Der Tiger von New York

A young Stanley Kubrick's bare-budget film - perhaps his first "mainline" movie - shows him still in the minor leagues but very close to making it to the Major Leagues. In fact, he did so the following year with "The Killing," a film noir that still ranks among the best. At any rate, this is an opportunity to see Kubrick at work right before he "makes it" in the business.

With an almost-nothing budget you aren't going to draw too many professional actors, and that certainly was the case here, but still is worth watching. It's definitely a "B" noir that is more melodrama than crime until the ending when it gets very, very suspenseful featuring a chase over New York City rooftops and then into abandoned warehouses.

Jamie Smith and Irene Kane are the stars and if you've never heard of them, it's probably because they weren't exactly Humphey Bogart and Bette Davis, acting-wise. The other star, Frank Silvera, at least is a name I recognized.

Overall, the best feature may be the camera-work. It gives us a preview of the visual talents that Kubrick would bring to the big screen in following decade. On its own merits, if you are a film noir fan, you'll want this in your collection.

Few have captured the glitter and grub of a cityscape better than this 70-minutes of neon and alleyways. The plot's all over the place, along with choppy editing and so-so acting. Thus, the storyline leaves a lot to be desired. Nonetheless, the visuals are consistently striking, from crowded dancehall to jagged rooftop. Clearly, Kubrick's sense of compositional artistry has already kicked in. And judging from the slick flashback of The Killing (1956), a lot was learned from this project. Sure the movie's done on the cheap and Kubrick has to do everything but cater the food. Still, the imagination is rich and pervasive at a time when Hollywood was arguably most straitjacketed. Despite the many flaws (god-awful musical scoring), this slender film put Kubrick on the movie-making map. Not surprisingly, his next film The Killing would provide a lot more to work with. All in all, the production remains a treat for the eye, if not for the ear; that is, if you believe urban dour can be made compelling.

At an age when most wannabe filmmakers are still 'in training' Stanley Kubrick was producing full length feature masterpieces.

I'm still shocked at how many fans of Kubrick's later work do not appreciate Killer's Kiss. While the basic plot of the movie is nothing special and decidely more 'Hollywood' than Kubrick's later works there are more signs of his trademark style in this film than I feel there were in The Killing or Paths of Glory.

Kubrick's own cinematography in particular blew me away. The use of depth, light and shadow and of his trademark moving camera show us more skill and thought than directors with dozens of films and much better scripts under their belt. And Kubrick's trademark use of his camera to observe silently, capturing the true spirit of his characters when they are alone (no music, no dialogue) is seen over and over in the apartment. If Kubrick's direction could turn a story like this into such a masterful cinematic experience I shudder at what he would of done with this film had he made 10 or 20 years later.

If you love the unique cinematic idiosynchracies of Kubrick's later work then you MUST SEE KILLER'S KISS!

In introducing "Killer's Kiss" on TCM, host Eddie Muller apologized all over himself for what a ragged, experimental film it was from newbie director Stanley Kubrick. But the thing is, as Muller himself pointed out, inexperienced Kubrick is still better than the best film of any number of other directors, so this one's a treat.

It's ragged to be sure, and it's clear that Kubrick had the outlines of a film that he then padded out to feature length proportions, but there's hardly a shot in the the thing that isn't remarkable in some way. It's my favorite kind of noir -- dripping in atmosphere, plot incidental (though there are some clever developments in the story), tough guy meter set to 11. There's a somewhat famous climactic fight scene set in a mannequin factory that's clearly used for its weirdness only, and the whole film is like that.

Many shots from this movie are used in TCM's intro montage to their late-night programming.

Grade: A-

"Killer's Kiss" (1955), acclaimed director Stanley Kubrick's second feature film, starred Jamie Smith, Irene Kane and Frank Silvera.

The story looks like it was partly inspired by Robert Siodmak's The Killers (1946): A boxer called on the slide Davey Gordon (Jamie Smith), is awakened from a dream (a stunning piece of surrealism, it's only fault being that it is too short) by the screams of Gloria Price (Irene Kane), who lives on the other side of his apartment block, as her lecherous boss Vincent Rapallo (Frank Silvera) forces himself on her. Gordon goes to her help, but Rapallo escapes. He falls in love with Gloria, a "dancer" at a nightclub run by Rapallo, but in doing so, he faces Rapallo's wrath and his deadly vengeance.

While the plot may be slightly run-on-the-mill stuff, the movie as a whole is certainly not. Shot on the streets of New York by Kubrick himself, the picture benefits enormously by this "breathing" quality, making the story more believable as it's set and shot in a real place, a rare practice at the time (one wonders if Kubrick did this for purely aesthetic reasons: the budget of the movie was only $40,000 or so, extremely cheap even then for a movie). The camera-work is very high contrast black and white, all the automobiles surfaces gleaming and enabling the tower blocks Gordon rushes past during the final look dark and foreboding. He also inserts a few stylistic shots like Gordon looking through a fish-bowl; but Kubrick uses these sparingly so they always look unexpected. Along with the beautiful cinematography, the action is the highlight of this motion picture: a violent and ruthless boxing match early on, shot with a hand-held camera is exciting and brutal; capturing what the sport is really like. Another set piece is justifiably famous: a climatic fight between Gordon and Rapallo in a mannequin store house with fire-axes.

But there are flaws, flaws than cannot be overlooked even if one is kind to the young Stanley Kubrick and very lenient. First and foremost is the acting: Irene Kane as the woman who sparks off all the trouble is desperately weak and is hard to see why a Rapallo lust after her and Gordon falls in love with her so quickly. Silvera is excellent as our villain and Smith, while nothing special, is good enough for his part, but because Kubrick opted to film the movie "silent" and then put in the sounds in post-production, not only do you have errors like cars driving in the background but no noise issuing forth from them, but the performances are made rather stilted and the dialogue spoken doesn't always match up to their lips. The motion picture is in (a needless) flashback, so we are given a redundant voice-over and the ending in the train-station is overly-sentimental and it is not only alien to the world of noir, but alien also to Kubrick. Despites these flaws, the movie reminds an enjoyable, at times very exciting, film noir that isn't just for Kubrick buffs.