The Killing (film)

Not to be confused with Killing (film).

The Killing
Theatrical release poster
Directed by	Stanley Kubrick
Screenplay by	Stanley Kubrick
Dialogue by	Jim Thompson
Based on	Clean Break by Lionel White
Produced by	James B. Harris
Starring	Sterling Hayden Coleen Gray Vince Edwards Jay C. Flippen Marie Windsor Ted de Corsia
Cinematography	Lucien Ballard
Edited by	Betty Steinberg
Music by	Gerald Fried
Production company	Harris-Kubrick Pictures Corporation
Distributed by	United Artists
Release date	May 19, 1956 (1956-05-19) (New York City)
Running time	84 minutes
Country	United States
Language	English
Budget	$320,000

The Killing is a 1956 American film noir directed by Stanley Kubrick and produced by James B. Harris. It was written by Kubrick and Jim Thompson and based on Lionel White's novel Clean Break. It stars Sterling Hayden, Coleen Gray, and Vince Edwards, and features Marie Windsor, Elisha Cook Jr., Jay C. Flippen and Timothy Carey.

Plot

Johnny Clay is a veteran criminal just out of prison, planning one last heist before settling down and marrying Fay: robbing the money-counting room of a racetrack of $2 million dollars during a featured race.

Johnny assembles a team consisting of a corrupt cop to aid the getaway, a betting window teller to gain access to the backroom, a sharpshooter to shoot the favorite horse during the race to distract the crowd and keep the winnings from being paid out, a wrestler to tie up security by provoking a fight at the track bar, a track bartender, and a bored old backer to stake the plan.

George Peatty, the teller, is married to a greedy and unfaithful sexpot, Sherry. She is bitter at George for not delivering on the promises of wealth he made to wed her five years earlier; George hopes telling her about the impending robbery will impress her and keep her from leaving him. Initially skeptical, Sherry becomes convinced that the robbery is real and inveigles her lover Val Cannon to steal the take from George and the gang.

The heist is successful; fortuitously, the sharpshooter, a potential loose end, is shot dead by a security guard. The conspirators gather at the apartment where they are to meet Johnny and divide the loot. Before he arrives, Val appears with a wingman to hold them up. A shootout ensues and a mortally wounded George emerges as the only man standing.

Arriving at the rendezvous, Johnny sees a bloodied George staggering in the street and knows that something is badly wrong. While George goes home and shoots Sherry, Johnny buys the biggest suitcase he can find and stuffs the money in. At the airport, he tries to take the oversized bag on as carryon but is refused. While he and Fay wait on the tarmac for the plane to arrive, a woman's lapdog runs onto the runway and into the path of a baggage cart. The driver swerves and the suitcase falls onto the runway and bursts open, its loose banknotes swept into a whirlwind by the aircraft's propellers.

Seeking to flee, Fay and Johnny are unable to hail a cab before the police are alerted to them. As two plainclothes detectives approach Fay urges Johnny to run. He refuses, calmly accepting his fate.

Cast

• Sterling Hayden as Johnny Clay
• Coleen Gray as Fay
• Vince Edwards as Val Cannon
• Jay C. Flippen as Marvin Unger
• Elisha Cook Jr. as George Peatty
• Marie Windsor as Sherry Peatty
• Ted de Corsia as Policeman Randy Kennan
• Joe Sawyer as Mike O'Reilly
• James Edwards as track parking attendant
• Timothy Carey as Nikki Arcane
• Tito Vuolo as Joe "Piano"
• Joe Turkel as Tiny
• Jay Adler as Leo the Loanshark
• Kola Kwariani as Maurice Oboukhoff
• Dorothy Adams as Mrs. Ruthie O'Reilly
• Art Gilmore as narrator

Production

I give Stanley a free hand to create, and he leaves the money problems to me.

— James Harris

We want to make good movies, and make them cheap. The two are not incompatible.

— Stanley Kubrick

While playing chess in Washington Square, Kubrick met producer James B. Harris, who had sold his film distribution company and was looking for a new young talent. Harris considered Kubrick "the most intelligent, most creative person [he had] ever come in contact with", and the two formed the Harris-Kubrick Pictures Corporation in 1955. Harris purchased the rights to Lionel White's novel Clean Break for $10,000, beating United Artists, which was interested in the film as a vehicle for Frank Sinatra. At Kubrick's suggestion they hired hardboiled fiction novelist Jim Thompson to write the script. United Artists told the pair that it would help finance the picture if Harris and Kubrick could find a high-profile actor to star. They signed Sterling Hayden, who agreed to accept $40,000. But Hayden wasn't a big enough star for UA, which wound up providing only $200,000 for the film; Harris financed the rest using $80,000 of his own money and a $50,000 loan from his father. The film was the first of three on which Harris and Kubrick collaborated as producer and director over less than ten years. Working titles for the film were Clean Break and Bed of Fear. It was the last feature film completely filmed by Kubrick in the United States (interiors for Spartacus were shot on Universal's Hollywood sound stages, but its battle exteriors were shot in Spain).

