A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
Johnny Farrell is a gambling cheat who turns straight to work for an unsettling casino owner Ballin Mundson. But things take a turn for Johnny as his alluring ex-lover appears as Mundson's wife, and Mundson's machinations begin to unravel.
Two professional killers invade a small town and kill a gas station attendant, "the Swede," who's expecting them. Insurance investigator Reardon pursues the case against the orders of his boss, who considers it trivial. Weaving together threads of the Swede's life, Reardon uncovers a complex tale of treachery and crime, all linked with gorgeous, mysterious Kitty Collins. Written by
Rod Crawford <firstname.lastname@example.org>
This was Burt Lancaster's first movie role. He was the third choice for the part of The Swede, and was signed only after actors Wayne Morris and Sonny Tufts proved unavailable. Lancaster was an ex-circus acrobat from Union City, New Jersey. When producer Mark Hellinger saw the first rushes of Lancaster's performance in a private screening room, he was so pleased that he yelled "So help me, may all my actors be acrobats!" See more »
When they're making their getaway from the robbery, the camera crew is reflected in the windshield of the truck they're hiding behind. See more »
Siodmak, Lancaster's first pairing is one of noir's central masterpieces
The Killers marked Burt Lancaster's screen debut, establishing the stoic persona that would sustain his long and luminous career. Along with Criss Cross (also starring Lancaster), The Killers also records the high-water mark of Robert Siodmak's work in film noir.
Starting with a Hemingway short story (the retelling of which constitutes only the prologue to the film), The Killers endeavors to fill in the "back story" which Hemingway left to his readers' imaginations. That back story explains why the "Swede" (Lancaster) passively, almost eagerly, awaits the nasty pair of torpedoes (William Conrad, Charles McGraw) who have come to hunt him down. The germ of this recreation is Lancaster's small, solitary bequest -- to a chambermaid in an Atlantic City hotel where he had once stayed. Insurance investigator Edmond O'Brien catches the scent of something unusual and can't let it go. His investigations, helped by an old buddy of Lancaster's who is now a police lieutenant (Sam Levene), uncover a botched stint as a prizefighter; a smouldering yet duplicitous temptress (Ava Gardner), and a payroll heist that ended in an elaborate double cross.
Siodmak, having disposed of the end right at the outset, takes a circuitous route through his telling by using a fragmented series of flashbacks. Paradoxically -- much as the false starts and averted climaxes in a Bruckner symphony pay off handsomely in the end -- the story thus gains depth and momentum. Woody Bredell's dark and meticulous cinematography fulfills Siodmak's vision, resulting in one of the central masterpieces of the noir cycle.
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