Der Todeskuß

Kiss of Death was an engaging and suspenseful film noir thriller. Standout performances were delivered from Victor Mature and Richard Widmark among others. Widmark as the sadistic Udo had a particularly memorable turn. This film actually reminded me quite a bit of the Humphrey Bogart film, The Enforcer, at least the first twenty minutes of that equally good crime drama. In both movies, the turning of evidence by witnesses for the state and their protection figure prominently. Unfortunately, the witness in The Enforcer isn't as lucky as Nick Bianco. One other note: the great Karl Malden has a small role in this film as a junior detective. Both Kiss of Death and The Enforcer get a solid 8/10.

Victor Mature had no illusions about his acting; when he was rejected for membership to a golf club because he was an actor, he said, "I'm no actor, and I've got 65 movies to prove it." However unpretentious he was, when he was cast in the right role, he came off well, as he does here in the noir "Kiss of Death." Mature plays Nick Bianco, a con who becomes a stool pigeon for the D.A. (Brian Donlevy) so that he can get a parole and retrieve his kids from an orphanage. He marries a friend of his late wife's (Coleen Gray) and uses another name so that his kids won't be tainted by his old criminal life. It all goes well until he has to testify in court against Tommy Udo. Then his life and that of his family are in grave danger.

"Kiss of Death" is notable for being the auspicious debut of Richard Widmark, and few actors have had such a powerful introduction to an audience. As the sadistic Tommy Udo, Widmark's raw laugh and smirk are chill-inducing. His famous scene - maybe the most famous scene of his career, as well as being a famous scene, period - occurs when he throws an old woman in her wheelchair down a flight of stairs. And laughs. A fantastic performance.

The beautiful Coleen Gray plays Nettie, Nick's wife. Despite her looks and good acting, Gray never achieved big stardom, though she had some excellent roles. I wonder if she just wouldn't play ball with Zanuck. Now 89, she is an attractive woman who continues to make public appearances, usually at screenings of the film "Nightmare Alley." Here she's perfect as a loving, worried woman. She also narrates.

Mature gives a solid performance as Nick -- he was really in his métier here and in films like "I Wake Up Screaming," though he graduated (or was demoted) to beefcake roles in period pictures later on. He had the physique but he wasn't a great actor and somehow, it was more apparent in those movies.

I feel very privileged to have met and spoken with Coleen Gray and to have heard the remarkable Richard Widmark speak in person, so I have an affection for this film. Even if I didn't, it's still good and well worth seeing.

This film is "required reading" in the study of gangster films, mostly because of Richard Widmark's exceptional and truly frightening performance as Tommy Udo. Interestingly enough, 43 years later, actor Joe Pesci would also terrify movie audiences with his portrayal of another psychopathic gangster, who also had the rather benign name of 'Tommy'. However, unlike Pesci, Widmark never had another particularly memorable gangster role after this one.

While a lot of the story is realistic, some of it is far-fetched - mainly, the end. Only a complete lunatic would even think of walking into the headquarters of a gangster that he had just testified against and expect to come out alive. However, the tension in that restaurant confrontation scene is effective, and I suppose for the era in which this film was made, it was necessary to have the 'good hero' face down the 'bad bully' and put him in his place. In reality, of course, it just doesn't happen that way in the world of crime.

But what makes this film is Widmark, and to give an idea of just how effective he was, when this film first came out, a real-life NYC mobster(Joey Gallo) would watch it and earnestly try to imitate Widmark's style and mannerisms, thereby enhancing his own skill in intimidating others. As they say, imitation is the sincerest form of flattery.

This was a 1940s film noir with a little bit different slant: the main character "Nick Bianco" (Victor Mature) being a caring father. Here's a guy torn between being a crook most of his life and the damage it did to him mentally, but at heart a real softie who is desperate to go straight and just be a regular family guy with everyone leaving him alone. In the story, he turns "stoolie" so he can earn that freedom and be that family man.

Among film noir buffs, however, this film is noted more for Richard Widmark's debut as the sadistic "Tommy Udo." One of the most famous noir scenes of all time is "Udo" throwing an old lady in a wheelchair down a flight of stairs! Widmark puts on a fake pair of choppers giving him an exaggerated overbite to go along with his insane little giggle. He also calls everyone a "squirt." His over- the-top performance puts a lot a spark into this film which, otherwise would have wound up more as a melodrama.

Two other actors have key roles in here: Brian Donlevy and Colleen Gray (making her credited film debut, too1). Donlevey plays a character who never see in modern-day films: a compassionate district attorney who goes out of his way to help "Nick." It's refreshing to see, for a change. Gray becomes Nick's love interest and is a very appealing wholesome type, as are the two sweet little girls Nick had with his former wife who killed herself while Nick was in prison. Gray becomes the step-mother.

