Le Notti Di Cabiria (The Nights of Cabiria) 1957 **1/2

(This article is from guest contributor Sarkoffagus and first appeared at http://classic-film-tv.blogspot.com/.  The rating in the title is my own.)

Cabiria (Giulietta Masina) is spending a day with her boyfriend, Giorgio. When they approach a river, Giorgio snatches Cabiria’s purse and pushes the woman into the water. Cabiria is saved from drowning by several locals, but, refusing to believe that Giorgio has simply stolen her money, she returns to her home to find him. Such is the life of Cabiria, who earns her living as a prostitute. She endures hardship and heartbreak, maintaining a firm grasp on the notion that one day she will find a true companion, a generous and selfless man who will shower her with love.

Federico Fellini’s Nights of Cabiria (aka Le notte di Cabiria/1957) is sometimes viewed as a bleak, often depressing film. Cabiria suffers through life’s adversities, which is not always easy to watch, compounded by the fact that she seems naive and so desperate for affection. She encounters men who are disrespectful or self-centered. She wanders into situations which ultimately leave her embarrassed or humiliated. There are times when Cabiria is alone, inside her small house or walking the barren land just outside the city, and a sense of loneliness will betray the woman’s confidence.

But what makes Fellini’s movie anything but a tragedy is Cabiria herself. Despite a childlike exterior, Cabiria is undoubtedly experienced and intelligent. Rather than let herself become overwhelmed with sadness, she retains hope with a smile and a spring in her step. Soon after Giorgio’s treachery, Cabiria is on the streets with others in her profession, dancing to music. Even after another woman insinuates that Giorgio is her man and Cabiria attacks her, the woman’s fury does not linger, and before long, she’s once again dancing in the street. She sees the beauty in so many things, a woman who is proud of the tiny house that she owns and whose happiness cannot be washed away in the pouring rain. The title is certainly appropriate: as the night blankets everything in darkness, Cabiria stands there, forever shining brightly.

Masina, who was married to the director for many years until his death in 1993, was a tremendous actress and provides Nights of Cabiria with a beautiful and unforgettable performance. Many of Fellini’s films either contained a circus or were reminiscent of one, with a motley assortment of characters, each with his/her own distinctive qualities and in a world that had no choice but to embrace every single person. Masina, quite suitably, was much like a clown. She could move from comedy to tragedy with the greatest of ease, and her face was incredibly expressive. Her grins radiate with joy, and her frowns are shrouded in sorrow. Her character in an earlier Fellini film, La strada (1954), played a clown, but that attribute is clear even without the makeup.

In 1998, Nights of Cabiria was restored by Rialto Pictures and was re-released in theaters. In addition to improving the overall quality of the film’s images, a seven-minute sequence with a character usually referred to as “the man with the sack” was included. The previously cut scene involved Cabiria, walking home alone in the early morning, seeing the man pull up in his car. Curious, she watches as he brings food and clothing to people living in what looked to be holes (translated in the subtitles as “caves”). It enhances the film greatly, as Cabiria meets a charitable man who seems to represent what she desires. Likewise, one of the people in the caves is a former prostitute whom Cabiria recognizes, and the woman, once wealthy from the spoils of her profession, is the embodiment of what Cabiria fears.

Nights of Cabiria won an Academy Award for Best Foreign Language Film, and Masina was awarded the Best Actress prize at the Cannes Film Festival and the Zulueta Prize at the San Sebastián International Film Festival held in Spain. Fellini was awarded the Best Foreign Language Film Oscar three additional times, for La strada, 8½ (1963), and Amarcord (1973). His actress wife was also nominated for a BAFTA for both La strada and Nights of Cabiria.

Nights of Cabiria editor Leo Catozzo, who had worked on other films with Fellini, designed and patented the CIR-Catozzo Self-Perforating Adhesive Tape Film Splicer (sometimes called the CIRO and/or guillotine splicer). He was awarded an Academy Award for Technical Achievement in 1990.

Federico Fellini had begun making films during the movement known as Italian Neorealism, which can essentially be defined as social commentary presented in a realistic manner (e.g., shooting on location, amateur performers, etc.). Certainly later in his career, Fellini moved beyond neorealism, with 8½ as a clear turning point, much more surreal than based in reality. However, even Fellini’s earlier movies rejected the notion of realism. There was a poetic and spiritual quality to his films, and this is prevalent in Nights of Cabiria. The film concludes with a violation of the fourth wall, a lyrical moment which gives the movie bittersweet closure, and just a little more sweet than bitter.

