Amor, Prelúdio de Morte

I read Ira Levin's book when I was young, sometime in the 1960s, and loved it. It's very chilling, and I think as good as Rosemary's Baby. Better than the Stepford Wives and Boys from Brazil.

This film is a quite bizarre mixture of the chilling and the comical. Someone above has mentioned the scene where Bud and Dorie are having an intense conversation when suddenly a middle-aged woman in a completely see-through blouse with a great big bra underneath walks between them and halts the conversation; she has nothing whatsoever to do with the plot, and when it happened I literally burst out laughing at the incongruousness of it. I also laughed at Jeffrey Hunter's ridiculous attempts to manipulate heavy Clark Kent spectacles and an unlit pipe in a vain attempt to appear mature.

The good points about the film are the plot, which is gripping even though it's been shortened markedly from the book, and some of the acting, particularly Robert Wagner and Joanne Woodward -- and I also enjoyed George Macready as the father of Dorie and Ellen.

The fact is that I was consistently interested or amused or gripped by something or other for the whole of the film. You can't really ask for much more from a film.

If you're looking for an adaptation of the Ira Levin book--this isn't it. Also the book would be impossible to film. That aside this is OK murder mystery-thriller. I was lucky enough to see it letter-boxed on TCM--it looks great! However a film dealing with a psycho and murders he commits does NOT need a theme song! Acting is OK--not good, not bad, just OK. The cast is attractive, the film is beautiful to look at and it's an interesting diversion for 1 1/2 hours. So, an OK thriller--nothing really inventive or different about it. At all costs, AVOID the terrible 1991 remake! That one is a TOTAL waste of time!

Gerd Oswald's excellent film was his first and perhaps his best, as well as arguably providing Robert Wagner's finest hour. Like Tony Curtis was to do a decade later in The Boston Strangler (1968), screen pretty-boy Wagner took the role of the cunning sociopath Bud Corliss partly in an attempt to prove he could act darker parts than his fans had been used to. Taken from a novel by Ira Lewin (whose work also inspired Rosemary's Baby, The Stepford Wives and The Boys From Brazil) the film is a well mounted, taut B-movie, albeit shot widescreen in Deluxe Color by no less a talent than Lucien Ballard, who later went on to do sterling work for such directors as Sam Peckinpah. His crisp cinematography reveals a land dressed in bright open colours, where American meritocracy is secure and, on the surface at least, all seems right. As such, it carries echoes of contemporaneous romantic fluff such as Pillow Talk as well as some of the late, luscious films by Douglas Sirk.

Watching A Kiss Before Dying however is a wholly different experience from Sirk's ironic stagings of smug Eisenhower society, this despite the presence of a clean-cut, pipe smoking Professor Grant (Jeffrey Hunter). His academic character, perhaps the least convincing in the film, is more of a straightforward stereotype than the German director would ever manage, but acts as a counterweight to Corliss' callous misuse of his own good looks and intelligence. Self-satisfied and entirely free of remorse, the student is thus a much more modern figure than the academic, and his presence undermines Grant's rather ineffectual 1950s' decency. Oswald's minor classic focuses on this cold heart - an individual whose ambition, and eventual downfall, might have found its roots in such earlier films as Ulmer's Ruthless (1948), as well as it anticipates some of Hitchcock's work.

Although it is only mentioned briefly, Corliss has obviously been affected by his experience in the war ("It's my side where I was wounded," he says at one point, and one of the first things we see are military photographs.) The implication, typical of noir, is that the conflict has affected his mental state. Corliss is a promising student, who lives alone with his mother (Mary Astor). As the film begins he is learning of the unexpected pregnancy of his girlfriend Dorothy (Joanne Woodward). Despite his outward concerns and pledge to marry the woman, he secretly plots to dispose of her before moving on to her sister Ellen (Virginia Leith). At the same time Ellen suspects that her sister's eventual suicide was not entirely as it seemed and does some investigating with the help of the obliging Grant...

As others have noticed, there are certain intriguing similarities between A Kiss Before Dying and the plot of Psycho which came four years later: both films begin with furtive discussion of lovers discussing the implications of illicit sex, go on to feature the premature demise of a blonde and then, in a second half, the investigation of mystery by a determined female relative. There are echoes of Vertigo (1958) too in the dangerous heights of City Hall where Budd finally commits his heinous crime, and more than a taste of Hitchcock in some of the of the suspenseful machinations of the plot - most especially in the chemistry supply room scene where Corliss furtively steals his poisons, or during the tense roof scene. It's somehow apt that Mary Astor, who played the calculating Brigid O'Shaughnessy in The Maltese Falcon (1941), should be cast as Corliss' mother in the present film - although even she is much reduced and manipulated by him, facing a final humiliation on the doorstep of the Kingship residence. Her son is at heart a ruthless social climber, for whom the earlier 'problem' posed by Dorothy was just another obstacle to his inevitable rise to social success, just as his mother's dress sense is then another. As a schemer he leaves little to chance, as is evidenced by his careful arrangement of events in the first half of the film and detailed knowledge of the Kingship mining operation he casually reveals at the close. When he is undone, it is by misfortune rather than carelessness - a fact that makes his success all the more frightening as it is compromised by chain of chance more than anything else. As Corliss, Wagner is entirely convincing in a ruthless part that, at first sight, would have been ideal casting for Dennis Hopper. Beneath the familiar clean-cut image lies a calculating, black heart, and he suggests this by effective mannerisms, such as the throwaway, amoral shrug reflected in the jeweller's shop window at the end of his second meeting with Dorothy, or by holding his arms high and clear, as if in supplication to his own genius, as she makes her final descent. Years down the line, after the amiable dross of such later work as Hart To Hart (1980-5), it is a shock to see the actor create such an impact in what was a unique role for him.