Although not spectacular, the film is entertaining, especially the suspenseful last 20 minutes. It's quite dated in spots but Widmark's character alone is worth investigating this film if you've never seen it. I'm surprised there aren't more reviews of this.

Nick Bianco is a smalltime robber who finds himself facing a long prison sentence. He is offered a deal which presents him with a tough dilemma. Can he reform? Does he have it in him to turn his back on his criminal pals? Is he capable of leading a useful life?

Manhattan is itself the very essence of film noir. What Lorca called "the extrahuman architecture and furious rhythm" of The City, this totally manmade environment, is both impressive and somehow sinister. Borrowing from German Expressionism, the makers of noir saw the Metropolis as a twentieth-century emanation of the Frankenstein theme - that by industrialising, we have created our own worst nightmare. In "Kiss Of Death" we get the obligatory Manhattan skyline, but more significantly Bianco's new home, outside which his little girls roller-skate, is overshadowed by brooding spans of bridges. No matter how Bianco may love his domestic idyll, The City is in him and around him, and he cannot escape "that good old hoodlum complex".

The screenplay by gifted noirists Hecht and Lederer is excellent. Complex strategy, both in Di Angelo's plans to outwit the witness-intimidators, and Nick's final showdown with the bad guy, is conveyed effortlessly to the viewer. The little touches by which Nick gains our sympathy (unfair treatment in the workplace, his good handwriting, etc.) are expertly laid. The scene in which Di Angelo gradually undermines Nick's hostility is a particularly fine piece of writing. Though a major criminal trial forms a plot pivot, the writers resist the temptation to wallow in courtroom drama. We see nothing of the trial, and the movie is slicker and tauter for it. In a similar vein, mobster Pete Rizzo is important to the story, but never actually appears onscreen. His presence would only slacken the narrative rhythm. The fact od Nettie's marriage is communicated to the viewer with elegant concision, and her happy home life is shown symbolically, without being dwelt upon.

Richard Widmark is simply marvellous as Tommy Udo, the creepy psycho. His oscillation between manic levity and unhinged viciousness is fascinating to watch. The scene where Udo humiliates his "moll" Buster is a masterpiece of cruelty which tells us a great deal about both characters.

As the intelligent bulwark of right-thinking society, Brian Donlevy gives a memorable performance in the role of Assistant District Attorney Louie Di Angelo. Coleen Gray is ideal in the part of Nettie, the thoroughly nice girl who falls for Nick. She even takes over the movie's narration, making an interesting shift in tone from terse, authoritative male voice to the softer 'social conscience' theme of which her character is the embodiment.

And the film is not afraid to espouse the liberal cause. Nick loves his children, and a heartless, uncaring society won't give him a job. He is wrong to stage the hold-up to get money for Christmas presents, but what choice have we hypocrites left him? "Nobody's cried over me for a long time," says Nick. We believe him.

Henry Hathaway brings quiet assurance to the directing. The suspense is developed masterfully in two key places, neither sequence relying on dialogue at all for its emotional power. The first is the interminable elevator ride at the start of the film, and the second is Nick's long vigil near the end, as he waits alone for his nemesis to arrive.

Earl Howser is played by Taylor Holmes in a superb depiction of a crooked attorney, the glad-handing, glib-tongued "eminent shyster with connections". In the second conference at Osning, the unctuous Howser says "Sit down, son, sit down," then casts a wily look at Nick which reveals his reptilian cunning.

Hathaway and his Director of Photography, Norbert Brodine, have come up with one of the best, and best-looking, of all films-noirs. The unrelenting geometry of the wall bricks in the cell area, and the daunting shadow of the bars, represent symbolically the way in which an unyielding society has caged Nick Bianco and closed down his options. Osning's rigid architecture, shot in exaggerated perspective, is the emblem of society's inflexibility. Shadows of prison bars slant across characters' faces. We are all enclosed and limited by the industrial monster which we have created. The prisoners carry out meaningless work in the machine shop, the crazily spinning bobbins standing for the barren bustle of modern life, and the ubiquitous twine the web of capitalism in which we unfortunates are ensnared. The clang and rumble of el-trains invades living-rooms, the heartbeat of the evil giant entering every facet of our lives.

"Kiss Of Death" was shot in genuine locations rather than on studio sets, and the use of real buildings gives it an interesting look. Doorways are used throughout the film for clever dramatic effects. Nick's first kiss with Nettie is shot through a doorway, suggesting furtiveness, putting the viewer in the position of a disapproving janitor. The doorway of the bordello opens to Udo, but is slammed in Nick's face. He does not belong here. A moment of sincere mutual affection between Di Angelo and Nick - the only one in the film - happens in a doorway, as if these two men from different worlds can only ever coincide in this transitory way. At the orphanage, a doorway allows us to glimpse a stained-glass crucifix just as Nick is about to embrace his daughters - and redemption. The reunion with Conchita and Rosaria is very moving, and beautifully acted by Mature.

Verdict - A Superior Noir.