie’s protagonist/anti-hero is Sterling Hayden’s character, Johnny Clay. He’s a career criminal, once imprisoned at Alcatraz. Most significantly, he’s the brains of the whole operation to steal from a horse racetrack — an institution that is inherently suspect as it gains its money from the desperate and the downtrodden hoping to turn their money into even larger gains. (A heist film where the target was an honest, family owned restaurant, for instance, wouldn’t generate much interest, I suspect.)
Back to Johnny Clay, both the brawn and the brains. It was his idea to gather a group of men, including an old friend (Jay C. Flippen), a corrupt policeman (Ted De Corsia) and a chess playing wrestler (Kola Kwariani) as well as an off-kilter sharpshooter (a perfectly cast Timothy Carey) to pull off the job. He’s also got men on the inside: bartender Mike O’Reilly (Joe Sawyer) and George Peatty (Elisha Cook, Jr.), a betting room teller.
I mentioned George Peatty last for a reason, for in many respects, it is Elisha Cook’s portrayal of a downtrodden cuckold that carries the film’s story from its desperate but oddly optimistic beginning to its violently tragic, albeit humorous, climax. It’s Johnny Clay’s story that makes The Killing a crime film. It’s George Peatty’s that makes the movie a film noir.
Some five to ten minutes into the movie (I don’t remember exactly), The Killing shifts its visual focus from Hayden’s character and the preparations for the crime to the marital squabbles between George Peatty and his witty, albeit sarcastic and emotionally abusive wife Sherry (Marie Windsor). The scene in which we see the two Peattys bicker, with Sherry hurling cruel verbal jabs at her sad sack of a husband lingers longer than one might expect.
It’s just the two of them in an apartment bedroom, with Sherry complaining that she married George thinking that one day he’d hit it rich. He’s truly in love with her, but she has next to no respect for him — a point further highlighted when it’s revealed that she’s cheating on him with a total sleaze named Val Cannon (Vince Edwards) whom she freely tells that George is part of a scheme to rob the racetrack. George may be thinking of obtaining illicit money to keep Sherry, but Sherry is thinking of taking George’s money to keep her illicit lover.
If this all sounds like a standard double cross scenario, it’s because it is. And it’s this melodramatic aspect to the film, when combined with Johnny Clay’s quest for the perfect heist that makes The Killing not just a crime film, but also a film noir with tragic qualities.
What makes this Kubrick film a particularly durable work is that the behavior on display here is merely instantly recognizable aspects of human behavior enhanced for dramatic effect. Johnny is a career criminal and a cynic, and while Sterling Hayden’s character is cool and full of swagger, he’s not all that interesting.
The same cannot be said about George (Cook in a standout role, one in which his eyes reveal the depth of his soul). He’s a weak man who wants so badly to please his wife that he’s willing to commit a felony to do so and it’s his story — from his pathetic entreaties to his wife at the very beginning to his willingness (Spoiler Alert) to cut her down in cold blood — that makes The Killing a fascinating look into human greed and urban despair.
December 14th, 2016 at 5:00 am
There’s as certain amount of tension over how much Jim Thompson (as opposed to Kubrick) had to do with writing this. As you might expect, fans of each posit their man as the primary author.
December 14th, 2016 at 5:38 pm
The White book is well worth reading, and available to read for free as an ebook.
It is a great film, still one of the most suspenseful heist films, and with good performances all around and exceptional work from Cook and Windsor.
Though his character is far different from the world weary simple Dix in JUNGLE, Hayden is the perfect actor for this, somehow, despite his size, collapsed in on himself, all too aware that for all his optimism everything is bound to go bad. Part of the films pleasure for me is watching him as the careful plan unwinds always lying to himself that he is smart enough to pull it off.
December 15th, 2016 at 12:09 am
Another movie you can watch over and over — at least I can — and every time see something new. I saw this with Jon a couple of nights ago, and it was that first long conversation between George and Sherry that really grabbed me this time. After it was over I tried to remember how many scenes it took to shoot it. I don’t think there were many.
I’ll have to watch it again.
December 15th, 2016 at 12:10 am
David
Quoting you: “Hayden is the perfect actor for this, somehow, despite his size, collapsed in on himself…”
What a great line!