Le Carrefour de la mort

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.

Richard Widmark belongs to a select few players who from their screen debut became instant stars. No bit parts, no walk-ons, Widmark's first feature role netted him an Academy Award nomination for Best Supporting Actor and stardom.

Widmark's portrayal of Tommy Udo in Kiss of Death shocked audiences nationwide. When Widmark tied up Mildred Dunnock and threw her down a flight of stairs, gasps aplenty came from audiences. That maniacal giggle became his trademark and fodder for impressionists from then on in. Widmark in fact had to really convince his bosses at 20th Century Fox that he was capable of more than being a psychopathic killer.

Widmark was fourth billed in this film and so dominates it that it's forgotten that Victor Mature is the lead and contributes a good performance in his own right. Mature is a career criminal who was left holding the bag for his associates during a jewel heist. He refuses to rat them out and gets a stretch in prison for it. By his refusal to be a stoolie, Mature gains the friendship of Widmark who has a special hatred for the breed.

Things then go bad for Mature when his wife commits suicide and his two little daughters wind up in an orphanage. At that point he rethinks becoming a stoolie for District Attorney Brian Donlevy and the main action of the film begins.

Mature gives a very good performance of a man running out of options. He's caught between concern for his family and living up to the honor system that criminals have among themselves. Brian Donlevy, usually a villain, does a good job as the District Attorney.

One other performance is worthy of note. Though he only has a few scenes, criminal defense attorney Taylor Holmes is also a real stand out. His Earle Houser is definitely one of the sleaziest lawyers ever portrayed on the screen.

For all the many good performances Richard Widmark has given in his 91 years, his debut film turned out to be the only time he was ever nominated for an Oscar. That's a shame because I could think of a couple of other films like Night and the City, Pickup on South Street and Panic in the Streets that would have been worthy of consideration.

Hopefully the American Film Institute will give Widmark a Lifetime Achievement Award and soon.

Henry Hathaway does a bang-up job directing this taut, realistic gangster noir. With the exception of a couple of domestic scenes with Mature and his family, this film never lets up. In one of the most unique film debuts, Richard Widmark steals the show with his portrayal of the giggling, psychopathic killer Tommy Udo. There is no doubt about who is the star of this movie. Victor Mature gives a fine performance as the basically decent guy who turns "stoolie" and for whom you have sympathy and the rest of the cast is strong in support.....but it is Widmark who mesmerizes you with his performance. The oft cited senseless violence of the "wheelchair pushed down the stair" scene is still one that makes you turn away. The real life New York City setting adds more realism and the black and white cinematography is excellent, capturing shadows which foretell the violence that is coming. Look for Karl Malden in a small part, early in his career. This is a classic of the noir genre and should be added to your film library.

I always enjoy watching things like this for the first time. Always wondered just What was the big deal w/ Widmark and the infamous wheel-chair scene? Now I know. It's pretty effective and sure, there wasn't anything else like it on film in '47, no sir.

What about the rest of this? Well--others have pointed out-the romance happens rather suddenly, I thought Widmark played a little too much by the rules towards the end-why didn't one of his goons just off him in the restaurant-?? and sure, they tacked on the wife's suicide rather conveniently-but, for the most part, this does work.

Look for Karl Malden in a smallish early role. I also enjoy watching Brian Donlevy, he usually played sgt majors and the like, here you can see why. Kudos to Victor Mature too-nothing great, but a solid role for him, too.

*** outta ****, worth watching.

Small-time hood Nick Bianco (Victor Mature) is sent up the river for a jewel heist. He refuses to cooperate with the D. A. and will not turn stool-pigeon on his pals. But after he learns of his wife's suicide, he changes his tune. He's got to get out of jail to take care of his two little girls. The D. A. agrees to help Bianco if, in return, Bianco will help the D. A. Bianco fingers Tommy Udo (Richard Widmark) for a murder and even agrees to testify at the trial. But, when Udo is acquitted, Bianco knows he's a marked man - as are his new wife and his young daughters.

Kiss of Death is a solid entry in the crime/noir cycle of the 40s. The movie looks good, has some great acting, an intelligent plot, characters you can care about, and enough twists to make it all very interesting. But instead of writing at length about the acting or technical aspects of the film or plot twists or anything else, I'll limit this to a few comments on Richard Widmark. If you look over Widmark's filmography, you'll notice that Kiss of Death was his very first film. Now I haven't seen everything Widmark made, but based on what I have seen, his portrayal of Tommy Udo has to be the performance of a career. He's brilliant as Udo. You can see the evil in his eyes. He's the kind of guy who would just as soon put a bullet in you as look at you. And that maniacal laugh - it's nothing short of chilling. This is not meant to be hyperbole when I say that he's the quintessential 40s hood played to perfection. I've seen a lot of noirs in recent weeks and I don't think I've seen a performance or character that I've enjoyed more than Widmark's Tommy Udo.