A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
Based on Kubrick's pictorial for Look Magazine (January 18, 1949) entitled "Prizefighter," "Day Of The Fight" tells of a day in the life of a middleweight Irish boxer named Walter Cartier, ... See full summary »
Two days in the life of priest Father Fred Stadtmuller whose New Mexico parish is so large he can only spread goodness and light among his flock with the aid of a mono-plane. The priestly ... See full summary »
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. See more »
Before Davy jumps through the loft window, he is wearing light socks and later dark socks. When he lands on the sidewalk, he is clearly wearing white socks. 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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