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The Naked Kiss

  • 1964
  • Approved
  • 1 घं 30 मि
IMDb रेटिंग
7.2/10
9.3 हज़ार
आपकी रेटिंग
Constance Towers in The Naked Kiss (1964)
Trailer for The Naked Kiss
trailer प्ले करें1:59
1 वीडियो
87 फ़ोटो
अपराधड्रामा

अपनी भाषा में प्लॉट जोड़ेंA former prostitute relocates to a buttoned-down suburb, determined to fit in with mainstream society. But perverse secrets simmer beneath the wholesome surface.A former prostitute relocates to a buttoned-down suburb, determined to fit in with mainstream society. But perverse secrets simmer beneath the wholesome surface.A former prostitute relocates to a buttoned-down suburb, determined to fit in with mainstream society. But perverse secrets simmer beneath the wholesome surface.

  • निर्देशक
    • Samuel Fuller
  • लेखक
    • Samuel Fuller
  • स्टार
    • Constance Towers
    • Anthony Eisley
    • Michael Dante
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.2/10
    9.3 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Samuel Fuller
    • लेखक
      • Samuel Fuller
    • स्टार
      • Constance Towers
      • Anthony Eisley
      • Michael Dante
    • 181यूज़र समीक्षाएं
    • 56आलोचक समीक्षाएं
    • 83मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • वीडियो1

    The Naked Kiss
    Trailer 1:59
    The Naked Kiss

    फ़ोटो87

    पोस्टर देखें
    पोस्टर देखें
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    पोस्टर देखें

    टॉप कलाकार29

    बदलाव करें
    Constance Towers
    Constance Towers
    • Kelly
    Anthony Eisley
    Anthony Eisley
    • Griff
    Michael Dante
    Michael Dante
    • Grant
    Virginia Grey
    Virginia Grey
    • Candy
    Patsy Kelly
    Patsy Kelly
    • Mac
    Betty Bronson
    Betty Bronson
    • Miss Josephine
    Marie Devereux
    • Buff
    Karen Conrad
    • Dusty
    Linda Francis
    • Rembrandt
    Barbara Perry
    Barbara Perry
    • Edna
    Walter Mathews
    Walter Mathews
    • Mike
    Betty Robinson
    • Bunny
    Jean-Michel Michenaud
    Jean-Michel Michenaud
    • Kip
    • (as Gerald Michenaud)
    Christopher Barrey
    • Peanuts
    • (as Christopher Barry)
    George Spell
    • Tim
    Patty Robinson
    • Angel Face
    Neyle Morrow
    Neyle Morrow
    • Officer Sam
    Monte Mansfield
    • Farlunde
    • निर्देशक
      • Samuel Fuller
    • लेखक
      • Samuel Fuller
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं181

    7.29.2K
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    फ़ीचर्ड समीक्षाएं

    8ruby_fff

    The ultimate pulp fiction, high drama with Fuller's film definition of "emotions"

    "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).
    8jeanpesce

    the feminist macabre

    I began looking into Sam Fuller after seeing a documentary about him on TV in which Scorsese, Tarantino, and Tim Robbins discussed his films. Scorsese also mentions Fuller in his "Personal Journey" film retrospective, in which he sites "The Naked Kiss" as a major influence. From what I've read, the studios found the material in "The Naked Kiss" to be a tad on the heinous side, and re-edited Fuller's film to the point where he didn't even want his name in the credits. His name is very much in the credits however, for soon after the film opens with a prostitute beating a man unconscious with the heel of her shoe, Fuller is named writer, director, and producer. I suspect that the discomfited staggering between camp, noir, and grotesque melodrama, might be more a result of studio tampering than Fuller's misdirection. It is also difficult to discern just what sort of censorship the studios achieved, for whatever they did was austerely permeated by social taboos the likes of abortion, prostitution, child molestation, and murder. These issues are treated by Fuller in a way that is decisively an ideological digression from noir, despite the film's sporadic use of noir's aesthetic. In noir, women are the enigmatic femme fatales: deceptive, seductive, fatal, and the primary antagonism of all men. It appears to be precisely the opposite in "The Naked Kiss." Fuller's protagonist, Kelly, an ex-hooker, tells a cop that you can always tell when a man is "a pervert" from his "naked kiss." Throughout the film, as Kelly encounters women dealing with abortion, prostitution, and pretty much just general depravity, Fuller shows men reinforcing and furthering their depravity, then condemning it when need be. The character of Griff, the cop, is the essence of this. To Fuller, there is a perversity in the way men treat women in American society, and it is reflected in the title of the film itself.
    8secondtake

    You won't be bored, and you might be amazed. Great low-budget stuff.

