A police lt. is ordered to stop investigating deadly crime boss Mr. Brown, because he hasn't been able to get any hard evidence against him. He then goes after Brown's girlfriend who despises him, for information instead.
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. Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
[breaking the 180-degree stageline]
Kubrick often breaks the 180-degree stageline in this film. That is, characters are photographed from both sides of the stageline, making them appear to be (for instance) looking in the same direction, when they are supposed to be looking in opposite directions. Watch the Davey Gordon and Rapallo ax fight at the denouement for an example. This film and Fear and Desire are the only two Kubrick films not based upon novels or previously published works. See more »
When Davey packs up to leave his apartment, his two bags are not the same two bags he has at the end of the film. See more »
At an age when most wannabe filmmakers are still 'in training' Stanley Kubrick was producing full length feature masterpieces.
I'm still shocked at how many fans of Kubrick's later work do not appreciate Killer's Kiss. While the basic plot of the movie is nothing special and decidely more 'Hollywood' than Kubrick's later works there are more signs of his trademark style in this film than I feel there were in The Killing or Paths of Glory.
Kubrick's own cinematography in particular blew me away. The use of depth, light and shadow and of his trademark moving camera show us more skill and thought than directors with dozens of films and much better scripts under their belt. And Kubrick's trademark use of his camera to observe silently, capturing the true spirit of his characters when they are alone (no music, no dialogue) is seen over and over in the apartment. If Kubrick's direction could turn a story like this into such a masterful cinematic experience I shudder at what he would of done with this film had he made 10 or 20 years later.
If you love the unique cinematic idiosynchracies of Kubrick's later work then you MUST SEE KILLER'S KISS!
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