Film Review: The Killing (1956)

The filmography of Stanley Kubrick stands out not only for its extraordinarily high quality but also for its remarkable diversification. Throughout his illustrious career, Kubrick has ventured into various genres, enabling audiences to witness the evolution of his distinctive style, thematic preoccupations, and tonal nuances over time. Among his oeuvre, one film stands out as an early harbinger of what would come to define his signature aesthetic: 1956's crime drama The Killing. Though perhaps less celebrated than some of his later works, this film nevertheless merits recognition for its status as Kubrick's first classic.

Based on Clean Break, 1955 novel by prolific crime writer Lionel White, the plot follows Johnny Clay (played by Sterling Hayden), a veteran criminal who devises a plan to rob the money-counting room at a racetrack during a featured race. His target: $2 million in loot. To execute this audacious heist, Johnny enlists the aid of various characters, each tasked with specific roles: gaining access to the racetrack, creating necessary diversions for security guards, and assisting with the getaway. Despite great care not to divulge all details of the plan to his confederates, one of them, racetrack teller George Peatty (played by Elisha Cook Jr.), after being pestered by his sexy and shrewish wife Sherry (played by Marie Windsor) over lack of money, blurts out that their financial situation might change. This is enough for Sherry to learn about the plan and pass out information to her young lover Val Cannon (played by Vince Edwards) who has own ideas in whose hands the loot should ultimately end.

The Killing is often characterized as a film noir, which is somewhat understandable given its plot's resemblance to The Asphalt Jungle, another iconic crime drama featuring Sterling Hayden. However, Kubrick takes this genre in a different direction than John Huston's classic. Most notably, he employs a distinct visual style and narrative techniques that set The Killing apart from its predecessors. The use of narration by Art Gilmore and documentary footage from the racetrack lends the film a semi-documentary feel, while the incorporation of multiple flashbacks and non-linear storytelling, necessary to explain complicated heist scheme to the audience, makes it a trailblazing work for its time.

Another major difference between The Asphalt Jungle and The Killing lies in Kubrick's script, enriched by dialogues penned by pulp writer Jim Thompson. Unlike Huston's film, which exudes a degree of sentimentality towards its characters, Kubrick's take discards much of this empathy, focusing instead on the greed, weakness, and manipulative nature of nearly all the individuals involved. With one notable exception – the racetrack's bartender (played by Joe Sawyer), who joins Johnny's scheme to provide for his sick wife – almost every character in The Killing is portrayed as flawed or reprehensible. When the inevitable unravelling of Johnny's plan occurs in a violent and bloody fashion, it seems only fitting that these characters reap what they have sown.

In many ways, this misanthropic approach reflects Kubrick's growing cynicism and distrust of humanity, which would become a hallmark of his later work. Moreover, the ironic ending, where fate conspires to deprive the criminals of their ill-gotten gains, neatly conforms to the Hays Code, which mandated that all Hollywood films must ultimately demonstrate that crime does not pay.

In conclusion, The Killing is a masterful exploration of crime and human nature, showcasing Kubrick's burgeoning talent for storytelling, visual aesthetics, and thematic resonance. While it may be overshadowed by some of his later works, this 1956 film remains an essential entry point into the world of Stanley Kubrick, offering insights into the director's evolving style and themes that would recur throughout his illustrious career.

The Killing was an independent production financed by James B. Harris, who provided a relatively low budget but enough to secure some talented individuals for the film. Among them were Lucien Ballard, a veteran cinematographer known for his work on films like Ace in the Hole and Birdman of Alcatraz. Ballard's cinematography in The Killing lends the film a distinctive "noirish" look that enhances its atmosphere. Composer Gerald Fried provided an adequate but not particularly memorable musical score, at least in comparison with Kubrick's later works that often featured more innovative and iconic soundtracks.

The diverse cast of The Killing includes great character actors with varied backgrounds. Sterling Hayden delivers a standout performance as the intelligent and level-headed Johnny Clay, the nominal protagonist of the film. However, it is Marie Windsor who steals the show as Sherry Peatty, an unconventional femme fatale who lacks conventional beauty. Windsor was known for her unusual height that sometimes hampered her career, but here it is put to good use when her towers over Elisha Cook Jr., legendary character actor who delivers a memorable performance as Sherry's hen-pecked and cuckolded husband.

Although the violent climax of The Killing may seem slightly melodramatic and convenient at the expense of realism, the film has nevertheless been praised by critics for its tight storytelling, strong performances, and unique visual style. Despite initially struggling to find an audience, The Killing quickly earned recognition as a high-quality film that showcased Kubrick's talent. This recognition caught the attention of Dore Schary, head of MGM, who subsequently hired Kubrick and Harris to work on Paths of Glory, which further solidified their reputations as respected film makers.

The Killing continued to inspire film makers over the decades following its release, with Quentin Tarantino among its most notable admirers. Tarantino's Reservoir Dogs bears certain resemblances to Kubrick's first classic, notably in its nonlinear narrative structure and exploration of the criminal underworld. This influence demonstrates the lasting impact that The Killing had on the world of cinema, solidifying Kubrick's reputation as a visionary director whose work continues to inspire new generations of film makers.

RATING: 8/10 (+++)

Blog in Croatian https://draxblog.com
Blog in English https://draxreview.wordpress.com/
InLeo blog https://inleo.io/@drax.leo

Hiveonboard: https://hiveonboard.com?ref=drax
Rising Star game: https://www.risingstargame.com?referrer=drax
1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG
ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7
BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9

Posted Using InLeo Alpha