Police spéciale

The Naked Kiss (1964)

Constance Towers is fresh off of Sam Fuller's Shock Corridor the previous year, and she is perfectly adroit at the saint/sinner, prostitute/angel dichotomy at the core of it. This is a crazy movie to take seriously, yet there are so many serious parts to it, not the least of which is child molesting. For a 1964 movie that's daring stuff. Throw in a corrupt lovable cop, sweet children with physical disabilities, tinkly fairy tale music that comes out of nowhere when she is looking at a bedroom to stay in, and some good old female fist fights. Out comes a Fuller masterwork, of sort.

It's flawed enough to make some people run, but edgy enough to glue others to their seats. If the movie industry was looking for ways to break out of the doldrums of the late 1950s and early 1960s (there are some terrible high budget films from these years), it overlooked the breakthroughs coming from the fringes. The directness and everyday nasty material here would be the bedrock of movies in just two or three years, as violence, frank sexual content, and flawed people became the norm.

You may as well admit, too, that the best parts of this movie are terrific, including some hard edged, sharp, black and white photography. The Criterion DVD is as close to great as you can get, even though there is some confusion about the way even this famed company handled the release. The movie was actually shot in 4:3 format, in so called "flat" 35mm shooting (no anamorphic lens used). It was then cropped along the top and bottom to create a wide screen format for theatrical release. The "fullscreen" version is formatted full (and I don't know if any of the fullscreen ones show the whole original "open matte" formatting, or are further cropped from the widescreen cropping). Either way, it was intended to be seen with wide screen composition, so get the Criterion. It's beautiful.

How fascinating an artist is Samuel Fuller? So fascinating that the responses on IMDb for this film range from "brilliant, devastating masterpiece" to "pulpy, campy fun" to "Ed Wood-like crap." Of course, being Fuller, this film is ALL those things. There are sequences that are amazing as anything. There are moments of just brilliant insight and meaning -- creepy and poignant in their nightmarish beauty. And then there are just plan crappy B movie moments that are unintentionally funny. Bad acting and annoying preachy moralizing. It's a hodgepodge. But it is also a totally unique experience to watch. Noir. Melodrama. Crap. Art. This is pure Fuller! Gotta love it!!!!! A must see for people who love their aesthetics with a kick.

I just had to comment on this movie to give another view to the only other review that's here for this movie at the time. This movie was made in 1964 and thus should be judged according to its time. I thought the movie was excellent in the fact that it took alot of chances for 1964. It dealt with prostitution and child molestation in a very real way. The cinematography was very good for a picture of its time. The lighting on some of the scenes was absolutely erie and sometimes very emotional. I think in todays world of movie making the art of lighting has been lost or at least severely under developed. This movie is well worth seeing if you can find it.

"Pickup on South Street" 1953, an 80-minute film noir gem, is a favorite of mine. Richard Widmark and Thelma Ritter (not just exceptional in romantic comedy supporting Rock Hudson and Doris Day in "Pillow Talk") were the two characters and performances I like best. Filmmaker Sam Fuller's creative writing, directing strength, and (indie) producing savvy continued to shine in "The Naked Kiss" 1964. It is the ultimate pulp fiction: high drama soap, touch of camp and tints of film noir. Beautifully shot in Black and White. Terrific cast with Constance Towers as Kelly, the central power of energy and charm, and undeterred determination; Anthony Eisley as Griff, the gruff, tough cop with a tender heart underneath; and the townsfolk of varying characters, nice and not-so-nice to downright sleazy, crooked ones, male or female, and a number of child performances for that matter. Yet with all this, there is a blossoming healthy, full of goodwill story about handicapped youngsters, being encouraged to stand up and be happy in spite of their weaknesses.

The opening segment (before the title/credits roll) is in itself an emphatic revelation. Kelly truly wants to turn over a new leaf, and she readily shares and helps others without guile. She is no loser. She's our heroine of the story. Tearjerker? Certainly can be. Thriller suspense, too? Definitely. Will she be innocently proclaimed? Will the witness precious be found? We would root for her, our Kelly. She is so 'gung ho' and downright nice to everyone (but she can also stand up tough against the 'bad' ones). Fuller's script runs its own natural course with surprises and satisfying plot twists never lacking.

This may not be for everyone (NFE). But if you can take high drama with wide human emotional range, appreciate energetic 'filmic' storytelling with intrigue, you'll enjoy this movie immensely. A Sam Fuller film doesn't disappoint but deserves applause practically guaranteed. His films are no fuss, straightforward and bold, frank and colorful in dialog, and there's the element of raw sophistication (sounds oxymoron, but life is full of contradictions). "The Naked Kiss" is available on DVD, Criterion Collection, widescreen, 91 minutes (just the right length).

Samuel Fuller could make whacked-out movies like no other, and "The Naked Kiss" was his most whacked out of all.

Constance Towers plays Kelly, a hooker who we see in the film's opening sequence shaved completely bald and beating up her pimp. She takes $75 dollars from him or, as she makes sure to point out to him, "exactly what I've got coming to me," and then proceeds to put on her wig and makeup while seductive music plays and the opening credits roll. From that moment on, we know we're in Fuller-land.

Kelly arrives in the quiet suburban idyll of Grantville, and hooks up with her first and last trick, the town's police captain. After that, she decides to wipe her slate clean, and she becomes a nurse in a children's hospital. But she can't escape her past. When she's accused of killing her fiancée, the town's founder, golden boy and Korean war hero, in a fit of rage after finding him molesting a young girl, Kelly's reliability and reputation is called into question, and her life hangs in the balance.

Along with her pimp, Kelly will pound around on a couple of other people before the film is over -- notably a whore house madame who tries to seduce one of Kelly's co-worker friends into a life of prostitution -- but Kelly is basically a good and decent person who believes in justice stripped of any sentimental or phony pretensions. Her fiancée's status and privilege don't prevent her from seeing the pervert underneath, and her love for the children and her young, naive co-workers is fierce but rough; she'll just as soon slap some sense into someone as she will hug some sense into him. The character of Kelly is a refreshing creation, and both she and Constance Towers, who brings her to life, hold this film together when it otherwise might have been a mess. I think Fuller's weakness was as a writer; parts of "The Naked Kiss" are hampered by ridiculous, overheated dialogue and melodrama of the most maudlin order. But he was such a striking visionary that his films always work on the strength of style alone, and that, coupled with Towers' performance, make "The Naked Kiss" something fascinating to behold.

Fuller was always interested in the outcasts and misfits of society. You can tell he didn't have much use for the civilized mainstream. In "The Naked Kiss," his camera lingers lovingly on the crippled children in shots that intentionally evoke impressions of war veteran hospitals. And Kelly leaves Grantville at the film's end, not because the town shuns her -- on the contrary, once they realize she was telling the truth, she's the new town hero -- but because its hypocrisy disgusts her. The implication is that she'd rather remain an outcast than be accepted by a society that she abhors.

"The Naked Kiss" is crazy, frenzied and trippy. It's deliriously nonsensical yet makes a pointed statement in that unique way that only Samuel Fuller could pull off. Check it out.

Grade: A