The Killing (1956)

Crooks plan and execute a daring racetrack robbery.

Director:

Stanley Kubrick

Writers:

Stanley Kubrick (screenplay), Jim Thompson (dialogue),

Stars:

Sterling Hayden, Coleen Gray, Vince Edwards

Top 250 #190 | Nominated for 1 BAFTA Film Award.

Cast

Cast overview, first billed only:
Sterling Hayden	...	Johnny Clay
Coleen Gray	...	Fay
Vince Edwards	...	Val Cannon
Jay C. Flippen	...	Marvin Unger
Ted de Corsia	...	Policeman Randy Kennan (as Ted DeCorsia)
Marie Windsor	...	Sherry Peatty
Elisha Cook Jr.	...	George Peatty (as Elisha Cook)
Joe Sawyer	...	Mike O'Reilly
James Edwards	...	Track Parking Attendant
Timothy Carey	...	Nikki Arcane
Kola Kwariani	...	Maurice Oboukhoff
Jay Adler	...	Leo the Loanshark
Tito Vuolo	...	Joe Piano
Dorothy Adams	...	Mrs. Ruthie O'Reilly
Herbert Ellis	...	2nd American Airlines Clerk

Storyline

After getting out of prison, Johnny Clay masterminds a complex race-track heist, but his scheme is complicated by the intervention of the wife of a teller (George Peatty) in on the scheme, the boyfriend of the wife, airport regulations, and a small dog.

---

Plot Keywords:

airport | racetrack | robbery | ex convict | suitcase | 

---

Taglines:

...Like No Other Picture Since "Scarface" and "Little Caesar"!

---

Genres:

Crime | Film-Noir | Thriller

---

Certificate:

Approved

Details

Official Sites:

MGM

Country:

USA

Language:

English

Release Date:

6 June 1956 (USA)

Also Known As:

Bed of Fear

Filming Locations:

USA

Box Office

Budget:

$320,000 (estimated)

Company Credits

Production Co:

Harris-Kubrick Productions

Technical Specs

Runtime:

85 min

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Rodney Dangerfield's film debut.

---

Goofs

When Nikki tries to drive away after shooting the horse, he supposedly sustains a flat tire from running over the horse shoe discarded by the parking attendant. The tire is already flat before he starts the car.

---

Quotes

[first lines]
Narrator: At exactly 3:45 on that Saturday afternoon in the last week of September, Marvin Unger was, perhaps, the only one among the hundred thousand people at the track who felt no thrill at the running of the fifth race. He was totally disinterested in horse racing and held a lifelong contempt for gambling. Nevertheless, he had a $5 win bet on every horse in the fifth race. He knew, of course, that this rather unique system of betting would more than likely result in a loss, but he didn't...

---

Connections

Referenced in Nel cuore della notte (2002)

User Reviews

A crime classic, and a monument for actor Elisha Cook, Jr.

The story of a meticulously-planned race track hold-up is a stunner in every minute you watch it, and the film's progressive use of a partly documentary style has often been acclaimed as uniquely supporting the dramatic goings-on. It definitely put a modern touch to the somewhat out-of-fashion film noir in 1956, but still greatly relied on its basic rules.

A fine new note was the neat distinction between the gang's members' motives, ranging from repaying underworld debts (De Corsia) and hope of offering a better life for his ill wife (Sawyer) to the vain ambition of pleasing his vamp wife by doing something special (Cook).

Despite the film's qualities, Kubrick's treatment of the women's rôles seems more than old-fashioned today. Women here are either the homely and sweet type (Coleen Gray) or the Bette-Davis-eyed and cherchez-la-femme type (Marie Windsor). Both are accordingly taller or smaller than their respective partners by a head.

I should like to mention one of my favourite pans: that's when the bald philosopher-catcher walks up to Joe Sawyer's bar. Lucien Ballard's camera follows him all across the crowded tote hall, a take which must have been very difficult to organize and shoot. Later, the scene is repeated with Sterling Hayden.

This motion picture is also a monument for the great histrionic art of Elisha Cook, Jr., in a stand-out performance as the born loser. (German dubbing gives him the apt voice of Stan Laurel's speaker Walter Bluhm.) This little man never just did his job in unnumerable supporting rôles but has rendered effective homage to the tragic figure on the silver screen more than any other (non-comical) character actor I can think of. Regardless of his versatility in lots of different films, his impersonations of a likeable man who is doomed to fail make him unforgettable: take his lethal parts in "Phantom Lady" (1944), "Shane" (1953) or the likes, the audience's sympathy was always with this fine actor.