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Genres: CrimeThrillerDr

Starring: Felice Orlandi, Phil Stevenson, Frank Silvera, Irene Kane, Jamie Smith, Jerry Jarrett, Mike Dana

Director(s): Stanley Kubrick

Available Quality: Hi Def

Country: USA

Year: 1955

Available Quality: DivX, Hi Def, iPod, Hi Def

IMDB Rating: 6.7 out of 10 (8287 votes)

Prize-fighter Davy Gordon intervenes when private dancer Gloria Price is being attacked by her employer and lover Vincent Raphello. This brings the two together and they get involved with each other, which displeases Raphello. He sends men out to kill Davy, but they instead kill his friend. Gloria is soon kidnapped by Raphello and his men, and it is up to Davy to save her.

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Visitors Review

tedg (24 May 2012)

Lady from Manhattan

Spoilers herein.There's nothing like this stuff. If you ever thought Kubrick was a genius,you should consider that such an eye is not learned, and one would expect tosee it in the young man. Here's where he is taking chances.He produced, wrote, directed, photographed, and edited thiseffort.Here you see some real energetic expression of more controlled notions yousee later on:-- time and space symmetries, lots of them-- lots of narrative in inanimate objects from the environment-- dancing/boxing: life as a test performance, with the space between beingdead time-- narrative folding-- a mimimalist, deceptively symbol-laden story that all but ignores theactors-- a consistent `eye,' often from waist level when the lovers aretogether-- stylized voice-overAll this is fascinating enough. But an extra treat is to see this next toWelles' near masterpiece `Lady from Shanghai' of "48. Check out showdown inthe manikin warehouse compared the manikin part of `Lady's' funhouse at theidentical part of the story, with the same loser-womandynamic.Irene Kane has real presence despite her relatively poor acting. Kubrickmarried her ballerina `sister.' Wonder what happened toher?

jotix100 (23 May 2012)

Kubrik's kiss to New York

This film, directed by Stanley Kubrik, is not seen often these days. Itwas a surprise that it was shown recently on cable as it gave all ofMr. Kubrik's fans the opportunity to watch one of his early works.The copy that was shown is amazing in that it has been kept, orprobably restored, with great care. Stanley Kubrik was a genius; heprobably knew more about movies than many other of his contemporaries.Yet, his legacy is somehow meager, only sixteen full length features inalmost fifty years as a director.Killer's Kiss shows the Manhattan of 1955 like it has never been seenin other movies made in the city. Mr. Kubrik's attention to detail andstyle overshadows the story. The main problem is his screen play, itnever involves the viewer in what he is seeing. This is exacerbated bythe voice over one hears over the action. We never know what makesthese people tick, much less what's going on in their heads at anygiven moment.The story is told in a flashback. We see Davy waiting at the oldPennsylvania Station for the train that is to take him to Seattle. Hehad planned to leave with Gloria, but she seems never to appear; forall we know, he might be waiting in vain.The streets of Manhattan come alive in the brilliant black and whitecinematography by Mr. Kubrik, himself. That old New York that is nolonger around, is captured by Mr. Kubrik in such brilliant detail thatwe mourn the fact those buildings and institutions are not around anymore. The night scenes around Times Square, especially the stairwayleading to the dance hall have a style that brings some of EdwardHooper's work to mind. Mr. Kubrik deserves credit for filming onlocation and never making it feel as though those scenes have beenfixed to give that effect. In fact, that's where Kubrik's genius comesinto play, we realize he had an eye for making things real.The acting is not the main focus of this film. Frank Silvera makes amenacing Vincent, the mobster and dance hall owner. Jamie Smith andIrene Kane, go through the paces, but they don't convey to the viewerthe passion that is supposed to be going on between them.This movie should be seen by the serious moviegoer as it shows Mr.Kubrik's tremendous talent. It might be a minor film, in comparison tohis best work, but being one of his first movies, one can clearly seewhat will come later.