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Triumph of the Will (Triumph Des Willens) 1934 **

This 1934 “documentary” of the sixth Nazi Party Congress at Nuremberg by director Leni Riefenstahl is considered by many to be the most important propaganda film ever made. The director, who at one time had been a somewhat popular actress, was commissioned by the Fuhrer himself, Adolf Hitler, to film countless hours of Nazi glorification and then produce a film that would show both Germans and the world the greatness of the Nazi Party. It is both a visually stunning film and a troubling reminder of the dangers of hero-worship—especially when said “hero” was a raving racist who wanted to “cleanse” the world of undesirables and mongrels.

The film opens with the “hero” of our film riding through the clouds as Wagner’s “Die Meistersinger von Numberg” plays in the background. This image is no doubt harkening back to the glories of Valhalla and is Riefenstahl’s attempt to anoint Hitler the Messiah of the German people. One might ask here why she chose Wagner over Handel—Hitler had a penchant for loud and ostentatious German composers, such as Wagner (Hitler’s all-time fave). Whereas Handel’s more refined, and oh my goodness, Old Testament-based compositions were a tad out of line with the Nazi hatred of anything Jewish. And so this is the image the viewer is dealt from the beginning. The rest of the film is a “celebration” of the “greatness” of the Nazi Party and the adulation of its Fuhrer (which means in German, leader).

I am often shocked how few of my students know that Hitler was asked to become Chancellor of Germany in 1933. He didn’t take power or lead some grand revolution. In reality, the money people in Germany saw in him a man that could capture the interest of the people and a man that they could control—they were wrong about controlling him, but absolutely right about his power to transfix the nation. And this is what Riefenstahl focuses on: Hitler’s almost Svengali power over his people.

Literally hundreds of thousands of people are filmed by Riefenstahl adoring and saluting their leader with their echoing “Sieg Heil". Every type of German is captured here: the soldier, the worker, and most importantly to me, the young--because they are the future of the nation and to watch their unwavering adoration of such a monster is something that you never forget. Did those so young and impressionable young minds really stop loving their Fuhrer when he killed himself in May 1945 or when the Allies put them through denazification training? Just a question that I ponder every time I teach this time period in my classes…

As for the merits of the film, though it is difficult to admit, there are some. Riefenstahl had a gift for creating masterfully designed images. Once seen, no one can forget the overhead shots of the enormous crowds and marching soldiers at the rally. There is some sort of sinister symmetry to these images—like she has captured the most-ordered society known to man, but at the same time the viewer knows that the world is headed for utter disorder. I suppose watching these images that many can’t help but have mental juxtapositions of the reality Riefenstahl was trying to create against what we now know was nothing more than a monstrous mythmaking endeavor. You pair these masterful shots with extremely adept rapid editing and you have a piece of pure propagandist art.

It is too bad that a woman with such an artistic eye fell under the influences of such evil people.  When the war was over Riefenstahl found herself the guest of Allied prisons for four years and saw a once promising career as a director ruined. It should be noted that she vehemently claimed that her work was an example of cinema vertie and served as a historical record of the times.  Perhaps if she hadn’t used concentration camp prisoners as “extras” or been such a force in the Goebbels’ propaganda machine people would have been more apt to believe her.

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Seven Brides for Seven Brothers (1954) ****

 

(This article is from guest contributor Rick29 and first appeared at http://classic-film-tv.blogspot.com/.  The rating in the title is my own.)

The Oregon Territory in 1850 provides the setting for this high-energy, colorful musical based on a Benet short story (which, in turn, was inspired by Plutarch’s “The Abduction of the Sabine Women”). Adam Pontipee (Howard Keel) is a hard-working “mountain man” who comes to town for supplies—and a wife. After announcing his plans to a storeowner, he adds: “I’m in no hurry…I got all afternoon.” He quickly settles on Millie (Jane Powell), a comely—but sassy—lass who chops wood, cooks, and milks cows. For Millie, it’s love at first sight and the chance to take care of her own home.

