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The Killers (1964)

Not Rated | | Crime, Drama, Mystery | 30 May 1964 (Japan)
Surprised that their contract victim didn't try to run away from them, two professional hit men try to find out who hired them and why.

Director:

(as Donald Siegel)

Writers:

(story), (screenplay)
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Won 1 BAFTA Film Award. Another 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
...
Sheila Farr
...
...
Lee
...
...
Mickey Farmer
...
...
Miss Watson
...
Mail Truck Driver
Robert Phillips ...
George Fleming
Kathleen O'Malley ...
Miss Leslie - the receptionist
Ted Jacques ...
Gym Assistant
Irvin Mosley Jr. ...
Mail Truck Guard (as Irvin Mosley)
Jimmy Joyce ...
Salesman
...
Maître D'
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Storyline

A remake of The Killers (1946) which itself was inspired by the Ernest Hemingway short story. Told instead from the hitmen's point of view, the killers decide to find out why their latest victim (a race car driver) "just stood there and took it" when they came to shoot him. They also figure on collecting more money. Ronald Reagan plays a rich, double-crossing financier. Lovely Angie Dickinson plays the femme fatale. Written by Mark Logan <marklo@west.sun.com>

Plot Summary | Plot Synopsis

Taglines:

Explosively NEW ... In Color! See more »


Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

30 May 1964 (Japan)  »

Also Known As:

Ernest Hemingway's The Killers  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The only movie in which Ronald Reagan plays a bad guy. He reportedly hated doing it. See more »

Goofs

When Charlie and Lee go down to Miami to visit Earl Sylvester there are mountains clearly visible in the background as they drive up to the garage. See more »

Quotes

Charlie Strom: Lady, I don't have the time.
See more »

Connections

Featured in Capitalism: A Love Story (2009) See more »

Soundtracks

Too Little Time
Music by Henry Mancini
Lyrics by Don Raye
Sung by Nancy Wilson
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

My favourite cult B-movie...
20 January 2000 | by (Edinburgh, Scotland) – See all my reviews

Lee Marvin and Clu Gulager, two contract killers, walk into a Midwest school for the blind and cold-bloodedly murder John Cassavettes. "We walk in, we put him down, we walk out," muses Marvin distractedly on the train back to Chicago. Cassavettes had the chance to run but didn't, and Marvin wants to know why.

Initially, Don Siegel's colour remake of the Ernest Hemingway story was intended as the first made-for-TV movie. Vetoed by the network for its amoral viewpoint and violence, it was released in cinemas and quickly became a cult 1960s B-movie.

Anonymous and menacing in executive suits, sunglasses and briefcase, Marvin and scene-stealing Gulager memorably personify organised crime under Siegel's expert direction. They're pure all-American evil.

True, the main plot - pieced together in flashback as the two hitmen track down the mail robbery gang led by Ronald Reagan (his last film) - is pretty routine stuff. But even that serves to heighten the threat represented by Marvin and Gulager, as they unravel the real reason for Cassavettes' deathwish.

"No one ever knows what we're talking about," mocks Gulager when femme fatale Angie Dickinson tries to act dumb. The scene in the hotelroom where the killers force her to tell is handled with a ferocious cool that is Siegel's trademark.

The Killers was still in production when Kennedy was assassinated - perhaps one reason, given its theme, why TV network ABC pulled it from their 1964 schedule. The scene where Gulager is shot down on a sunlit sidewalk even echoed the killing of Kennedy assassin Lee Harvey Oswald (Gulager's character is called Lee).

OK, it's not a masterpiece. Even the great Don Siegel can't quite disguise a B-movie budget, a repetitious screenplay, brightly artificial colour, and exteriors that are only too obviously the Universal backlot. But it is tense and exciting, thanks to Siegel's authoritative grasp of the genre.

"I shot it in the style which I think is my style at its best," Siegel concluded later. "Very taut and lean with great economy. If I had to do it over again, I don't think I would change much."


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