Kiss Me Deadly

So the big what'sit is what it's all about and this big what'sit is without a doubt, flat out phenomenal. Ralph Meeker snarls and sneers his way thru a bevy of sadism and selfishness in this superb, unflinching look at amorality beneath happy go lucky 50's sensibilities. Biting and wicked and never dull, and filled with more amazing characters than one movie deserves, this is a knock out classic that you will enjoy wallowing in repeatedly.

This late entry into the film noir genre has some harsh and memorable scenes and an ending unlike any other film noir. Of course, most of those weren't made during the A-Bomb scares of the mid 1950s, as this was.

The movie features a tough, no-nonsense Mike Hammer-like private eye, played well by Ralph Meeker, whose tough-guy dialog is a little dated but still fun to hear. This is one of those noirs in which everyone is a tough-talking, tough-acting mug and one never knows who to trust. Except for Cloris Leachman, who is only in the first quick (but haunting) opening scene, the females in here are unfamiliar actresses but people with interesting faces and personalities.

That opening with Leachman is a real attention-grabber and is one of the best starts I've ever seen in a crime movie. It's very creepy, as is the unique ending. I also appreciated the cinematography in here a lot more once the DVD was issued.

Kiss Me Deadly is an absolute joy to watch. There are no big-name stars, the director has never been mentioned in the same breath as a Hitchcock or Huston, and it's basically a simple Mickey Spillane story. How its presented on the screen is the genius of the picture. Right from the opening credit sequence, you know you're in for something fresh and innovative. This is a must see for fans of Quentin Tarantino, and there is a curious box containing a certain substance that glows when opened (Pulp Fiction, anyone?). It is one of the finest of the "film noir" genre, predominantly because of the moody black and white photography and its amazing 'timeless' appeal (I would rank it alongside Touch of Evil). It's great to know the film has been "rediscovered", and be sure to see a copy of the film containing 2 different versions of the mind-boggling final sequence shot at the time.

Robert Aldrich was a no-nonsense film director. When he undertook the direction of this film, little did he know it was going to become the extraordinary movie it turned out to be. The fame seems to have come by its discovery in France, as it usually is the case. Based on Mickey Spillane's novel and adapted by Al Bezzerides, the movie has an unique style and it's recommended viewing for fans of the film noir genre.

Right from the start, the film gets our imagination as we watch a young woman running along a California highway. That sequence proved Mr. Aldrich's ability to convey the idea of a disturbed young woman that seems to have escaped from a mental institution. The plot complicates itself as Hammer learns that Christine, the young woman, has died. He decides to investigate, which is what he does best.

Some excellent comments have been submitted to this forum, so we will not even try to expand in the action but will only emphasize in the tremendous visual style Mr. Aldrich added to the film, which seems to be its main attraction. For a fifty year old film, it still has a crisp look to it thanks to the impressive black and white cinematography of Ernest Lazlo, who had a keen eye to show us Hammer's world as he makes it come alive. The great musical score by Frank DeVol fits perfectly with the atmosphere of the L.A. of the fifties.

Ralph Meeker made an excellent contribution as Mike Hammer. He dominates the film with his presence. Albert Decker, Paul Stewart, Miriam Carr, Maxine Cooper, Fortuno Bonanova, and especially Cloris Leachman, in her screen debut, make this film the favorite it has become.

Fans of the genre can thank Mr. Aldrich for making a film that didn't pretend to be anything, yet has stayed as a favorite all these years.

Man, I saw this movie for the first time a few years ago and I still don't know what to think about it. Ralph Meeker as a fascistic Mike Hammer, a crazy hitch-hiker, an opera fan and a box that can destroy the world. I dunno.

From what I understand Alderitch (the director) hated Mikey Spillane's story (which was about a briefcase full of drugs or money or something else), thought Mike Hammer was an image of brutality and fascism and made a film that reflected it. He makes Hammer out to be some kind of sadist and makes the suitcase out be some kind of nuclear device. The movie turns from a simple detective story to some wierd-ass, sci-fi cold war parable.

It's sort of like the X-Files meets film-noir PI, or something to that effect.

All that being said, this is a GREAT film and is well worth watching by anyone who like apocalyptic film-noir (in fact, this may be the only film in that sub-genre). Anyone who is a fan of bizarre camera work, weird symbolism and a stranger storyline, should really check this out.

Observe the many bizarre inconsistencies (clocks that jump ahead and back, screams that don't jibe right with the soundtrack, camera angles that jump mysteriously) and keep in mind that these were INTENDED! When you get a feel for this film and start noticing what the director was attempting to do with this bizarre film I think that you will enjoy it even more. Truly a unique piece of film making.