The honeymoon gets off to a rocky start when Millie discovers that Adam has six brothers. “Y’all live around here?” she asks. “Not ’round. Here,” replies one of the brothers. After overcoming her initial shock, Millie grows fond of her brothers-in-law…until they listen to Adam and take extreme measures to get their own brides.
The score by Johnny Mercer and Gene de Paul is a tuneful one. “Wonderful, Wonderful Day” and “When You’re in Love” are bright, pretty love songs. But Mercer’s best lyrics are reserved for “Lonesome Polecat,” a woeful lament sung by the lovesick brothers (a sample line: “A man can’t sleep when he sleeps with sheep”).

Michael Kidd’s spectacular choreography provides a perfect complement to the music. Kidd insisted that all the dance numbers derive from what the brothers were doing. Most critics consider the barn-raising scene to be the film’s showstopper. But I favor the dance where the brothers try to outshine their rivals from the town and the aforementioned “Lonesome Polecat,” in which the brothers cut and saw wood in unison with the musical beats.

The cast is uniformly fine, with Powell and Keel generating the required chemistry as the romantic leads. Four of the brothers were accomplished dancers (I think Matt Mattox, who plays Caleb, is the best). Russ Tamblyn, who had no prior dancing experience (he was an acrobat), is quite appealing as the youngest brother. It’s hard to believe it’s the same actor who would later played a key role in the wonderfully weird TV series Twin Peaks.

I first saw Seven Brides on The CBS Late Movie in the mid-1970s. I liked it well enough then, but my fondness for it has grown significantly over the years. See a good print of it, if possible, so you can enjoy the vibrant colors. Seven Brides for Seven Brothers inspired a mediocre, short-lived TV series and a very successful Broadway play.

It has also played in a key role in a running joke between my mother-in-law and me. In one scene in Seven Brides, Jane Powell's character fixes the brothers an incredible breakfast with everything you can imagine: flapjacks, sausage, eggs, biscuits, potatoes, etc. So when visiting my's wife folks, if my mother-in-law asks if I want something to eat in the morning, I always reply: "A Jane Powell breakfast would be nice." I never get one, though. But I do get to hear a lovely laugh in response.

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The Day the Earth Stood Still (1951) ***

 

(This article is from guest contributor Rick29 and first appeared at http://classic-film-tv.blogspot.com/.  The rating in the title is my own.)

If there were a Hall of Fame for Timeless Movies, then one of its founding members would be The Day the Earth Stood Still. I've probably watched it at least once every decade since I first saw it on NBC's Saturday Night at the Movies in the 1960s. When I was a youngster, the film's fantastic elements--and Gort, the coolest robot on celluloid--appealed to me. When I was a teen, its stern warning about the perils of nuclear war resonated with me. With each subsequent viewing, The Day the Earth Stood Still has revealed something new: presenting itself as a Biblical analogy, an editorial on the influence of media on public opinion, a portrait of fear of the unknown, etc.

The films opens with Klaatu (Michael Rennie), a visitor from another planet, and his robot Gort making an unannounced spaceship landing in Washington, DC. When Klaatu exits from his ship and reaches into his space suit, a nervous soldier shoots him. While recovering in Walter Reed Army Hospital, Klaatu meets with the President’s secretary, Harley. The alien explains he must deliver a critical message to all the leaders of the world. Harley explains that’s impossible because of global political tensions. Klaatu confesses that he does not understand human conflict. He decides he needs to learn more about Earthlings from living among them. He escapes discreetly from the hospital and, as “Mr. Carpenter,” takes a room in a boarding house.

The success of The Day the Earth Stood Still hinges, in large part, on the casting of Klaatu. Producer Julian Blaustein and director Robert Wise originally considered Claude Rains, but his stage schedule made him unavailable. 20th Century-Fox head Darryl F. Zanuck suggested Spencer Tracy, but Blaustein worried that a well-known star would be a distraction (interestingly, that concern didn't apply to Rains). It was Zanuck who eventually "discovered" Michael Rennie, who was peforming in the British theatre. The tall, low-key Rennie brought conviction to the role, but his greatest accomplishment was making the alien visitor seem human. This is no small feat, as evidenced by a scene in which Klaatu reads the words of Lincoln and wants to meet him. This sequence could easily have come across as hokey, but Rennie makes it quietly effective and even heartfelt (since Klaatu has finally found someone who gives him hope about the human race).

