An Ad-Vantage To Noir

The Killing

(1956)



Directed by- Stanley Kubrick

*Sterling Hayden, Elisha Cook Jr., Jay C. Flippen, Ted de Corsia, Joe Sawyer, Marie Windsor

There are heist films and then there's a heist film by Stanley Kubrick. Kubrick only a budding genius back then made this film on a small budget in collaboration with his patron James Harris, with a restricted reign on his artful imagination and yet he did a fantastic job. His innovative idea of telling the story through various vantage points adds a freshness to every iteration while also building up the excitement.

The story about a bunch o' hoodlums who plan to make a fortune by ripping off a racetrack, flows smoothly until their schemes are spilled to the greedy wife of one of their own. This sets in motion various nefarious schemes that greatly affect the solution of this potboiler affair.

The film also explores the 'human element' in an erstwhile perfect heist. The element of avarice, wrath and simple nerves playing its part in a cog-and-wheel situation and how that affects the conclusion.

Cleverly directed with a few shots that stand out particularly, make brilliant use of light with a dexterous play of shadows. The meeting in a shady apartment or the scene where George goes to kill his unfaithful wife, the expression on his bloodstained face, remain etched in memory long after.

(George here being the memorable gunsel from 'The Maltese Falcon', Elisha Cook Jr., ah how well Kubrick utilizes him)

The acting by everyone is fine. Marie Windsor as the insatiable vamp leaves a mark, as does Cook Jr. However the lead actor Sterling Hayden fails to impress. It's still Kubrick who's the real star of his film.

But a character that sticks with you is the wise old wrestler, Maurice. With his overflowing knowledge and superior intellect, the mountain of a man manages to impress albeit having a short role.

 

The shots are planned well, the racetracks are depicted in their expanding vastness and the horses look beautiful indeed. From the gloomy indoor settings to the bright outdoors Lucien Ballard captures everything splendidly.

But it's the screenplay, adapted from a novel by Lionel White and written by Kubrick himself that towers above all. The dialogues, such as those between the husband and wife where he convinces her of his love and she, quite shrewdly coaxes him to spill the beans add flesh and blood to the narrative. Even the narration, which does provide a slight documentary look, reminiscent of his shorts, is convincing.

The justice done to the characters and the untold yet evident fate of the sole survivor delivers a chilling blow.

Overall, a darn good film. Very different from the rudimentary noirs, in both styling and substance and yet true to the roots of the genre, this one is certainly one of the best heist films you've seen.

Kubrick is the man, or God. Whichever you will prefer.

Rating- 4.5/5