Oswald's direction is frequently distinguished by the use of long takes: the first scene for instance, which contains a fair chunk of dialogue, consists just of a pan over some photographs and one other extended set up. Part of this can be put down to necessary economies of shooting. In some scenes, especially those alone between Corliss and Dorothy, the refusal to cut away acts as if to trap the participants in their own moral universe, while the unflinching lens demands that the viewer make judgement. (There are sly visual jokes contained within shots too, as when at the conclusion of Corliss' second meeting at the sports ground, after her 'trip' down the bleachers, he is framed under a 'speed kills' road sign, or when Corliss and Ellen later flirt and in the wrap up shot the camera reveals they have been chatting under a tombstone-shaped rock.) This is not altogether to the film's advantage; in the middle section of the film, when Corliss is largely absent, some scenes drag a little. Occasionally Oswald changes pace, such as when he uses a fast dolly-in on the suicide note. But one senses that here the exposition would have benefited from shorter cutting, as the earnest Ellen and nice-but-dull Grant are not a very dynamic couple when alone on screen. However this is a minor quibble in a film that relishes a broad mise-en-scène, typical of 1950s' melodrama.

George Macreedy, who plays Leo Kingship, gives excellent, grouchy support. It is his character that undergoes the only real metamorphosis in the film. His daughter of course learns that things are not really what they seem, as she discovers what Budd is really like under the tailored surface. Kingship Senior's education is far more profound, as he almost loses her through his over-protectiveness and intransigence. In one respect he is like Corliss: both have seen the nexus of family ties fray, leading to personality problems. At the end of the film, as he escorts his daughter away from the last encounter, Kingship does so more in sorrow than with the anger he would have earlier displayed. Here, as events take a final turn, the desolation of the mines provides a physical corollary for the stark moral drama being played out between the principals.

A Kiss Before Dying was remade by James Dearden in 1991, an unsatisfactorily production that entirely missed the period intensity and compulsiveness of the original. The DVD offers little other but a trailer, although the widescreen transfer is splendid.

This Cinemascope Technicolor murder drama from 1955 is a great looking film with perfect 50s visuals to carry it well in 2008. In retrospect, I can see the source for both PEEPING TOM and PSYCHO both in 1960 offering the 'shocking' image of a square cut handsome young man as a cruel killer. Of course that idea alone is really a flip on MONSIEUR VERDOUX with Chaplin as the ageing dandy/ dapper killer and even the comedy ARSENIC AND OLD LACE again with the least suspecting type as killers. This version of KISS now-days is reflected in MR RIPLEY too. While it is not up the caliber of that film either, these films all form a group of murder mysteries depicting unassuming types revealed to be murderers. A KISS BEFORE DYING has the very handsome Robert Wagner and equally good looking Jeffrey Hunter pitched front and center for what must have been wild female audience reaction. One scene late in the film set in the desert features Wagner in the tightest jeans imaginable looking like a gay denim version of James Dean. It is all a bit silly in its storyline (university campus killer and rich girl family dramas) but visually it is a real 50s treat. Remade clumsily as a Matt Dillon thriller in 1991, this really is the better version completely because of the great looking cast (incl Joanne Woodward and Mary Astor) and the immensely enjoyable Cinemascope 50s set design and art direction.

Bud Corliss (Robert Wagner) comforts his girlfriend Dorothy "Dory" Kingship (Joanne Woodward) who is utterly distraught after discovering her pregnancy. He's the gold digger and concerned only about her father's mining fortune. Her disinheritance is guaranteed and he is pushed to marry her. He plans to stage her suicide to get rid of both of his responsibilities. Dory has a sister in Ellen (Virginia Leith) and nobody in the family has ever met Bud.

It's an interesting noir story of the 50's. The Kingship family is the new wealth of the country while Bud represents the growing greed. He is the maniac pushed over the cliff. Robert Wagner has the leading man looks and he reminds me of Charlie Sheen if he turned fully to the dark side of Gordon Gekko. If there is a weakness in the movie, it's Ellen. She needs to be a younger sister rather than an older sister. She needs to be more innocent than Dory. That would elevate the danger and her innocence would allow better for his deception. Also, I don't see any great acting from Leith. The movie gets handed to her after the turn and she doesn't have the big screen power. She has a good look but she never took over. Overall, I love the story and the early execution is great. Wagner does really good work here.