With a human-like alien, it was left to the robot Gort to bring an eerie, other-worldly quality to the film. To make the robot as physically imposing as possible, the producers hired Lock Martin, a 7' 7" doorman at Grauman's Chinese Theater. To make Gort even taller, Martin wore 4-6" platform shoes. Walking in the heavy rubber suit in high heels was physically exhausting. There were two suits, one that laced on the front and the other in back. Martin changed suits depending on the camera angle, so that it looked like Gort had no "seams." In some shots, a static model of the robot was used. That Gort model was later bought by Larry Harmon, overhauled so it didn't look much like Gort, and used in Harmon's Bozo the Clown television show.

In addition to its visual impact, The Day the Earth Still even sounds other-worldly thanks to composer Bernard Herrmann's innovative use of a theremin (shown on right). One of the first electronic instruments, the theremin is "played" by moving one's hands in front of it to change sound frequencies. Its distinctive sound became almost a cliche through repeated use in other sci fi films of the 1950s. Still, Herrmann' score remains an impressive achievement today.
Loosely based on the Harry Bates story "Farewell to the Master," The Day the Earth Stood Still features strong religious undercurrents. Klaatu becomes a Carpenter (if in name only). He performs a "miracle" of global proportions. He brings a message of peace, but is largely misunderstood. And, of course, he is murdered and resurrected. Producer Blaustein credits screenwriter Edmund H. North for adding these provocative layers on top of a traditional science fiction tale.

The cast, music, and richness of themes contribute mightily to the film's timeless quality. But it's the story--along with that awesome robot Gort--that makes The Day the Earth Stood Still popular with viewers of all ages. I love to watch it with young people and tell them that they will need to memorize the film's classic phrase and repeat it at the appropriate point in the film...or the Earth will be destroyed. You'd be amazed at how many different variations I've heard of: "Klaatu barada nikto!"

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Sons of the Desert (1933) **

To some the comedic antics of Laurel and Hardy is an acquired taste.  Slapstick comedy is not highbrow and reveals nothing about the true meaning of the human condition—but that doesn’t mean that it isn’t good. Take me, for example. Some of my all-time favorite films are The English Patient, Smiles of a Summer Night, The Lovers (Louis Malle’s), The Umbrellas of Cherbourg, and The Lives of Others, just to name a few—all pretty much categorized by today’s standards as highbrow. Yet, I still enjoy watching a really good slapstick or “crude” comedy. For example, if someone asked me what the 2 best films of 2009 were (can’t do 2010 because I’m poor and can’t afford to pay $10 to see a film in a theater) I’d say The Secret in Their Eyes and The Hangover. Now, if you’ve seen these two films you know that they are in totally different class categories. Still, I cried at both: one from raw emotion (guess which one) and the other from laughing so hard. So, what am I trying to say with this exceedingly long introductory paragraph? Basically this: just because a film doesn’t delve into the human psyche or reveal some inner truth about humankind, that doesn’t mean that it lacks value. That said, let us move on to Stan Laurel and Oliver Hardy’s clever 1933 film, Sons of the Desert.

This was a remake of the duo’s 1930 film Be Big and was their fourth feature length film.  In it, they are members of an all-male club called the Sons of the Desert (also the later name of the duo’s fan club) who are told by their Exalted Leader (really, that’s what he’s called) that everyone in the club must swear by oath to attend the annual convention in Chicago. Ah, but Stan and Ollie have wives who aren’t the type to allow their husbands to go off on a trip like this. Of course, Ollie thinks he’s “the king of his own castle” and Stan thinks he has to do everything his wife tells him to do. However, Ollie’s wife, Sugar, no, I mean Lottie (the always funny Mae Busch), is the true ruler of the Hardy household and she wants her husband to go to the mountains with her. Her accuracy with vases, especially towards Ollie’s head, is sharp—just like her words. When Stan's duck-hunting wife Betty (Dorothy Christy) gives Stan permission to go to the convention the boys  have to come up with a plan to get Ollie there too.

The duo hatch a plan that is fool-proof—or so these two fools believe-- with the help of an idiotic veterinarian (Lucien Littlefield) posing as a medical doctor, Ollie is diagnosed as having “canus delirous” (AKA, a nervous breakdown) and prescribed a cruise to Hawaii as a cure. Mrs. Hardy can’t go on the trip with Ollie because she suffers from sea sickness, and so that means that Stan will have to go instead.

