A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
A frightened woman is running barefoot on a highway, trying desperately to flag a car. After several cars pass her by, the woman sees another car approaching, and to make sure either the car stops, or, she's killed, she stands in the path of the oncoming car. Private Investigator Mike Hammer is the one at the wheel, and after almost hitting the woman, he tells her to get in. The woman's name is Christina Bailey. She is obviously on the run, being barefoot and wearing nothing but a trench coat, and the scent of fear. Whoever was after her eventually catches up with them. Christina has information they want, but dies while being questioned. The killers fake an accident by pushing Hammer's car off the road, but he survives, waking up in hospital two weeks later. As Mike starts to investigate Christina's death, he's told by the police to stay out of it, but, the hard-nosed private investigator proceeds anyways. Little did he know that Christina's secret would lead to death and destruction.Written by
The first of three Robert Aldrich-directed films whch begin with someone crying over the credits. See more »
At the beginning, Christina (Cloris Leachman's character) is shown running at the side of the highway, but the shots of only her feet show her running along the painted center line of the highway. See more »
Opening credits scroll backwards (down instead of up). See more »
The German TV version (the film was never shown theatrically) edits or eliminates the most violent scenes and excises the scene in which Hammer is drugged for interrogation. Furthermore, the dubbing changes the dialogue throughout the film, eliminating all allusions to Hammer's immorality and his prostitution of Velda. Consequently, he is painted as much more of a traditional heroic figure than in the subversive original. See more »
"Kiss Me Deadly" revealed the developed of Aldrich style
"Kiss Me Deadly" had few similarities with Spillane's story about a gang of dope traffickers Instead Aldrich reworks the plot so that the criminals are mixed up in the theft of priceless and high1y dangerous radioactive material which they are planning to smuggle to an unnamed power The complicated story begins with Hammer picking up a scared girl on a lonely road at night and continues through the girl's subsequent death, a kidnapping and a series of very brutal killings
Spillane's Mike Hammer remains the ultimate in violent private eyes The killings seem to matter less than the sadism One scene in which Hammer deliberately breaks the irreplaceable records of an Italian opera lover in order to get the information he wants is more repellent than any of the murders in the film
Furious but stylish, "Kiss Me Deadly" is a film of great power and stays unique for its mixing of art and pulp fiction
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