Bolesroor (23 May 2012)

The Loaded Gun

Most great directors make a movie early in their careers in which theylack budget, or talented actors, or technical know-how (or sometimesall three) and yet the movie transcends its weaknesses and burns with araw talent that lasts for decades afterward and serves as the promiseof greatness to come. Spielberg had "Duel," Scorsese had "What's A NiceGirl Like You Doing In A Place Like This," David Lynch his"Eraserhead.""Killer's Kiss" is Stanley Kubrick's loaded gun.It's a moody big-city pressure-cooker, and it's far from perfect, butthe film's obvious flaws only serve to highlight the brilliance:masterful photography, confident storytelling, hypnotic visuals... theTimes Square standoff is beautiful, as is the mannequin-finale whichreminded of the Milk Bar in "Clockwork Orange." The rooftop finale andthe visceral boxing sequence stand out- no other film of the era lookedanything like this. This is Kubrick flexing his muscles and stitchingbeautiful photographs together to tell a simmering story of lost soulsin lonely New York.The film's defects: over-reliance on voice-over to tell back-story andexplain off-screen events, a dubbing delay between mouths moving andspoken dialogue, and an extended final battle which may go on just aminute too long. But what you can take from this picture is what youwant to take from any director's loaded gun: the electric directorialstyle and visual eye that points to limitless potential and profoundtalent. Kubrick made good on that promise, and "Killer's Kiss" standsas the first chapter of his masterful career in film.GRADE: B+

Dire_Straits (22 May 2012)

Film has problems, but...

This film has a *lot* bad things about it. They are pretty obvious whenyou see the picture. That's why I only gave it a '6'.However, instead of focusing on the many bad points, let me point outsome very nice things about it: It looks realistic. The streets of NewYork are alive. The alleys and the interiors are authentic and give youa sense of actually being there. The story (written by Kubrick) isbelievable.The last 15 minutes of the film is a real nail-biter. While the finalaction scenes are certainly choreographed, I never felt as though I waswatching Kubrick's second film. Even then, he knew what he was doing,he just made a lot of mistakes (needless to say, he got better). I was going to avoid negativity but I am compelled to say the sounddepartment for this feature did a horrible, sloppy job; that alonetakes 3 stars away from my rating.But worth watching for the last couple of scenes, which are amongst thebest (or at the least, most memorable) film-noir scenes in history, inmy book.

seymourblack-1 (21 May 2012)

Claustrophobic & Visually Impressive

Stanley Kubrick was the director, cinematographer, editor, co-producerand co-writer of his second movie and commendably, despite his lack ofexperience and an obviously low budget, "Killer's Kiss" proved to be anextremely enjoyable and visually impressive film noir drama.Davey Gordon (Jamie Smith) is a washed up boxer who meets and falls inlove with a dance-hall hostess called Gloria Price (Irene Kane) andtogether they plan to relocate to Seattle. Unfortunately, Gloria'sviolent employer Vincent Rapallo (Frank Silvera) has designs on her anddispatches two of his henchmen to deal with Davey. However, due to acouple of unexpected coincidences, the plan goes wrong, the two menkill Davey's manager and the police suspect that Davey is the murderer.In order to prove his innocence, Davey pursues Rapallo and thiseventually leads to a final confrontation between the two men when theyengage in a spectacular and well choreographed fight for supremacy.Throughout the story the action takes place in locations which seemclaustrophobic and often the framing of the shots emphasises thisimpression. Davey and Gloria's living areas and Rapallo's office areall small. Camera positions which look down on the characters whenthey're on the stairs in the couple's tenement building and in thedance-hall entrance area also appear to significantly constrict thespace they occupy. During a boxing match in which the two boxers arealready confined within the ring, when Davey's opponent stands up tostart the bout, he is seen from a low viewpoint behind the still seatedDavey, with the result that the space which he visually inhabits ismade even smaller as he is then seen framed by Davey's right leg. Eventhe outdoor sequences in the latter part of the film convey the sameimpression as narrow streets and alleyways surrounded by very highbuildings seem to close in on everyone who enters those areas.Some good ideas are also used to make the film visually interesting.Davey's face is seen peering through the water in a fishbowl and theviewpoint is the position of the wall behind the bowl.. Similarly, whenRapallo throws a tumbler at a picture on the wall of his office, theglass is seen shattering from the viewpoint of the picture. A dreamsequence is photographed in negative and the final confrontationbetween Davey and Rapallo is staged in a warehouse full of mannequinsin a sequence which is rather reminiscent of the "hall of mirrorssequence" in "The Lady From Shanghai". There is also a brilliantlycomposed shot of the streets down which Davey is being pursued byRapallo and his men where the lit area of the street and buildings isreduced to a limited area on the bottom left hand side of the framewith everywhere else being bathed in black shadow. Rapallo's thugs arealso shown in silhouette when they attack Davey's manager and theirelongated shadows on the walls of the alley seem to exaggerate thesense of danger involved.The night time street scenes shot in Times Square are particularly goodand the other New York locations are also portrayed in a manner whichpowerfully conveys their squalor and potentially threateningatmosphere."Killer's Kiss" is rather short and contains some dead pan performancesbut its real strength lies in its incredible visual impact and itsability to evoke threatening and oppressive atmospheres sosuccessfully.