In Chicago we see the boys having a frolicking good time—along with Charley Chase, who has many laughs at their expense with the aid of a paddle and a water-squirting flower. There are scantily clad hula dancers, so in a way Ollie has seen Hawaii in some form. It turns out that Charley is Ollie’s long-lost brother-in-law and they engage in a hilariously risqué long-distance conversation with “Sugar". I especially enjoyed when Charley calls her a great organ pumper.

Thinking their ruse has worked, the boys head back to Los Angeles unaware that the cruise ship they were supposed to be on has sunk. This sets up two very entertaining scenes. The first is with a taxi driver that is pure slapstick—Stan was always the best physical comedian of the two in my opinion, and this scene showcases this, as well as his wonderful deadpan delivery. The second scene is when the boys return home and learn of the cruise ship disaster and hide from their wives in Stan’s attic. Their plan is to hide out until the rescued cruise passengers are brought to shore and then pretend they are amongst the survivors. The problem is the wives go to the cinema to get their minds off the plight of their husbands and see a newsreel of the Sons of the Desert convention in Chicago.

At one point the boys come crashing through the ceiling and find themselves hiding on the roof during a thunderstorm. They end up being apprehended by a policeman who wants to know their addresses…wait for it…to this Ollie remarks to Stan: “Here’s another nice mess you’ve gotten me into.” Presented to their wives, they unknowingly continue to weave some fantastic lie about how they ship-hiked after the typhoon. Basically, it is pure Laurel and Hardy.

So what makes Laurel and Hardy work? I think it is the opposites attract thing. Stan is thin, tall, honest, and calm and Ollie is short, fat, dishonest, and anything but calm. Of course, Ollie think he’s so much smarter than Stan—the exasperated looks he gives the camera at certain points throughout their films are a trademark.  And, Stan is pretty oblivious most of the time, so Ollie might have something there. Yet, it is Stan who usually gets the last laugh, as he often proves it is better to be lucky than smart. They just work well together. It isn’t life-affirming cinema, but it is entertaining. And, even if it is closing in on being 80-years-old, it is still funny.

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Wild Strawberries (Smultronstallet) 1957 **1/2

(This article is from guest contributor Sarkoffagus and first appeared at The Classic Film & TV Cafe.  The rating in the title is my own.)

Professor Isak Borg (Victor Sjöström), an aging physician and widower, is to receive an honorary degree from his alma mater, Lund University. After having a disconcerting dream of a lonely street, a clock with no hands, and a horse-drawn carriage (transporting a coffin with the professor’s lifeless body inside), Isak leaves for the ceremony earlier than planned, much to the dismay of his sassy but nimble housekeeper, Miss Agda (Jullan Kindahl). Traveling by car, Isak begins his journey with his daughter-in-law, Marianne (Ingrid Thulin), stopping at the summer home from his childhood and encountering a trio of youngsters, including a girl who reminds him of his first love (both named Sara and both played by Bibi Andersson). Plagued by more dreams, Isak’s trip becomes a catharsis, as he must comes to terms with his apathy towards others, his estranged son, and his despondent marriage.

Swedish filmmaker Ingmar Bergman was known for his somber movies, such as The Virgin Spring (1960), Hour of the Wolf (1968), and Cries and Whispers (1973), many of them wrought with misery and tortured characters. Considering this, the director’s 1957 Wild Strawberries (original title: Smultronstället) is refreshingly optimistic. Isak’s dreams are unmistakable representations of his fears: loneliness, his impending death, and his days of elation to forever remain distant memories. Once on the road, Marianne ruthlessly informs the professor that his son hates him, reminding Isak of the cold manner in which he allowed his daughter-in-law to stay with him (insinuating that problems between the couple were not his concern) and a loan that his son is slowly paying back (Marianne believing that the wealthy professor does not need the money). Isak is also forced to remember that his deceased wife, Karin, was an unhappy woman, which she blames on the man’s detachment and passivity.

