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.

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.

The bulk of Kiss of Death is a modest, based-on-a-true-story tale of crime and woe. There's nothing spectacular about Nick or his circumstances, and nothing particularly compelling about his turn as a stool pigeon. Kiss of Death is almost romantic-comedy-like in its execution: Man meets crime, man leaves crime, man hooks up with crime again. Crisis, resolution. Yet out of the nondescript foundation emerge a few noteworthy aspects.

The first and most noticeable is the realistic look of the film. Director Henry Hathaway goes straight to the source, shooting scenes on their actual locations. This is noticeable because the opening credits tell you so; how quaint to throw a little self-promotion right there in the intro! Fortunately, this hokiness doesn't detract from some truly beautiful camera-work achieved by cinematographer Norbert Brodine. New York has a distinct look, and Brodine makes the most of it. Establishing shots of lights and skyscrapers in silhouette lead into a New York in full seasonal glory, with Christmas shoppers amok in the streets. From posh nightclubs to gritty prisons, Hathaway and Brodine milk as much texture from the locations as possible.

The self-promotional focus on cinematography quietly gives way to Victor Mature's personable portrayal of Nick. Though he worked through six decades, Mature was never a big name or recognized star. Indeed, his relative lack of star quality allows him to succeed in this modest, intimate tale culled from the real life of a small time hood. Mature doesn't steal the show by any means, but he capably anchors it and gives Nick some plausibility and a sympathetic quality. When Coleen Gray arrives on the scene as Nick's former nanny, we can somehow buy their slapdash romantic entanglement. Gray is also capable in her role, sweet but not saccharine, petite but with a hint of spark. Her perkiness doesn't grate, and there seems to be more to her than just a pretty face and her status as Nick's love interest. She has the intriguing "I want to know more about this woman" vibe that characterized Judy Garland's stardom, though Gray would never reach those levels of fame.

Mature may not steal the show, but Richard Widmark does. Like Coleen Gray, Widmark made his debut in Kiss of Death. Unlike Gray's, his performance left an indelible mark on cinema and made Widmark a household name overnight. Tommy Udo is such a ruthless, depraved character, and his manner crawls under your skin so thoroughly, that Widmark is impossible to ignore. His characterization could so easily have spasmed across the line into caricature, or become smarmy or irritating. But Udo's manic, staccato laugh just skirts that edge, and his bitterly cold eyes and palpable menace invigorate later scenes. The unnecessary murder he commits on screen is shocking; it isn't hard to see why Joe Pesci would evoke shades of Tommy Udo in Goodfellas. In fact, Widmark's Oscar-nominated turn as Udo would inspire countless nods from subsequent maniacal mobsters.

These characters spice up an otherwise small, vague tale. Kiss of Death morphs though a series of focus shifts. It seems like a hardboiled crime saga at times, a political game at others, even a tale of family values and romance. It ends up in a dramatic knot of danger and redemption. Its inability to stick with one theme gives Kiss of Death a wishy-washy, gutless quality. But touches of depth, particularly the way Eleazar Lipsky's script makes the end of the film tense and involving instead of anticlimactic, keep the otherwise straightforward story fresh.

The tale is also enhanced by a couple of pure noir moments. The most obvious is Nick's nervous vigil when he knows Udo is coming for him. A car's headlights slice through the dark house and set off a game of hide-and-seek in the shadows. The pressure mounts, and you just know that someone is bound to die. I don't know how film noir can support such ludicrous amounts of shadow, but it does so to powerful effect. Noir jumps back onto the front burner when Nick takes matters into his own hands at the end of the film. A showdown with Udo over a restaurant table is fraught with peril and tension; mostly because of Widmark's scintillating menace, but partially because of the composition and the score.

A superb commentary by James Ursini and Alain Silver walks us through the nuances of the film without much pause or filler. The pair has an impressive understanding of film noir, and they're able to parlay that knowledge into an engaging commentary. Though I don't fault most of their specific points, Ursini and Alain Silver hold the film in higher esteem than I do. This is good for noir fans because the commentators highlight the positives in each shot, performance, and theme.

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.

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.