En quatrième vitesse

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.

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.

"Kiss Me Deadly" had few similarities with Spillane's story about a gang of dope traffickers… Instead Aldrich reworks the plot so that the criminals are mixed up in the theft of priceless and high1y dangerous radioactive material which they are planning to smuggle to an unnamed power… The complicated story begins with Hammer picking up a scared girl on a lonely road at night and continues through the girl's subsequent death, a kidnapping and a series of very brutal killings…

Spillane's Mike Hammer remains the ultimate in violent private eyes… The killings seem to matter less than the sadism… One scene in which Hammer deliberately breaks the irreplaceable records of an Italian opera lover in order to get the information he wants is more repellent than any of the murders in the film…

Furious but stylish, "Kiss Me Deadly" is a film of great power and stays unique for its mixing of art and pulp fiction

If The Maltese Falcon (1941) was the definitive true detective movie, The Big Sleep (1946) the definitive glamourized detective movie, and Chinatown (1974) the definitive allegorical detective movie, then Kiss Me Deadly is the definitive sleazy detective movie.

Mickey Spillane's sadistic private eye Mike Hammer, turned from successful private eye to sleazy bedroom dick, is the quintessential anti-hero, doing just about anything and everything wrong to get a piece of the pie that the characters call "The Big What's-it."

The movie survives by giving the usual Spillane buckets-of-blood story and its protagonist new dimensions. Right from the electric opening scene and the audacious opening credit sequence, the audience is drawn into Hammer's seedy world, where morality is suspended, and the credo of the end justifying the means dominates Hammer's actions. His reckless abandonment is almost never questionned and the film seems to understand his brutality as what he must do to get the job done in an equally brutal world.

Director Robert Aldrich observes all of it with an objective eye that neither glorifies nor condemns the action on-screen, letting the audience draw its own conclusions--even where the plot is concerned. The pace is unrelentless and the plot turns are never fully explained, forcing the audience to participate willingly in all that Hammer does to, hopefully, see the story through to its ending.

And what an ending! I'd de damned to a special place in Hell if I elaborated, so I'll just say that it's one of the greatest I've ever seen. That goes same for the movie itself, which is one of the most stylish, jarring and truly entertaining movies of its genre.

No need to recap the plot (even if I could) or echo some of the more obvious details.

Notice how no one stops to help poor Christina as she runs down the street frantically at movie's opening. Instead cars whiz by, until Hammer almost wrecks his snazzy car trying to avoid her. In fact, there's not an overload of compassion anywhere in this brutal noir classic.

As I recall, critics of the time reviled it for the unremitting violence and lack of heroics. At the same time, in years of movie watching, I've never heard screams of pain (e.g. Christina, Sugar Smallhouse) so convincing as here. They're almost too much to bear, which was likely Aldrich's intent. Add to the package a scummy, narcissist PI like Hammer, and you've got a melodrama unlike audiences of the time were prepared for. No wonder the movie bombed. (Two previous Hammer films had also disappointed Spillane fans-- I, The Jury {1953}, The Long Wait {1954})

Except this movie was years ahead of its time in both style and content. Sure, the plot doesn't make much sense. There are threads, but they never seem to come together in coherent fashion. Instead, the money hungry Hammer keeps thrashing around in the dark like there's got to be a big payoff somewhere in the tangle he's got himself into. Self-assured to the hilt, he's not one for self-doubt or moments of contemplation. Instead, he bulls his way through every situation, heedless of what he's getting into. I expect folks looking for deeper meanings find plenty of grist with this. Then too, it's hard to say enough about actor Meeker's spot-on portrayal. His Hammer amounts to a guy you neither like nor dislike, but can't help watching anyway (his physical resemblance to Brando is almost astonishing).

The visual style here is almost equally astonishing. Noir b&w has never been photographed (Earnest Laszlo) more effectively than some of those night scenes (e.g. the brutal fist fight between Hammer and his attacker {Paul Richards}), plus the long, dark hallways and staircases that suggest an enclosed world without redemption. Then too, the exploding beach house is well done, though it goes through 4 or 5 increasingly violent blasts, making Aldrich's apocalyptic point, I guess.

But it's not just Hammer and the thugs he's surrounded with. The women we see may be lovely or even beautiful (Carr), but none are to be trusted. Not even Hammer's Velda (Cooper), who, when you think about it, is his willing partner in the scummy infidelity scams that are his bread and butter. How many husbands, for example, has she seduced into grounds for divorce. It's not obvious, but there's a misogynistic undercurrent running through the narrative, which, I guess, is appropriate for the movie's generally nihilistic attitude. (Note how oblivious Hammer is to the grandeur of the classical music around him that keeps popping up in the screenplay. None of that sublime stuff for him.)

No doubt about it, the movie may retain the raw violence and sex that made author Spillane's potboilers so popular in the 50's. But crucially there's no one to root for here, not even the Hammer of Spillane's Cold War novels who kills commies on sight. No, Aldrich's and screenwriter Bezzerides world is not divided into good and evil, in the way that Spillane's brutal Hammer is redeemed by fighting on the good, patriotic side. Instead, the Aldrich world comes across as a nihilistic one, without enduring values, one that can only be redeemed by apocalypse, nuclear style. No wonder the French glommed onto the film immediately. I'm sure those pessimistic themes fit perfectly with the existentialist topics then so popular among their artistic class.

Anyhow, however you choose to take the 100-minutes—as a betrayal of the novels or as a somewhat profound gloss on the human condition-- the movie remains a memorable one-of- a-kind.