Notwithstanding the dismal dreams and recollections of a rueful life, Bergman’s film is encouraging, for the simple fact that Isak is acknowledging that his uncaring behavior is a character flaw. Furthermore, he is experiencing an emotion he has likely never previously felt: guilt. Perhaps for the first time, Isak is seeing how his dispassion has affected the people in his life. When Isak and Marianne visit his mother, the professor sees the coldness in his mother that he has shown to his wife, his son and his daughter-in-law. The elderly lady rummages through a box filled with items of the past, her memories nothing more than keepsakes. It’s a sad scene, but one in which Isak recognizes that he does not want souvenirs of his youth but rather the happiness associated with it. More importantly, he does not wish upon his son memories of sorrow and pain.

There are a number of uplifting moments in Wild Strawberries. The young Sara is not simply an expression of Isak’s carefree childhood, but, with her genuine enthusiasm over seeing the professor awarded his honorary degree, she likewise represents happiness that remains within reach. In one sequence, the group stops at a gas station, where the attendant (Max von Sydow) fondly recalls Isak, who once had an office nearby. The man so admires the professor that he refuses payment, and as he praises the man’s kindness to his wife, the typically doleful Marianne flashes a bright, honest smile.

Wild Strawberries was awarded the Golden Bear at the Berlin International Film Festival, won for Best Film and Best Actor at the Mar del Plata Film Festival, and won a Best Foreign Film Golden Globe (Samuel Goldwyn International Award), along with four other films that year. It was also nominated for an Academy Award for Best Original Screenplay.

Thulin, Andersson and von Sydow were frequent collaborators with Bergman, appearing in a number of the Swedish director’s movies. Sjöström was a prominent film director in Sweden during the silent film era and directed a number of U.S. films (under the Americanized name of Victor Seastrom). He only made a few talkies before focusing his efforts as artistic director of the production company, Svensk Filmindustri, in the 1940s and acting in theatrical productions. This was the final film for Sjöström as either actor or director. He died a little more than two years later in 1960.


Although not an official remake, Woody Allen’s film, Another Woman (1988), borrows several thematic elements from Wild Strawberries and is generally considered an homage to Bergman’s movie. Similarly, the very basic plot to Allen’s film, Deconstructing Harry (1997), resembles both Wild Strawberries and another Bergman film, Through a Glass Darkly (1961). This is typical of Allen’s movies, as he often makes what can be considered his version of an European film, including yet another Bergman movie, 1955’s Smiles of a Summer Night (Allen’s 1982 A Midsummer Night’s Sex Comedy), as well as films from Italian director Federico Fellini (e.g., Allen’s 1980 Stardust Memories being his take on Fellini’s 1963 8½).

It is abundantly clear by the film’s end that Isak wishes to make a change in his life and hopes that it will spark changes in other people’s lives as well. The interaction between Isak and Miss Agda is pleasantly droll, but the most rewarding relationship in the film is the one between the professor and his daughter-in-law. They are the two characters who develop the most throughout the film, both stubborn people who gradually find contentment, shared and personal alike. The title refers to the wild strawberries growing in a field near Isak’s childhood home, but it is not merely a hint of childhood and nostalgia. The strawberries are wild because they are free, unburdened by regret and not restrained by old-world ways and traditions or fearing what is to come. They find their peace in simple existence.

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Kiss Me Deadly (1955) **

(This article is from guest contributor Sarkoffagus and first appeared at http://classic-film-tv.blogspot.com/.  The rating in the title is my own.)

Robert Aldrich's Kiss Me Deadly (1955) opens with a woman's bare feet sprinting on an apparently deserted road. The woman, Christina (Cloris Leachman, in her film debut), stands in front of an approaching vehicle. Gumshoe Mike Hammer (Ralph Meeker) swerves his car to avoid hitting her, and he reluctantly agrees to take her to the bus station. On the way, Christina tells Mike that, should they not make their destination, he needs to do one thing for her: "Remember me," she ominously states. Suddenly, they are forced off the road, and a semi-conscious Mike later sees a congregation of feet, while hearing Christina being tortured and killed. The dazed P.I. and the woman's body are put into Mike's car and pushed down a cliff.

Mike Hammer awakens in the hospital and is subsequently questioned by the police. The private eye, who specializes in divorce cases, soon has people asking about him, following him, and idly threatening him. Cops and criminals alike think that Mike is withholding pertinent information, and after having his private investigator's license and gun permit revoked, he tells his secretary and lover, Velda (Maxine Cooper), to forget the cheating spouses so that they can focus solely on "something big." And what everyone seems to be after is indeed big, bigger than Mike could ever anticipate.