Det_McNulty (20 May 2012)

A Sweat Filled Outing Of What Was Soon To Come

After the critical and commercial failure that was Fear and Desire Âawork Stanley Kubrick reportedly disowned- he released his secondfeature-length picture, Killer's Kiss. Although deeply blemished, itboldly paved way for the career of one of contemporary cinema's mostbeloved and greatest directors. As the tagline maliciously utters, "HerSoft Mouth Was the Road to Sin-Smeared Violence", as for its time itwas reasonably bloodthirsty, with its intensely choreographed boxingmatch and gripping finale. Do not let this marketing tagline deter youinto believing this is all about fight scenes, because there is afervent element of romance additionally integrated and so it avoidsbecoming superfluous.Concluding where it first began, this cold-hearted thriller weaves anoirish web of macho deceit and feverish obsession. Kubrick utiliseshis minimal budget of $75,000 admirably and displays his talent bymaking the low-budget appear nearly as costly as the Hollywoodproductions of the same period. Filming in his hometown of New YorkCity, the city streets are deftly captured with naturalistic maturityand expressionistic manoeuvring. The camera places a morose gaze on itseven moodier characters, observing their moping around in a way whichechoes their botched ambitions, neediness and boiling frustration.My fundamental gripe with Killer's Kiss is that it feels far toocasually strung together, in a way which makes a lot of the scenes feelboth useless and ineptly edited. This leads to a dispersal of tension,thus it does not feel as taut as it should do for a film-noir. If youare able to excuse the overly dramatic performances, bare screenplayand weak editing to the shoe-string budget then you will witnessconsiderable vigour in its short running-time (falling little over anhour). Ultimately, it is all about the perishing style with Killer'sKiss because the narrative is far too iffy for much attention to bespared, let alone critically garnered.Kubrick was not eager to "get deep" with his second-feature, but ratherto make a name for himself in the industry with something which wouldallow him to have more control over his future directional attempts.For any aficionados of the man's career there are many examples ofthemes and imagery which is further studied in the director's latercareer. So, if you are willing to view this sketchpad of motifs, thenprepare to witness the irrefutable promise Kubrick offered with hisominous noir.

pervis ellis (19 May 2012)

Sexual Violence & the Production Code

Does anyone know if the Production Code (1934-1967) had any affect onthe final cut of Killers Kiss? I heard that the film had sexuallyexplicit scenes before Kubrick finally sold (and re-edited) it to UA orwhatever studio. Can anyone point out some of the more implicitsexuality of the movie? I know that sexual violence was a big theme inKubrick's movies and that he would go to some length to smuggle the notso implicit sexuality under the nose of the censors. Clock Work Orange(1971) being the most obvious example of sexual violence, where a womanis beaten to death with a big dick statue, in Eyes Wide Shut (1999)where a masked orgy becomes the almost cult like murdering of TomCruise and even in Fear and Desire (1953) where the horny solider can'thelp groping the female hostage. Lolita (1962), made just five years before Hollywood's adoption of MPPAfilm rating system, was absolutely ruined by the Production Code and alot of the implicit stuff sexuality was deeply imbedded. So maybe someof the more alert and perverted IMDb users can pint out some of theimplicit sexuality in Killers Kiss. I'll start with the fight scene in the manikin warehouse. Using thelimbs of the female body for violence. Violence generated by the desirefor a female.

Joshua Warren (19 May 2012)

Well...Every genius has to start somewhere.

Kubrick may be a genius in the film-making business, but even he madesome less than average films in the beginning. Killer's Kiss is notnecessarily a bad movie, it just isn't that good. It's very typical andkinda predictive. But then again it has some good moment, and some"Kubrick moments". At least this film got him enough attention tocontinue his career, that would make him one of the greatest filmmakersof all time.So for plain film fans, skip this one. For Kubrick fans, sure, butdon't expect to much. I give this film a 6/10.

(18 May 2012)

Shows what a master craftsman can do on a small budget

The five stars are more in appreciation of the limits of big budget. On pocket change Mr Kubrick knocked off a clever liitle film that acts as a " prequel " to the astonishing things to follow. It's interesting to watch this again after the seminal Eyes Wide Shut. Mr Kubricks world view never deserted him. Love the goldfish bowl shot, the street buskers and the mixed up rendevous in the street, the fight in the fashion dummy factory shows that even then Mr Kubrick could ellicit astonishingly real performances. Great little movie. Don't miss it.

