The Naked Kiss (1964)

Director:

Samuel Fuller

Writer:

Samuel Fuller (written by)

Release Date:

29 October 1964 (USA)

Genre:

Crime | Drama

Tagline:

Candy's Place--where all kinds of men find all kinds of sweets!

Plot:

Kelly, a prostitute, finds redemption in the town of Grantville, where she arrives working as a medium-time seller...

Plot Keywords:

Police | Kiss | Prostitute | Hospital | Love

Cast

Constance Towers	...	Kelly
Anthony Eisley	...	Capt. Griff
Michael Dante	...	J.L. Grant
Virginia Grey	...	Candy
Patsy Kelly	...	Mac, Head Nurse
Marie Devereux	...	Buff
Karen Conrad	...	Dusty
Linda Francis	...	Rembrandt
Bill Sampson	...	Jerry
Sheila Mintz	...	Receptionist
Patricia Gayle	...	Nurse
Jean-Michel Michenaud	...	Kip (as Gerald Michenaud)
George Spell	...	Tim
Christopher Barry	...	Peanuts
Patty Robinson	...	Angel Face

Also Known As:

The Iron Kiss

Runtime:

90 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

USA:Approved (PCA #20645)

Filming Locations:

Columbia/Warner Bros. Ranch - 411 N. Hollywood Way, Burbank, California, USA

Company:

Leon Fromkess-Sam Firks Productions

Trivia:

Director Cameo: [Samuel Fuller]It is Fuller's hand from the left side of the screen that grabs Kelly's wig off her head in the infamous opening scene. If one freeze-frames the scene you can see Fuller's face, his eyes covered with sunglasses.

Goofs:

Continuity: When Kelly approaches the porch of the house with the room for rent, she picks up the newspaper and hands it to the landlady who has opened the door. The newspaper, as picked up by Kelly, is snugly rolled up and bound with a rubber band. But in the next frame, taken from inside as we see landlady and Kelly come through the door, the newspaper in the landlady's hand is not a rolled up paper, but one that is simply folded in half.

Quotes:

Mac, Head Nurse: [Referring to Kelly, who, in spite of her shady background, has quickly landed a job at the local children's hospital] She came out of the clouds one night, without a single reference. I hired her on the spot.
Capt. Griff: [Suspiciously] I thought orthopedics called for specialized training?
Mac, Head Nurse: Oh, it does! Some people are born to write books, symphonies; paint pictures, build bridges. But Kelly... She was born to handle children with crutches and babies in braces.
Capt. Griff: [Still not convinced] Sounds like one of those sweet Florence Nightingales.
[...]

Movie Connections:

Featured in Play It Around Sam (2003) (V)

Soundtrack:

Little Child (Mon enfant)

Interesting, but I don't quite get it.

This is the second Fuller film that I've seen (the other one was "Shock Corridor"). I can't say that I was bored, but I really don't see why these films are held in such high esteem by some people (including famous film-makers like Scorsese). "The Naked Kiss" is certainly a good-looking film. The black and white cinematography is excellent, as you would expect from those involved. But stylistically, the film is kind of a mess -- a weird mixture of soap opera, film noir, 1960's-style psychological drama, and kinky shocker. For fans of the latter, that infamous opening scene certainly promises a lot more than the rest of the film delivers. As it seems to belong to no particular genre, perhaps Fuller's work could be considered a genre in itself. As has been pointed out elsewhere, if watched in the right company it can be a real camp hoot. But honestly, I think this film is far too flawed to be called a masterpiece, as some people have. The acting is fairly nasty, the script not much better. And that horrendous scene where our heroine sings that sickeningly sweet, cloying, endless song with the kids at the hospital! Good Lord, it's one of the most embarrassingly awful things I've ever seen on film! It seemed to induce actual physical pain, I kid you not! The subject of child abuse, which occurs in the film, was fairly progressive for its time, I'll grant, but hardly unique. If you can, see an even earlier film (1961) called "The Mark," with Stuart Whitman, Maria Schell and Rod Steiger. While staying in the confines of early '60s constrictions, it addressed the subject in a much more powerful and direct manner, to greater effect. I guess I'd have to consider Fuller one of those "cult film" figures. Either you get it, or you don't.