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Before Stanley Kubrick emerged as the visionary filmmaker behind classics like “2001: A Space Odyssey,” “Barry Lyndon,” and “Eyes Wide Shut,” he began his career with humble beginnings. His first feature film, “Fear and Desire,” was met with such disappointment that Kubrick himself attempted to destroy all copies. Although less critical of his second film, “Killer’s Kiss,” he still regarded it as an amateur work. Despite its distance from his later masterpieces, this 1955 noir, with its stunning cinematography, deserves appreciation. Currently, “Killer’s Kiss” is available for viewing on Tubi at no cost.
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Like many renowned film noirs, “Killer’s Kiss” opens with a protagonist embroiled in a reflective inner monologue, pondering the missteps that led to their predicament. Enter Davey Gordon (played by Jamie Smith), a middleweight boxer whose once-promising career is now reduced to fading posters in New York City. His solitary existence in a sparse apartment is brightened by Gloria Price (portrayed by Irene Kane), a taxi dancer living across the way. Witnessing Gloria in distress, Davey decides to leave town with her to start anew. However, their plans are thwarted by Gloria’s threatening boss, Vincent Rapallo (Frank Silvera), who won’t let them go easily. While “Killer’s Kiss” may not break new ground, its atmospheric intensity is undeniable.
Creating “Killer’s Kiss” was a monumental task for Kubrick, who took on the roles of director, cinematographer, and editor. He co-produced the film with Morris Bousel, a pharmacist from the Bronx, who became a partner after investing $40,000 into the project. Despite the film’s initially bleak ending, United Artists saw potential in Kubrick’s work, purchasing the distribution rights for $100,000 and providing an additional $100,000 for him to direct “The Killing” the following year.
If not for the early believers in Kubrick’s potential, the cinematic landscape over the next 40 years might have been vastly different. While “Fear and Desire” faltered under the weight of its own ambition, “Killer’s Kiss” marked Kubrick’s ability to craft a compelling genre film. The film noir tradition, exemplified by movies like 1949’s “The Set-Up,” often explored the struggles of boxers, a subject Kubrick was familiar with, having directed the 1951 documentary short “Day of the Fight.” Both films stand among the greatest boxing movies ever made.
Stanley Kubrick had a lot to prove with Killer’s Kiss
United Artists
At first glance, “Killer’s Kiss” appears to deviate from Kubrick’s later work, which is characterized by meticulous precision. However, the film’s rough-hewn quality is intentional, adding to its charm. Kubrick elevates traditional noir archetypes by enveloping them in a poetic, dream-like narrative typical of low-budget film noir. A standout moment features Ruth Sobotka, a dancer and Kubrick’s wife, performing a ballet as Gloria recounts her past, adding layers of depth to the story.
We probably wouldn’t have the following four decades of Kubrick masterpieces if not for the folks who saw a visionary with loads of promise. “Fear and Desire” failed because Kubrick’s experimentation with the form ultimately added up to a pretentious student film. “Killer’s Kiss,” on the other hand, was Kubrick showing that he could make a straightforward genre movie. Noirs like 1949’s “The Set-Up” proved that boxers and their plight for relevancy made them prime subjects for crime stories. Kubrick already had some experience with the sport, having directed the 1951 short documentary “Day of the Fight” a few years earlier. Both would secure spots among the best boxing movies of all time.
Killer’s Kiss offers a glimpse into who Kubrick would become
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At first glance, “Killer’s Kiss” feels at odds with Kubrick’s filmography. The trademark perfectionism on full display in works like “The Shining” is noticeably absent here. But the film’s ramshackle construction is a feature, not a bug. Kubrick transcends his characters’ cardboard archetypes by framing them within the lyrical, dream-like language of poverty row film noir, such as a memorable scene where Ruth Sobotka, a dancer and Kubrick’s wife, performs a ballet amid Gloria’s recounting of her backstory.
Nevertheless, “Killer’s Kiss” stays true to the inherent lived-in quality of 1950s New York. Back alleys are presented from low-angle shots that make them feel as majestic as the most historic cathedrals. Empty warehouses are coated in dust and creaky elevators. Devotees of late night Turner Classic Movies bumpers will certainly recognize the jazzy rhythm of Gloria’s dance hall.
Impossible framing, such as a long take of Jamie Smith running across rooftops as the fog-coated Manhattan bridge looms in the background. add weight and scope to an otherwise small story. “Killer’s Kiss” would probably have a better reputation if it withheld dialogue altogether. The fight between Davey and Vincent in the mannequin factory is solely scored by the sounds of whacks and heavy breathing. Building upon these qualities ultimately helped Kubrick go from a no-name filmmaker to one of the greatest directors of all time.