Born to Kill

Many of our finest pictures revolve around a single captivating performance, and this is especially true of B-pictures which can less afford to rely on pyrotechnics. In the case of Born to Kill, a dark little drama from RKO, all eyes are on Lawrence Tierney. You know Lawrence Tierney – he is the bald, mountain-sized mob boss from Reservoir Dogs. Here, forty-five years earlier, he is thinner and has hair, but he is nevertheless just as menacing.

The director of Born to Kill was Robert Wise. Wise cut his directorial teeth at Val Lewton's horror B-unit, and although his only full-length horror for Lewton, The Body Snatchers, was not brilliant, he still carried with him much of the atmospheric technique that characterised Lewton films. Simple things like an open doorway in the background of the shot, or placing the camera at waist height (often more effective than low angles) convey to us a sense of unease. And what is so great about Wise's formal style is that it is always subtle – he never calls attention to any shot, but if you pay close attention his craftsmanship is on display. For this reason Wise is rarely remembered as a great director, although he did leave a legacy of many great films behind him.

Among Wise's greatest assets was his ability to define character and bring out the best in performance through space and framing, and this brings us back to Mr Tierney. Tierney was not the best at vocal delivery, but he had amazing presence. I sometimes think Born to Kill would have been even better if they had stripped out all his dialogue and just told him to look mean for ninety minutes. Take his opening scene at the casino; there is no dialogue, and in fact he barely moves. Wise cleverly emphasises Tierney's stillness by having a lot of bustle going on behind him. This wordless scene establishes Tierney's character better than any expository dialogue could, and gives the brutality of his next appearance all the more impact.

But Wise was not just a director who focused on looks and technique. He had previously been an editor and, conscious of his lack of first-hand experience with a cast, went to lengths to learn about acting and coaching. Apparently Wise often encouraged his actors to slow down their performances, allowing time to bring out character and emotional weight. Sometimes this leisurely pacing would be lost in the editing of the cheap quickies he was making around this time, but here and there you see it. Despite Tierney being at the centre of things, he is not the only member of the cast to shine. Claire Trevor manages something very tricky – she convincingly plays a bad actress when her character unconvincingly acts nice. Walter Slezak – a supporting player who could successfully tread that line between character actor exaggeration and naturalistic depth – is perfect as a sleazy detective. Elisha Cook Jr., who is almost as much part of film noir furniture as Venetian blinds, gives one of his more believable performances. Philip Terry on the other hand is a little wooden, and Esther Howard is a little overstated, but you can't always have a full flush of aces.

Another weak link is Paul Sawtell's backing score, which is at best mediocre and at worst inappropriate. He appears to have misunderstood the elements of the story, for example playing sad, romantic music when Claire Trevor's fiancé walks out on her. Anyone who has been paying attention should realise her character and their relationship don't merit that – especially in a picture as cold and cynical as this.

All in all though, Born to Kill is a treat. It's probably Robert Wise's first really accomplished film, and is actually better than many of his later A-pictures. The script, considering it's for a B-picture adapted from a pulp novel, is unusually intelligent and full of nifty dialogue. There are plenty of great little touches (which may be from the script, or ideas of Wise or the actors themselves), such as Slezak carefully placing his half-smoked cigarette between two bricks before entering a building. And you get to enjoy Lawrence Tierney when he was still handsome enough to be kissed (albeit with his eyes scarily open), and still lean enough to swing a blunt instrument. This picture is well worth discovering.

Here is another one of those films I didn't particularly care for the first time around, but gave it a second chance some years later and was rewarded. Now I love the film and am a Lawrence Tierney fan.

Tierney's intense character, his hot temper and insane paranoid jealousy are, well, fun to watch once you get to like this actor and his tough-guy roles. Tierney, in this film, would kill over the slightest thing that would suggest to him that he might be getting double crossed. Talk about a guy with mental problems!

Trevor was effective as the immoral woman who cared for money first, and everything else a distant second. As good as she and Tierney play off each other, for me, the most entertaining parts of the film were watching three of the supporting characters, played by Elisha Cook Jr., Walter Slezak and Esther Howard.