Three members of the cast—Hayden, Ted de Corsia, and Timothy Carey—had appeared together the previous year in the low-budget noir film Crime Wave. The art director, Ruth Sobotka, was Kubrick's wife at the time. Kubrick and Harris moved from New York to L.A. to shoot the picture, and Kubrick went unpaid during the shooting, surviving on loans from Harris. In addition to Hayden, Kubrick cast actors from films noirs he liked, such as Carey, de Corsia, Elisha Cook Jr. and Marie Windsor. He chose former professional wrestler and old chess friend Kola Kwariani to play an aging, chess-playing grappler. The Hollywood cinematographers' union told Kubrick that he could not be both director and cinematographer, so veteran cinematographer Lucien Ballard was hired to shoot the picture. He and Kubrick often clashed. On one occasion Kubrick favored a long tracking shot, with the camera close to the actors with a 25mm wide-angle lens to provide slight distortion of the image, but Ballard moved it further away and began using a 50mm lens. Kubrick sternly ordered him to put the camera back or he would be fired.

Reception

Theatrical run

Without a proper release across the U.S., The Killing performed poorly at the box office. In spite of a last-minute promotion as a second feature to Bandido!, it failed to turn a profit. But it garnered critical acclaim, landing on several critics' top-ten lists for 1956. Time wrongly predicted that it would "make a killing at the cash booths"—asserting that Kubrick "has shown more audacity with dialogue and camera than Hollywood has seen since the obstreperous Orson Welles went riding out of town on an exhibitors' poll"—as the film recorded a loss of $130,000.

Critical response

New York Times film critic A. H. Weiler wrote, "Though The Killing is composed of familiar ingredients and it calls for fuller explanations, it evolves as a fairly diverting melodrama. ... Aficionados of the sport of kings will discover that Mr. Kubrick's cameras have captured some colorful shots of the ponies at Bay Meadows track. Other observers should find The Killing an engrossing little adventure."

Variety liked the acting and wrote, "This story of a $2 million race track holdup and steps leading up to the robbery, occasionally told in a documentary style which at first tends to be somewhat confusing, soon settles into a tense and suspenseful vein which carries through to an unexpected and ironic windup ... Hayden socks over a restrained characterization, and Cook is a particular standout. Windsor is particularly good, as she digs the plan out of her husband and reveals it to her boyfriend."

Kubrick and Harris thought the positive critical reception had made their presence known in Hollywood, but Max Youngstein of United Artists still considered them "not far from the bottom" of the pool of new talent at the time. Dore Schary of Metro-Goldwyn-Mayer was impressed with the film, and offered the duo $75,000 to write, direct and produce another, which became Paths of Glory.

The Killing has gained a cult following, among other Kubrick films. For example, Eddie Muller placed the film 15th among his top 25 favorite noir films, saying, "If you believe that a good script is a succession of great scenes, you can't do better than this. Hey, that scene was so good, let's do it again from somebody else's perspective".

In 1998, Jonathan Rosenbaum of the Chicago Reader included the film in his unranked list of the best American films not included on the AFI Top 100.

In 1999, film critic Mike Emery wrote, "Kubrick's camerawork was well on the way to finding the fluid style of his later work, and the sparse, low-budget circumstances give the film a raw, urgent sort of look. As good as the story and direction are, though, the true strength of The Killing lies in the characters and characterizations." The same year, director Peter Bogdanovich wrote in The New York Times that while The Killing did not make money, it, along with Paths of Glory, established "Kubrick's reputation as a budding genius among critics and studio executives."

In 2012, Roger Ebert added The Killing to his list of "Great Movies". In his opening remarks, Ebert writes, "Stanley Kubrick considered The Killing (1956) to be his first mature feature, after a couple of short warm-ups. He was 28 when it was released, having already been an obsessed chess player, a photographer for Look magazine and a director of March of Time newsreels. It's tempting to search here for themes and a style he would return to in his later masterpieces, but few directors seemed so determined to make every one of his films an individual, free-standing work. Seeing it without his credit, would you guess it was by Kubrick? Would you connect Dr. Strangelove with Barry Lyndon?"

On the review aggregator website Rotten Tomatoes, 96% of 47 critics' reviews are positive, with an average rating of 8.6/10. The website's consensus reads: "An expertly crafted noir with more on its mind than stylishly staged violence, The Killing establishes Stanley Kubrick as a filmmaker of uncommon vision and control."

Metacritic, which uses a weighted average, assigned the film a score of 91 out of 100, based on 15 critics, indicating "universal acclaim".

Awards

Nominations

• BAFTA Film Award, Best Film from any Source, USA; 1957.

Influence

Quentin Tarantino has said that this film was an influence on Reservoir Dogs, that he thought of that film as "my Killing, my take on that kind of heist movie."

Home media

A digitally restored version of The Killing was released on DVD and Blu-ray by The Criterion Collection, which also included Killer's Kiss as a bonus feature. On July 26, 2022, Kino Lorber (under the KL Studio Classics line) released a Ultra HD Blu-ray edition of the film from a new remaster of the original negative with new audio commentary by film historian Alan K. Rode.

See also

• List of American films of 1956
• Heist film

Sources

• Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. ISBN 978-3836527750.

External links

• The Killing at the AFI Catalog of Feature Films
• The Killing at IMDb
• ‹The template AllMovie title is being considered for deletion.› The Killing at AllMovie
• The Killing at the TCM Movie Database
• The Killing at Rotten Tomatoes
• The Killing: Kubrick’s Clockwork an essay by Haden Guest at the Criterion Collection
• The Killers Inside Me an essay by Chuck Stephens at the Criterion Collection
• The Killing film trailer at the Internet Movie Database