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
Although Victor Saville is credited as Executive Producer and Director Robert Aldrich is credited only as Producer, in reality, Aldrich had it written into his contract that he had complete control over the picture, and it would be made the way he wanted it, specifically stipulating that his decisions could not be overruled by any studio representative. See more »
Mike Hammer approaches a street vendor, buys some popcorn, and walks away eating it (which takes a few seconds.) A clock in the background progressively shows 2:00, 2:15, and 2:20. See more »
Opening credits scroll backwards (down instead of up). See more »
The original ending was shown overseas in various countries (eg. Germany and the UK) when the film was originally released. It appears that the film was actually released in two different versions worldwide and the shortened ending was done specifically for the domestic USA theatrical release. In the UK, although there was a longer ending, the theatrical release was heavily cut by around 7 minutes for violence by the BBFC with the result that the film became nonsensical. For example, the entire scene of Cloris Leachman being tortured was excised and the film cuts from Hammer being knocked out to him waking up again doused with petrol so that you never know what happened to Leachman or the significance of the shoes worn by Albert Dekker. UK TV prints are uncut. See more »
Sleazy, tawdry B-noir doesn't get any sleazier or tawdrier than Robert Aldrich's jazzy and astonishingly entertaining "Kiss Me Deadly." This film was released late in the life cycle of the film noir genre. By 1958 and Orson Welles' "Touch of Evil," true noir would be just about washed up. Any noir film from that point forward would be self-consciously aware that it was tipping its hat to an established genre. But "Deadly" came out when films still didn't have to work at being noirish---they just WERE, and dazzlingly so.
Born-to-play-a-bully Ralph Meeker plays tough-guy detective Mike Hammer, who's in the wrong place at the wrong time and picks up a mysterious panic-stricken girl (Cloris Leachman), who's just escaped from an asylum. From that moment forward, he finds himself tangled up in a barely lucid plot, in which a bunch of baddies want to get their hands on something the girl either had or knew about. Hammer doesn't know what it is, but he knows that if so many people want it, it's something he probably wants too, and the race for the great "whatsit" is on.
If you wanted to teach a film class about the look and attitude of a film noir, you couldn't pick a better film than this one. I found myself on a recent viewing of this film pausing my DVD player and studying the frame (because, sadly, this is what I do in my spare time), rehearsing in my mind what I would tell a class about any particular composition. And aside from the style, the film is steeped in noir sentiment--it's not simply cynical, like the glossier studio noirs of the 40's; it's downright apocryphal. It's not simply one man undone by the vengeful forces of fate here, but an entire civilization on the brink of extinction.
So pop this in and have a great time with it--feel free to quote it liberally, as there are plenty of juicy lines worth quoting. But as you watch it, you might want to stay away from the windows, for as Mike Hammer's hot-to-trot sometime girlfriend, sometime secretary Velda says, someone may "blow you a kiss."
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