All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
Kiss Me Deadly
Blood red kisses! White hot thrills! Mickey Spillane's latest H-bomb...
One evening, Hammer gives a ride to Christina, an attractive hitchhiker on a lonely country road, who has escaped from the nearby lunatic asylum. Thugs waylay them and force his car to crash. When Hammer returns to semi-consciousness, he hears Christina being tortured until she dies. Hammer, both for vengeance and in hopes that "something big" is behind it all, decides to pursue the case.
This movie is so far above and beyond anything created by humans that it effectively qualifies as an alien transmission.
Fin de masculinity. Fin de femme fatale. Fin de violence e sexe. Fin de noir. Fin de cinema. Fin de le monde.
Kiss Me Deadly screams onto screen with an opening scene that immediately alerts audiences to its explosive intentions. Out of the blackness of the theater we see a woman emerge wearing nothing but a trench coat, standing in traffic risking her life desperately trying to hitch a ride. Beginning films with a "cold open" wasn't unheard of in 1955, but it was incredibly rare before the 1960's when TV serials standardized it. This opening would have been startling not only because of its content, but because audiences would not have been expecting it. Finally someone picks her up, and she sobs quietly over the opening credits—which scroll backwards, top to bottom. This creates a fundamentally unsettling atmosphere which tells us…
The moment Mike Hammer realizes that he's made a huge mistake is when the movie reveals itself to be beamed in from a different planet, an ancient civilization's warning to humanity about the folly that led to their demise. We didn't listen.
I did manage to finish it tonight without nodding off. No suspicions of being shot up with sodium pentothal this evening.
I've watched quite a few noirs in the last few months or so but I don't think I've watched any that are nearly as odd as Kiss Me Deadly. From what I've read about this film over the years, and it is a film that I've been meaning to watch for a very long time indeed, many of the references to its offbeat nature have been to the main plot itself - or at least how it ends up panning out in the last half an hour.
Actually, aside from the mysterious item that is much sought after, I…
Noir apocalypse and the neanderthal detective, "let him go to hell." A hundred bizarre, brilliant tremors in Aldrich's annihilating masterpiece, all building up to the revelation that the coveted, enchanted glow is really a mushroom cloud, pushing humanity back into the ocean.
Wow. This movie really ups the ante for the film noir I've been watching. I've seen some good ones, but this blows most of them out of the water. I can't believe I had gotten this far into my life without seeing it.
I had some minor gripes about the handful of characters who had ridiculous Italian or Mexican accents. But I think the Mexican guy was actually of SOME kind of Spanish descent... on second thought, I don't know if that makes it better or worse. That aside, however, this is a real punch in the gut -- especially considering that it was made in 1955. Pretty daring stuff. I loved it.
We begin with one of the great opening scenes, bare feet slapping on blacktop, a desperate woman, a flashy sports car plunging out of the darkness before descending into a soupy nightmare of paranoia, psycho-sexual dread, madness and death. Ralph Meeker plays a hyper masculine self obsessed fool of a P.I, destructive to all those around him and they all know it. The ending is also infamous and a shade more apocalyptic and bleak than is standard even for film noir. A sleazy, perverse and essential piece of pulp art.
Dude, hell yeah
Film Noir #6 of my Marathon of Filmspotting Marathons
Kiss Me Deadly starts well and ends really interestingly... but it's a complete mess for most of its running time. It all starts, as is becoming usual for me, with the protagonist. I'm baffled by Adam characterizing him as "fascinating" because he just seemed like another blank audience-surrogate to me, and I can't say Ralph Meeker finds any way to elevate that. He describes him as a badass, and they discuss his brutality but I'd say the character barely registered with me... as did most of the film before it turned from detective noir to paranoid thriller. Maybe I've become so desensitized to violence in…
I'm in love with the acting in this film. So natural. Also, if somebody could go back in time and make a prequel with Cloris Leachman reprising her role, that would be great.
"You want to avenge the death of your dear friend. How touching. How sweet. How nicely it justifies your quest for the great whatsit."
"This joker says there's a new art in the world, and this doctor's starting a collection."
This is the way the world ends. Not with a whimper but with a bang.
This is a strange film, but in a really good way. At times it feels like a pretty standard film noir with a protagonist that is as much a sexual magnet as Bogart, but then it gets ballsy as fuck. Still processing that ending.
When you're a Hammer every problem is a nail.
This film is like a slap to the face...
This is a definitive hard-hitting film noir classic, with an unusual ending that turns the film (and it's genre) on it's head. Robert Aldrich adds a sharp bite to A.I. Bezzerides' paranoid script, which was very loosely based on the popular Mickey Spillane novel. Not to mention Ralph Meeker's stiff tough guy persona as Mike Hammer; makes this film a sort of... man's man kinda film.
I guess that's why, when I first saw this film (which was about three or four years ago), I wasn't a huge fan. I thought it was too "mean", if you know what I mean. I didn't like the main character, I thought the mystery…
UPDATED: October 21, 2016
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…