    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.
    Jackyl-8

    Ahead of its time.

    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.
    FilmFlaneur

    Excellent, daring noir melodrama from cult director

    The Naked Kiss opens with a shocking pre-credit sequence, shot partly with cameras harnessed to the actors, in which we see a furious woman beating a man with her handbag. He grabs at her and her wig comes off, revealing that she is totally bald - a prostitute who has been shaved in punishment by the pimp she is now assaulting. Kelly (Constance Towers), the hooker eventually makes her way to Grantville, a small town in New England and after a brief liaison with a law enforcement officer, abandons her bad ways and becomes a nurse in a children's hospital. In due course she becomes engaged to Grant (Michael Dante) a rich and handsome Korean War veteran. Grant, however, has a dark secret of his own... Sam Fuller started his career in newspapers, wrote some pulp novels and screenplays, and then wandered the United States as a tramp on freight trains during the Depression before serving with distinction in the US Army. Starting with I Shot Jesse James (1949) he directed a series of sometimes-controversial films that established him as a cult auteur, especially in Europe. His critical stock remains high today, for instance amongst such modern filmmakers as Quentin Tarantino and Tim Robbins. Perhaps Fuller's quote that "Film is a battleground. Love, hate, violence, action, death... in a word, emotion" is the most famous statement of his creative philosophy. Certainly the assaults come thick and fast in The Naked Kiss, either during the opening scene (where the camera angles suggest that blows are struck directly against the audience's point of view), or the two other attacks by an out of control Kelly on Candy (Virginia Grey) the Madame, or Grant respectively. Finally of course there is the 'battleground' of the legal process in which the heroine finds herself entangled.

    The present film was the second of two notorious titles that Fuller made, one after the other in the early 1960s, the other being Shock Corridor. They polarised critics between those who found the results shallow and sensational and those others who discovered in Fuller's increasing disillusionment about American society a welcome, and brave aesthetic. There's no denying Fuller's in-your-face tabloid style has its rough edge, but this is part and parcel of the director's way of 'cinema as scoop' where his films were amongst the first to cover the pressing issues of the day. For instance, Steel Helmet (1950) early on brought the Korean War to the screen. The Naked Kiss goes the whole hog in sensationalism and manages to include abortion, prostitution, police corruption as well as paedophilia, often with the urgency of an on-the-spot report. At the centre of it all is Kelly, the poetry-loving prostitute who, despite her past, is both intelligent and sensitive. "Intellect rarely goes with physical beauty" the self centred Grant smugly actually tells her, "and that makes you a remarkable woman." For Kelly leaving her earlier profession is a matter of self-esteem just as much as it is social duty. When Buff (Marie Devereux) tries to follow her bad example she is forcibly reminded that prostitution is "a social problem, a medical problem, a mental problem" and that she will end up "a despicable failure as a woman."

    At times The Naked Kiss plays out like a garish Sirkian drama. Small town America, as displayed in Grantville, is just as full of hypocrisy and repression as anything found in Imitation Of Life (1959) or All That Heaven Allows (1955). The difference here is that the emotions are worn on the sleeve; the ironic reassurance of the German's widescreen colour is replaced by stark journalisms in black and white. Fuller's town is a personal one, where Shock Corridor is on the local cinema's marquee, and where Fuller's own paperback novel The Dark Page is being read by the heroine. This is a feminist noir with a controversial edge. If the result is the occasional miscalculation (such as the sugary song sung by Kelly and the children) then the overall effect can be judged a success. The film's title itself refers to the way one can, ostensibly at least, identify a pervert - by the nature of his or her intimate contact. The Naked Kiss, itself a title reminiscent of some garish dime fiction, is full of such distorted intimacies, much of which ends disappointingly or with violence. Of course 'naked' in one sense is also the way we first see Kelly, bald headed and frenziedly beating her pimp. As critics have observed, there's a characteristic contradiction in many of Fuller's films that antisocial characters perform the most necessary social actions. In Pickup On South Street (1953) for instance, it is the sociopath Skip McCoy who helps bring the communists to book. Here, although some still see the newly reformed Kelly as reprehensible - notably her first, and only, paying customer in Grantville, Captain Griff (Anthony Eisley) - it is she who provides the catalyst for the eventual exposure of Grant's perversions. Although still ostracised at the end of the film, she has performed a valuable, if uncomfortable, service to the community - her lack of sentimentality neatly sidestepping many of the 'whore with the heart of gold' clichés, which the director so despised. Fuller had an almost mystical faith in America's destiny, but sensationally recorded its sins and failings with increased pessimism as his career proceeded. The choice of Kelly as the vehicle for reform in The Naked Kiss is typical of his later films. In fact the present title was something of a watershed for the director. He next made the financially unsuccessful, and far more conventional, Shark! (aka: Maneater, 1969), before he eventually found his feet again in the American cinema in the 1980s.