Vincent Cadena (17 May 2012)

Worth watching

This is Stanley Kubricks second film, it's about average. Thecinematography is beautiful, New York looks amazing. The direction isvery good, a hint of things to come. The acting is below averageunfortunately. Stanley Kubrick would revisit Film Noir with his nextfilm, The Killing, which is possibly the best Noir ever made. Thismovie is kind of slow and the lackluster direction doesn't help much,you do see early Kubrick in this film, just like you see Tarantino inMy Best Friend's Birthday. The two films are very similar in the sensethat, they're both pretty amateurish and the directors went on to makeMasterpiece's soon after. Reservoir Dogs or any of Tarantino's otherfilms wouldn't be possible without The Killing. Basically see this ifyou love Kubrick, so you can experience all of his work.

(17 May 2012)

Definitely an early sign of what was to come.

First off, a quote from an earlier reviewer: "Poor Stanley. He got stuck with a pretty lame script for this one." Funny. You see--and I'm not making this up--KUBRICK WROTE THE SCREENPLAY!!! Moving on. This was an enjoyable, if flawed, film, with some great scenes . . . and some real duds. The direction is great (obviously), and the acting is, even at its worst, passable, but the story is lacking in inspiration. Still, pretty damn good for a director's second feature-length film.

JackBenjamin (16 May 2012)

Foreshadowing

The plot here is pretty lacking, but it's visually challenging andprefigures what Kubrick is about to offer when he sprouts his wingswith Lolita. He's my favorite director because he's never treated thesame theme twice, and his movies ask more questions than they answer.This one doesn't do that, but it has some neat tricks of cinematicvalue, kind of like what P.T. Anderson offers. That fight scene withthe mannequins and the rooftop chase; the murder of the agent in thealley (that remarkable frame-within-the-frame shot, and the charactersbursting from within it); and finally the nightmare sequence --juxtapose this with the slit scan sequence in 2001, a perfectprefiguring.

ian_harris (15 May 2012)

Minimum budget, maximum effect

Boxing is one of my least favourite subjects, so much so that I put offseeing this film until now. However, it is no more about boxing than "Onthe Waterfront", a great movie, which I think Kubrick was emulating (or"tributing", as we say these days) to some extent in thismovie.The plot reads like a cheap B movie, as does the script and the budget. Yetwith these severely limited resources, Kubrick manages to make an utterlycompelling film. The pace is helped by the length of the movie - 67 minuteswould be unacceptable today, but is right for this piece; an additional 30minutes of padding would have ruined it.The fight scene in the mannequin warehouse is an extraordinary piece ofimagination, cinematography and fight choreography. And no, that fight isnot even faintly like boxing.So, Kubrick's first feature effort. Minimum budget, maximum effect, wellworth seeing.

(15 May 2012)

Quality Film Depicting 1955 NYC

The flow keeps you on edge. Black and white camera work is stunning-particularily the haunting towering buildings and canyons of 1955 NYC during the chase scene. Time's Square, stark apartments unleash this haunting, powerful and emotional drama. You feel the suspense. The jazz music throws your senses around, like the characters in swift passion and "see who is following you" paranoia. No studio backlots here. Reality feel, like "On The Waterfront", or "The Last Picture Show" (both in Black and White) only with better lensing from Kubrick's intelligent eye. I sense Kubrick was fascinated by the use of an axe as a weapon of combat-the final scene is amazing-later to be weapon of choice for Jack Nichelson in "The Shining". Just the right length film for my tastes. Not a wasted frame.

gavin6942 (15 May 2012)

A Short But Powerful Noir Film

Davy (Jamie Smith), a washed-up boxer, intervenes when a prettydancehall girl named Gloria (Irene Kane) is brutalized by her hoodlumboss and lover (Frank Silvera). Gloria falls for her rescuer and angersher boyfriend, who promptly sends men to kill him. But when Davy'sfriend is murdered instead, the lovebirds must run for their lives.Stanley Kubrick, at the time a welfare recipient, was the writer,director, cinematographer and producer of this film. Of course, todaywe know his as possibly the greatest director who ever lived. And thisfilm showcases how, early on, he was ready to direct. (There are alsofine performances despite the cast not being known actors.) The scene with the telephone, the woman changing and the mirror?Brilliant shot. I loved the stark contrast of the ballerina scene,really pushing the monochrome boundaries. Awesome use of rooftops,great crane shot of the men running, perfect scenery and a nice scorefor this part of the film...

