Mitraillette Kelly

Machine Gun Kelly is directed by Roger Corman and written by Robert Wright Campbell. It stars Charles Bronson, Susan Cabot, Morey Amsterdam, Jack Lambert, Frank DeKova and Connie Gilchrist. Music is by Gerald Fried and cinematography by Floyd Crosby.

George Francis Barnes Junior, AKA: Machine Gun Kelly, was a prohibition era American hoodlum, this movie is an interpretation of his time in the public enemy limelight.

Never climbing up to high energy rat-a-tat-tat action levels, Corman's "mini" biopic none the less breezes along and remains fascinating throughout. The makers paint Kelly as something of a weak willed type of guy who is impotent without his Thompson Submachine Gun. This is a man firmly dangling on the end of the puppet strings being twirled and pulled by his Moll, Flo Becker. Oh he's not beyond slapping his woman around, or bullying one of his weaker willed accomplices, but Corman and Campbell assure us that Kelly is not to be gloried, even giving him a pathological fear of dying that shows him in this movie form as something of a coward.

Of course this is just a movie, and for historical facts and figures et al, folks are warned this is not a biography to use as a starting point to explore Kelly's reputation…

Bronson as Kelly is wonderfully broody and he handles the fluctuations in Kelly's psyche with convincing skill. Cabot as Flo is a sex-bomb, and deviously appealing with it she is as well, while Amsterdam gets to play a character so colourful and kinked, it wouldn't be out of place in classic era film noir. Crosby was an ace cinematographer, capable of making the cheapest crime movie production looking a whole lot more expensive, such is the case here. While Fried provides a progressive jazz musical score that ranges from Ant Hill Mob like breeziness to funky piano based frenzies.

All in all, a good gangster movie that benefits from some well written and performed characterisations. 7/10

George Kelly is a small-time crook looking to make some big newspaper headlines to impress his imposing moll Flo. After one successful bank robbery after another, one turns into a botch job with Kelly's phobia of death leaving on his men dead and the other wanting his blood. After ridding that problem, due to Flo's pressure to do something. She influences him into kidnapping a wealthy businessman's daughter, but this would lead onto their downfall with Kelly's lurking weakness coming through.

Roger Corman does it again. "Machine-Gun Kelly" is another fine example of perfect film-making on a minimal budget and time restraint, where he's still able to deliver a sturdy, brisk and fleshed-out b-gangster film with a professional touch. The picture looked good, and photographer Floyd Crosby's sharp and shadowy handling brought out the film's brooding ambiance. While Gerald Fried's jazzy music score keeps it all in an exciting and saucy mood. Corman's style isn't overly jumpy, but more so tight, tough and namely suggestive in its actions and basic story telling. Actually there's plenty of time and focus on the material, and that of the complex character of Kelly. One of the major curiosities however, would be that of Charles Bronson's sterling performance as George "Machine-Gun" Kelly. For his first lead role he plays it accordingly, with an on edge and moody shade of an infant bully. Equally as impressive was his icy co-star Susan Cabot. Her vividly titular performance as the cheeky, sly broad of Kelly's is dominantly manipulative. The support cast (Morey, Frank De Kova, Jack Lambert, Richard Devon, Connie Gilchrist) added much-welcomed colour and personality. Corman's straight-laced direction is efficiently organised and he brews up a smoky atmosphere with its authentically wishy-washy 1930's settings. R. Wright Campbell's pulp material is loaded with a snappy, economical and highly engaging script and is loosely based on a 1930s gangster. It's actually an innovative little set-up with some effective psychology brushes and a downbeat ending that fits right at home with the central character's ineptness of his reputation. Kelly's character really sticks out a like a sore thumb compared to the rest of the hardened criminal figures. It's all about the power and name one achieves from these acts is what they're after, not just the doe. This what makes Kelly look uncomfortable.

Even with its limitations, it turns out to be a highly entertaining and satisfying low-scale crime caper by Roger Corman.

Most Bronson fans will fudge their way through his mid to late 80's flicks in search of more classic badaxx Bronson before finding this lost classic. Save your time and bucks by going straight to this excellent crime thriller.

See Bronson create the screen persona that would stay with him the rest of his long career. Bronson shines as the notorious and tough as nails Machine Gun Kelly. He plays a ruthless and mean spirited criminal with no love for anyone and a great fear of death. Great direction and pacing, great action and stylistic photography make for an enjoyable 80 minute diversion into the world of crime in early America. I'm not sure how accurate this was to the real life of Machine Gun, but Bronson brings to life his character in a way that grabbed the attention of a young Hollywood.

If you love the tough guy Bronson and are trying to add to your collection, skip most of his later films (Assasination, 10 to Midnight, Kinjite, Messenger...)and go straight for Machine Gun Kelly. I promise you'll get the mean mutha' Bronson that you're looking for!! Time to put this one on DVD....The Stone Killer and Telefon too for that matter

Machine Gun Kelly (1958)

** 1/2 (out of 4)

Low budget gangster film has Charles Bronson playing the title character, a harden criminal who always has his Thompson machine gun in hand but he also has a fear of being killed. This Roger Corman quickie is pretty good throughout, although the film really doesn't offer anything new the to the genre. The movie moves at a pretty fast pace and contains plenty of action to keep fans entertained. The most interesting thing about watching this movie today is seeing the young Bronson give a performance, which he certainly wouldn't give after becoming a star. If you've only seen Bronson's later day stuff then you're in for a treat as we see a different type of Bronson here. A fast talker, one that smiles and even one who flirts with the ladies. This adds a little more charm to the film that I'm sure it didn't have back when it was originally released. Susan Cabot is very good as Bronson's girlfriend, a dirty little girl who doesn't mind looking at other men. The action is very good throughout and the film has a great music score but I wish it had tried something a little different every once in a while. The best moments in the film are the ones with Bronson messing with a caged lion.

Maybe this movie shouldn't be rated this high, but why carp? This is about as good as Roger Corman can get, and uncomplicated too. The script isn't the smartest bank-robber thriller ever, but it's got some good twists and snappy dialog to go along with the package. And unlike many of Corman's early pictures, this one isn't hampered in the least by its low budget. On the contrary, the level of violence is enough that he doesn't have to spend very much on a lot of stunts or blood. If anything, it's a worthy homage to the tommy-gun inspired gangster flicks of the 1930s, done without pretension and with a gutsy leading man.

Charles Bronson stars in the title role, and it's by some of Bronson's own ingenuity with a part like this, and on the part of the script to try and add a little dimension to what could've been a one-dimensional crook into a somewhat sympathetic criminal. The moral of the story for young George Kelly might be that behind a bad-ass man there's a far meaner bad-ass of a woman pulling the strings, bringing out the worst in her man. This isn't so much about full-on reality in so much as Corman tries to get the pulpiest material he can without any filler. While this leaves a little character development up for grabs, and some of the usual lot of not too great acting, there's some real fire going on in the conventional storytelling.

All around, a terrific little B-movie, probably one of Corman's best (in short, not at all a disappointment, especially for those looking for a great early Bronson in tip top shape, and with some range of emotions to boot).