    इस तरह के और

    Shock Corridor
    7.3
    Shock Corridor
    Underworld U.S.A.
    7.3
    Underworld U.S.A.
    Park Row
    7.2
    Park Row
    Pickup on South Street
    7.6
    Pickup on South Street
    Forty Guns
    6.9
    Forty Guns
    The Crimson Kimono
    6.8
    The Crimson Kimono
    Verboten!
    6.7
    Verboten!
    Fuego
    5.7
    Fuego
    The Touch of Her Flesh
    5.0
    The Touch of Her Flesh
    Olga's Girls
    5.1
    Olga's Girls
    The Steel Helmet
    7.4
    The Steel Helmet
    Aroused
    5.8
    Aroused

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Both this and Samuel Fuller's previous movie Shock Corridor (1963) were rejected for UK cinema certificates and remained unavailable until 1990.
    • गूफ़
      When Kelly approaches the porch of the house with the room for rent, she picks up the newspaper and hands it to the landlady who has opened the door. The newspaper, as picked up by Kelly, is snugly rolled up and bound with a rubber band, but in the next frame, taken from inside as we see landlady and Kelly come through the door, the newspaper in the landlady's hand is not a rolled up paper, but one that is simply folded in half.
    • भाव

      Buff: [Referring to the offer to work at Candy's club as a prostitute, which Kelly seeks to talk her out of] Friend said I could make 300 dollars a week.

      Kelly: All right, go ahead. You know what's different about the first night? Nothing. Nothing... except it lasts forever, that's all. You'll be sleeping on the skin of a nightmare for the rest of your life. Oh, you're a beautiful girl, Buff. Young... Oh, they'll outbid each other for you. You'll get clothes, compliments, cash... And you'll meet men *you* live on... and men who live on you. And those are the only men you'll meet. And, after a steady grind of making EVERY john feel at home, you'll become a block of ice. If you do happen to melt a little, you'll get slipped a tip behind Candy's back. You'll be every man's wife-in-law, and no man's wife. Why, your world with Candy will become so warped that you'll hate all men. And you'll hate yourself! Because you'll become a social problem, a medical problem, a MENTAL problem!... And a despicable failure as a woman.

    • क्रेज़ी क्रेडिट
      "Charlie" played by Himself. Charlie is Miss Josephine's dressmaker's dummy, which she has dressed as her fiancé, who was killed in World War II.
    • कनेक्शन
      Edited into Dusk to Dawn Drive-In Trash-o-Rama Show Vol. 10 (2007)
    • साउंडट्रैक
      Santa Lucia
      (uncredited)

      Music by Teodoro Cottrau

    टॉप पसंद

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    बदलाव करें
    • रिलीज़ की तारीख़
      • 29 जुलाई 1964 (कनाडा)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
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      • Official Site
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      • Samuel Goldwyn Studios - 7200 Santa Monica Boulevard, वेस्ट हॉलीवुड, कैलिफोर्निया, संयुक्त राज्य अमेरिका(Studio)
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      • Allied Artists Pictures
      • F & F Productions
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    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      1 घंटा 30 मिनट
    • रंग
      • Black and White
    • पक्ष अनुपात
      • 1.37 : 1

    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Constance Towers in The Naked Kiss (1964)
    टॉप गैप
    By what name was The Naked Kiss (1964) officially released in India in English?
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