Kiss Me Deadly was based on a novel of the same name by Mikey Spillane, featuring his immensely popular character. Reportedly, screenwriter A.I. Bezzerides, who adapted the book, had such aversion for the source text that the film ultimately took a dim view to Mike Hammer, turning him into a rather vile and despicable character. When initially interrogated, Mike refuses to talk, and the cops seem disgusted by him, asking him questions and patronizing him by "answering" on his behalf. When the gumshoe leaves, one of the men vindictively states, "Open a window." This is a man who knocks someone down a long flight of steps and smirks as he watches him roll down, a vicious person who clearly takes pleasure in slamming an uncooperative man's fingers in a desk drawer. He's the definitive antihero. He drowns the world out with loud classical music and screens his phone calls.

There are so many twists and turns in this film that it feels like constant movement. The first shot of Kiss Me Deadly is, appropriately, running feet. There's a distinct impression that Mike is running from place to place, hoping to be two steps ahead of everyone but more accurately having trouble keeping up. The concept of momentum is a significant component of the movie. Mike tries to identify Christina's killers by shoes, the deceased woman is equated with her roommate, Lilly (Gaby Rodgers), as she is likewise introduced with bare feet, and when Mike is taken captive, he is knocked unconscious and dragged (on a beach, as his feet leave a trail), and he is bound by feet and hands.

Mike moves forward with the investigation, and the villains want to stop him. His first car is wrecked, and he is "given" a second car with an explosive surprise. Other people have been killed in "accidents" involving vehicles. It's fitting that one of Mike's only friends is Nick (Nick Dennis), an auto mechanic whose catchphrase is, "Va-va-voom!" He's essentially an antithesis to the villains, wanting to fix what they wish to destroy.

With this in mind, the film's title can take on multiple connotations. A superficial view would associate the "kiss" with succumbing to the affection of the opposite sex, letting down your guard and opening yourself to a lethal reciprocation. But it can also refer to what Mike himself calls "the sweet little kiss off," an acknowledgment of death or, more specifically, the very thing which kills you. This gives deeper meaning to a warning provided by Velda: "Keep away from the windows. Somebody might blow you a kiss." Most notably, however, Kiss Me Deadly is a recognition of both good and bad, that sex ultimately leads to violence, as the two go hand in hand. Perhaps the film's quintessential shot is Lilly lying in bed, adorned in a robe and pointing a gun at the door.

Aldrich's film is abundant in atmosphere and style. Furthermore it's surprisingly violent, some of it even by today's standards. The majority of the violence's impact is not from the presentation itself but rather the callous way in which Mike dishes it out. Ralph Meeker has incredible presence, making Mike Hammer the type of character who makes a viewer feel both unassailable and anxious. At one point, Mike is shadowed by a stranger. The P.I. spots him almost immediately and seems to enjoy the moments preceding the inevitable attack. When the stranger pulls a switchblade, Mike forces him to drop the knife with the greatest of ease, before knocking him around and slamming his head against a building several times. It takes an extraordinarily cruel protagonist to make an audience sympathize with a man whose intent was to literally stab someone in the back.

The thing that everyone wants -- what Velda calls "the great whatsit" -- will likely be a surprise for anyone who hasn't seen the film (and hopefully hasn't been told how the film ends). Kiss Me Deadly continues its winding plot all the way to the closing credits, creating one of the grandest and most gleefully erratic cinematic endings of all time. Interestingly, for years the film's conclusion was truncated and left a couple of characters' fates in question. More recent copies of the film (the DVD, for instance) have the original ending intact.

Kiss Me Deadly is a solid entry in the film noir genre. Mike Hammer in Mikey Spillane's novels was a driven man, taken to seeking his own brand of justice; just look at some of the titles -- I, the Jury, Vengeance is Mine, etc. But Aldrich's cinematic Hammer is much more brutally simplistic. He just wants the payoff, indifferent to the people he hurts or kills, ignoring the police's requests for information, etc. In the end, it's impossible to tell if Mike wants to solve the mystery, if he's still hoping for monetary compensation, or if he's merely going through the motions. Such an enigmatic and unlikeable character within a baffling plot makes Kiss Me Deadly a beautifully complex and highly recommended feature.

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