Cook played his normal film noir jittery-worried gangster accomplice and victim. He made a living playing these type of roles. Slezak was the Shakespeare/ Bible--quoting detective and Howard was a real hoot as an old lady trying to track down the killer of her young friend.

This is film noir in all its moodiness and hard attitude. If you find it a bit slow, please give it a second chance. These characters grow on you!

In Reno, the cold-hearted Helen Brent (Claire Trevor) has just divorced from her husband and returns to the boarding house owned by Mrs. Kraft (Esther Howard) to pay her expenses and say goodbye to her and to Mrs. Kraft neighbor and best friend Laury Palmer (Isabel Jewell) since she intends to return to San Francisco early in the morning. Helen goes to a casino to celebrate her divorce and glances at the gambler Sam Wild (Lawrence Tierney) and Laury also goes to the casino with her boyfriend Danny Jaden (Tony Barrett). When Laury sees Sam, she sneaks with Danny since she had dated the gambler. Late night, Danny and Laury go to her house and Sam is waiting for them and kills the couple in the kitchen.

Meanwhile, Helen sees Laury's dog on the street and brings it to the house. When she sees the bodies in the kitchen, she does not report to the police and heads to the train station, where she meets Sam. They travel together and Sam lodges in the Terrace Hotel. When Sam visits Helen, he leans that she lives in the mansion of her foster sister, the millionaire Georgia Staples (Audrey Long) and is the fiancée of the wealthy Fred Grover (Phillip Terry). The gold-digger Sam seduces Georgia and sooner they get married, but the calculating Helen feels horny for Sam. Meanwhile Mrs. Kraft hires the smart and sleazy private eyes Matthew Albert Arnett (Walter Slezak) to investigate the murder of her friend Laury.

"Born to Kill" is a film-noir that tells the story of a cold, greedy and calculating woman that feels desire for a ruthless killer. Claire Trevor performs an ambitious woman that is an iceberg and plans to marry for money with a good man that controls her bad instincts and sees her world collapsing when she meets the amoral killer Sam Wild. Marty 'Mart' Waterman (Elisha Cook Jr.) has a strange friendship with Sam and the fact that they share a double bad in the low-budget hotel may give a hint that they have a homosexual relationship. Walter Slezak has also a great performance in the role of a sleazy character. My vote is seven.

Title (Brazil): "Nascido para Matar" ("Born to Kill")

As the saying goes - "They sure don't make 'em like this one anymore."

And, when it comes to that old, familiar saying - It couldn't possibly be any more true than it does when discussing 1947's "Born To Kill".

This vintage Hollywood crime-drama is an absolute hoot of pure old-school soap opera where the implausible situations and the unintentionally laughable dialog is so off-the-wall at times that it couldn't be anything but a riot to watch.

So - If you're in the mood to completely suspend disbelief, then, you are certain to get a kick of pure pleasure out of watching "Born To Kill".

Born to Kill (1947)

"Has it occurred to you, neither of us looks like a scoundrel, do we?"

The smart, cutting lead female in this crime noir, Helen, played by Claire Trevor, is enough alone to make Born to Kill rise above. She's educated and calculating, far from the gutter but not at home with mere elegance and wealth, the things she's been trying to corner. The story is hers, luckily, because she's ultimately admirable, whatever her moral milkiness.

The whole thing starts with a shock, and then with a disturbing calm where all the pieces refuse to fit together. The lead male, Sam, played by Lawrence Tierney, is a ruthless, violent man with all the elegance and brains of a half-track. He's a perfect problem for Helen, and the movie only compounds and coils around a plot that never falters, whatever its complications. The detective (Walter Slezak) is too perfect in his delicate selfishness, and good old Elisha Cook Jr. is a surprising, and also perfect, good guy with too much tolerance due to his large heart.

It isn't a surprise that a good script and some talented actors are put together with such smart, fast panache by a young Robert Wise, more famous for little tidbits like West Side Story and Sound of Music. It ends up taking some astonishing twists, and some liberties with location shooting that are fabulous for 1947.

After all is said in done we are back with Claire Trevor's performance, which is large and nuanced, and very convincing. It's a good thing she has a lot to work with. A great film. Even the third time.