All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
TENSE! TAUT! TERRIFIC! Told the untamed Hemingway way!
Two professional killers invade a small town and kill a gas station attendant, "the Swede," who's expecting them. Insurance investigator Reardon pursues the case against the orders of his boss, who considers it trivial. Weaving together threads of the Swede's life, Reardon uncovers a complex tale of treachery and crime, all linked with gorgeous, mysterious Kitty Collins.
Film #27 of Project 40
”Don't ask a dying man to lie his soul into Hell.”
Most noirs center around a mystery and it is the attempts of main characters to find the truth – or sometimes to desperately hide it – that defines the actions and reactions which will ultimately rearrange the film’s universe and rewrite the relationships between various individuals involved in the plot. Robert Siodmak’s The Killers - which is based on a short story by Ernest Hemingway – follows the same rule but here there is one big difference that makes this quite unique among other noirs of 40s. The film uses multiple flashbacks and by gathering little pieces of information/truth from various people it follows…
Hadn't previously thought of Siodmak as much of a stylist beyond the basic noir conventions he helped establish, but this is nearly as formally dazzling as Kane (which it's clearly striving to emulate), albeit in a less flashy way. Wish I had a copy handy so I could revisit and describe some of the shots that knocked me on my ass—I can't quite recall, for example, whether it's camera movement or blocking (or both) that suddenly places Ava Gardner in the foreground of this moment as she begins to sing her number, upstaging an already tense interaction between Lancaster and his girl, but it demonstrates an understanding of cinematic space that makes widescreen seem like a grotesque affectation (and…
"If there's one thing in this world I hate, it's a double-crossing dame."
When two crooked looking men walk into a small town diner it spells only one thing, trouble. They are looking for "The Swede", Ole Andreson (Burt Lancaster) and aim to put him out of his misery. As film noir tends to look at the darker aspects of life it maybe no surprise that the man who leads the picture is killed right at the beginning, the two killers finding him not long after they depart the diner. It is a fine example of why film noir was so brilliant that it could give us the not so happy ending right at the beginning. It proves the movement…
It's been a long time since I've seen this, but I just bought the Criterion Blu-Ray with both versions of The Killers, so it won't be so long before I see it again. I'd forgotten how it ended, so it was a treat to savor this movie again.
I was really impressed with the camera placements and movements of director Robert Siodmak this time.
Jeff Corey, who played Blinky Franklin looked somewhat like John Turturro to me.
That's what the Swede does when he's not trying to break up Julie Taylor and Matt Saracen
"I'm poison, Swede, to myself and everybody around me!" ~ Kitty Collins
First published in Scribner's Magazine in 1927, Ernest Hemingway's "The Killers" soon became one of his most famous and frequently anthologized short stories. It has been widely translated, adapted for radio and television, and recorded by Stacey Keach as an audio book.
Director Robert Siodmak was the first to bring the story from print to a full-length movie. He took a film noir approach and cast an unknown 33-year-old actor named Burt Lancaster in the role of former prizefighter Ole "Swede" Anderson aka gas station attendant Peter Lunn. It goes without saying that this was Lancaster's big break, and he rode it to sky-high stardom thereafter.
Implacabile noir che propone un'impalcatura investigativa a ritroso à la Citizen Kane (un altro topos innescato da quel genio di Welles per il cinema nero, come la profondità di campo e il taglio barocco). Micidiale la spirale senza via di uscita che inghiotte il povero Burt Lancaster, sospeso tra sogni di gloria, la chimera di un futuro migliore e l'amore di una femme fatale ingannevole e meschina, come il copione del genere pretende (una sublime Ava Gardner). Come al solito impeccabile la direzione di Siodmak, un vero maestro del cinema noir, sempre circondato da notevoli direttori della fotografia (in questo caso Edwod Bredell). Troppe le sequenze da ricordare.
The dangerous lives of insurance investigators.
The kind of crime picture I'm predisposed to liking, it even has a scene a locker room following a boxing match which is something I feel every noir should have. I love the suspenseful opening diner scene, and I love that this movie ends with a cheesy one-line and a smile to the camera despite how out of place that feels.
Great opening scene. Older movies definitely have a certain charm about them, and noir women are always interesting. (Kolfax death scene)
ava gardner proving she's one of the original scammers by playing burt lancaster like a violin also why is an insurance man going thru all this trouble for money that went missing like 6 years ago? ctfu
Absorbing, tense film about the background of a murder. Extremely well-directed with notable early performances from Lancaster and Gardner.
Manages to be very good, sometimes even excellent, despite Lancaster's middling performance.
This is what you think of when you think of '40s noir thrillers. The Killers is a quintessential entry in the genre. The opening scene, based on a story by Ernest Hemingway, is a taut, hard-boiled masterpiece, so much so that the rest of the movie has a hard time living up to it. Edmond O'Brien plays an insurance investigator who launches a Citizen Kane-style post mortem inquiry into a murder victim's past, in an attempt to ascertain the hows and whys of his death. The plot is thick with twists and turns, though not all of them unpredictable to an audience that's seen 70 years worth of derivations on this classic. Even so, Robert Siodmak's brilliant direction keeps the…
Quentin Tarantino's favorite films based on the internet pulled from multiple sources.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…