Kelly, a prostitute, finds redemption in the town of Grantville, where she arrives working as a medium-time seller. There, she meets Griff, the police captain of the town, with whom she ... See full summary »
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A young American serviceman, stationed in Germany after the fall of the Third Reich, jeopardises his position with the Marshall Plan relief effort by breaking the non-fraternisatiom rule ... See full summary »
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Kelly, a prostitute, finds redemption in the town of Grantville, where she arrives working as a medium-time seller. There, she meets Griff, the police captain of the town, with whom she spends a romantic afternoon. The woman, traumatized by an experience in the past called "The Naked Kiss" by psychiatrists, finally, finds a job as a nurser in a Hospital for handicapped children, experience that allows her to find a sensitive side in caring and patiently love each one of her little patients. Apparently, Kelly will find happiness in Grant, her fiancé and Griff's partner, but she will be the witness of a shocking event that will threaten this happiness and even her mental health. Written by
When Griff and Kelly are talking on the park bench just after her arrival in town, she is reading "The Dark Page", a 1944 novel by Samuel Fuller that was the basis for Scandal Sheet (1952). See more »
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. See more »
Now you know why I can never marry a normal woman. That's why I love you. You understand my sickness. You been conditioned to people like me. You live in my world, and it will be an EXCITING world!
[Now on his knees]
My darling... our marriage... will be a paradise... because we're BOTH abnormal.
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"Charlie" played by Himself Charlie is Madame Josephine's dressmaker's dummy which she has dressed as her fiance who was killed in World War II. See more »
I began looking into Sam Fuller after seeing a documentary about him on TV in which Scorsese, Tarantino, and Tim Robbins discussed his films. Scorsese also mentions Fuller in his "Personal Journey" film retrospective, in which he sites "The Naked Kiss" as a major influence. From what I've read, the studios found the material in "The Naked Kiss" to be a tad on the heinous side, and re-edited Fuller's film to the point where he didn't even want his name in the credits. His name is very much in the credits however, for soon after the film opens with a prostitute beating a man unconscious with the heel of her shoe, Fuller is named writer, director, and producer. I suspect that the discomfited staggering between camp, noir, and grotesque melodrama, might be more a result of studio tampering than Fuller's misdirection. It is also difficult to discern just what sort of censorship the studios achieved, for whatever they did was austerely permeated by social taboos the likes of abortion, prostitution, child molestation, and murder. These issues are treated by Fuller in a way that is decisively an ideological digression from noir, despite the film's sporadic use of noir's aesthetic. In noir, women are the enigmatic femme fatales: deceptive, seductive, fatal, and the primary antagonism of all men. It appears to be precisely the opposite in "The Naked Kiss." Fuller's protagonist, Kelly, an ex-hooker, tells a cop that you can always tell when a man is "a pervert" from his "naked kiss." Throughout the film, as Kelly encounters women dealing with abortion, prostitution, and pretty much just general depravity, Fuller shows men reinforcing and furthering their depravity, then condemning it when need be. The character of Griff, the cop, is the essence of this. To Fuller, there is a perversity in the way men treat women in American society, and it is reflected in the title of the film itself.
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