(14 May 2012)

For Kubrick Fans' Eyes Only: Others Beware!

There may be something that one can glean from KILLER'S KISS, but I think it will be lost on anyone that is not already a die-hard, Kubrick fan. That is to say, if you haven't seen any of Stanley Kubrick's films, do not start with this one under any circumstances. I kept asking for more. The fact that Kubrick had directed it raised my standards far too high. I kept waiting for a complexity in the story to arise, for the characters to grow some depth, for the subtle "turn" in the plot. But nothing ever came. And then the film ended, after only 67 minutes. As the credits rolled, I sat there in shock before finally muttering: "I guess that was it." Of course, there are some highlights in the film. The lighting is great, the shots are nice, etc. But compared to his later work, KILLER'S KISS fails to meet the director's own standards. So what is the use in seeing this film? I agree with one reviewer who commented that this film is like an artist's early "throwaway" sketches. While you can catch glimpses of Kubrick's later glory, on the whole the film lacks heart and should have been left on the drawing board. But a star does not emerge overnight-we must take his early, inexperienced work with his later masterpieces. Thus, if you are interested in Kubrick, the director, you might enjoy dipping back into his filmography to see where he came from. But if you are interested in catching a good noir, I would recommend over a dozen films before KILLER'S KISS would even make the list.

(12 May 2012)

Many, many interesting aspects

This is an heroic film; with very little budget, Kubrick delivers so many interesting and innovative things. It might be very rare that something like the electrifying box combat was filmed before or after. A veritable photographic "tour de force"! The sequence of the ballet dancer is quite something as well. The history, quite short according to the limited time of the film, is nevertheless vivid. Atention to detail and great photography creates environments very efectively, like the dance club, the evening in downtown, the modest appartments, and the noticeable upward shots in the railway station.

smitheeallen (11 May 2012)

Acting is terrible but filmmaking is great

I saw this film quite a few years ago in a film appreciation class Itook. I am a Kubrick fan so I was interested in seeing it. Theacting is pretty bad in this film, but Kubrick was pretty muchproducing this independently (in the mid-50's when that was notdone too often) and probably could not get very good actors. Thefilmmaking was great. There were great tracking shots, wonderfuluse of mise on scen, great long shots and close ups. In fact a lotof sequences were similar to sequences in many of Kubrick'sfamous films. Kubrick fans should see this movie at leastonce.

(07 May 2012)

From small things, big things grow!

This review is from: Killer's Kiss (El Beso del Asesino) [NTSC/REGION 4 DVD. Import-Latin America] (DVD) Despite a limited budget, some average acting at times, one can see the potential that Stanley Kubrick had start to develop into a career of ground breaking and influential filming. The things that stand out in the film include;- Reverse negative shot of the nightmare anticipates the famous "trip" scene in 2001;- Voyerism shots reminds a bit of Rear Window;- Huge shadows reflected on the buildings, similar to The Third Man;- The boxing sequence as good as any around that time;- The final fight to the death amongst the dummies was highly capably staged and filmed;- The seediness of the late night New York stands out;- The chase over the roof tops and the alley ways well edited and flows well.Ignore a bit of corny dialogue, this is where Stanley's brilliant creative genius as a film-maker really begins.

whpratt1 (06 May 2012)

Irene Kane & Jamie Smith Made this A Great Kubrick Film!

Missed this great film of director Stanley Kubrick in 1955.The black and white effect was perfect for this depressing story. However,it was enjoyable watching these two actors, Jamie Smith (Dave Gordon),"OnlyFools & Horses '81 TV Series" and Irene Kane(Gloria Price) "All That Jazz"'79, look at each other through the windows of their one room apartments inthe same building, dressing and undressing and looking very depressed anddown in the dumps. Jamie was a down and out prizer fighter and Gloria was adance for hire gal, who was down on her luck working along Broadway, NYC andbeing taken advantage of by the villian, Frank Silvera (Vincent Rapallo)"Valdez Is Coming" '71". Stanley Kubrick wanted this film to be a veryrealistic film about two people being drawn together by hard luck,therefore, he had these actors act just the way ordinary people would act inREAL LIFE, it makes it appear that they are both poor actors, which is farfrom the truth. It was great to see a man and a woman become drawn to eachother and be able to try and cope with their horrible situations in life. This a great Classic film by Stanley Kubrick!!

Review total: 20, showing from 1 to 20

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