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Download, Watch online Killer's Kiss Movie.
| Genres: | CrimeThrillerDr |
| Starring: | Felice Orlandi, Phil Stevenson, Frank Silvera, Irene Kane, Jamie Smith, Jerry Jarrett, Mike Dana |
| Director(s): | Stanley Kubrick |
| Available Quality: | DivX, Hi Def, iPod, Hi Def |
| Country: | USA |
| Year: | 1955 |
| IMDB Rating: | 6.7 |
Prize-fighter Davy Gordon intervenes when private dancer Gloria Price is being attacked by her employer and lover Vincent Raphello. This brings the two together and they get involved with each other, which displeases Raphello. He sends men out to kill Davy, but they instead kill his friend. Gloria is soon kidnapped by Raphello and his men, and it is up to Davy to save her.
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Killer's Kiss (iPod) | Resolution: 480x368 px | Total Size: 217 Mb |
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Killer's Kiss (Hi Def) | Resolution: 852x640 px | Total Size: 525 Mb |
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Killer's Kiss (Hi Def) | Resolution: 960x720 px | Total Size: 2235 Mb |
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Killer's Kiss (DivX) | Resolution: 576x432 px | Total Size: 697 Mb |
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Movie Photos: We have taken some photos of "Killer's Kiss". They represent actual movie quality.
Visitor Reviews: (20)
Martin Teller 17 May 2012
Killer's Kiss (1955)
Well, the performances are atrociously bad, the storytelling is clunkyand even some of the editing choices are poor. It's certainly not ofthe great noirs. But Kubrick's photographic talents are quiteprominent, and the film looks absolutely fantastic. From the fightscene to the warehouse climax, it's a terrific example of noirlighting. Even the ballet scene, as plodding and unnecessary as it is,looks dynamite. Also the use of real New York locations adds a lot ofspice, as does the jazzy off-kilter score. The whole thing has asurreal, almost dreamlike quality to it. At any rate, I'd rather watchthis than SPARTACUS.
shockwave6668 16 May 2012
Brilliant Shots..Visually Engaging
This is like a low budget Citizen Kane. The story is very basic andnovice, yet Kubrick is able to pull it off. Before CGI, this film is anexample of what can be done.For example, Davy looking inside the fish bowl is the highlight at thebeginning before the boxing fight. Very well done!Secondly, the shot of Davy in Gloria's room while she's asleep. He'slooking in the mirror and with careful direction, we see her fastasleep in the mirror too!Third, while Davy's talking to his uncle we see Gloria in thebackground on the window/mirror. Wonderfully done and an earlytrademark of Kubrick.The movie itself was pretty much basic, but the visuals andpresentation is engaging, even today! A little over an hour, the filmis worth seeing.
stalker vogler 15 May 2012
Short, boring, meaningless=Kubrick?! No way...!
I have to admit that the only reason why I watched this was because Iwanted to be a Kubrick completist. This was the only thing coming fromthe master that I haven't watched so I felt obliged. But the result ofmy viewing is not so rewarding. Killer's Kiss is definitely not aKubrick film in the full sense of the word, It has a very bad andfilled with holes script, the directing is decent only if you interpretit through the later efforts of Kubrick, the editing is sloppy, thepacing is atrocious, and even the music is not well-suited. Watchingthis I have no other reserve as to who is the greatest Americandirector ever, that is Orson Welles, who could do an astonishing moviewith a very tight budget. I admit Kubrick had a limited budget but hecould have made something more interesting. I think that his first filmFear and Desire, a movie he repudiated, should be considered beforethis one as the director's first, much more promising and indeed amovie in its own terms. Killer's Kiss has only a few angles andcompositions that make it worth watching, but everything is rather illin this movie... That is the most amazing element is the fact that itlasts slightly more than one hour but it manages to be dull and makeyou yawn even if you have to spent only a short amount of time with it.Definitely makes another Barry Lyndon or Paths of Glory viewingnecessary....!
sol1218 14 May 2012
Stanley Kubrick deals with murderous obsessions in this 1955 Film-Noir Classic
**Spoilers** Stanley Kubrick's debut film about obsession and murder onthe gritty and dangerous streets of midtown Manhattan and the empty anddeserted factory lofts along the Brooklyn waterfront. With a number offine performances by Jamie Smith & Gloria Price as the two unlikelylovebirds Davy Gordon & Irene Kane and especially Frank Silvera asIrene's jealous and obsessive former boyfriend Vicent Rapallo. Who runsthe Pleasureland Dance-Hall where Irene works as a dance partner forthe customers who go there for their nightly entertainment. Davy who's a professional boxer just came back from the sports arenaafter getting his brains scrambled by the up and coming worldwelterweight contender 22 year-old "Kid" Rodriguez, who knocked him outcold in the first round of their match. With his boxing career on theropes the 29 year-old washed-up fighter was nursing his wounds when hehears a scream across the other side of his apartment building. Withthe women, Irene, in question being beaten up by her boyfriend,Vincent,and comes to the women's rescue as Vincent flees the scene. Irene had just broken up with Vincent who's also a part-time hoodlum aswell as dance-hall manager. After spending the next morning with Davy,who had breakfast in her apartment, Irene decides to leave New YorkCity with him for Seattle. It's there where she can live and find worktogether with Davy on his uncle's horse farm. Davy and Irene plan tomeet after they both get paid at Penn. Station in mid-town Manhattanfor a train to Washington State.Davy gets in touch with his fight manager Albert, Jerry Jarret, andtells Jerry to meet him at the Pleasureland Dance-Hall to pick up hischeck for his fight with "Kid" Rodriguez. Meanwhile Irene also goes tothe dance-hall to get her severance pay from her former boyfriendVincent. After having it out with him, when he begged her to pleasestay, Vincent sends two of his thugs outside the dance-hall to kidnapIrene and also work over Davy who's expected to meet her outside theplace. Instead they mistake Jerry for Davy and end up beating him todeath as they grab and take off with the terrified Irene. Davy getting to the dance-hall late, due to him chasing these twowackos who stole his scarf, goes home and takes his belongings to go tothe train station the next morning thinking that Irene left anddeserted him. Checking Irene's apartment Davy finds it empty but ashe's there he sees outside the window into his apartment two policeofficers talking with his super about him being suspected of murderinghis manager Jerry earlier that night. Realizing now what really happened and him being framed for Jerry'smurder Davy get's a taxi to Vincent's place at the dance-hall. Aftertaking him hostage Davy has Vincent drive him to a Brooklyn warehousewhere his two hoods, who murdered Jerry, Mike Dana & Felice Oriandi areholding Irene captive. Exciting final with Davy battling both Vicent and his two henchmen witha real knock around battle with Vincent in a garment factory loftfilled with mannequins that are used as deadly weapons in the fighting;together with axes and steel-hooked poles, with Vicent ending up deadand Davy arrested for murder. Davy is later vindicated at the police station for Vicent's death dueto self-defense but Irene whom Davy rescued leaves the precinct withoutgoing with him to the train station to leave for Seattle, as she saidearlier she would. We see this all in a flashback by Davy, reflectingon what he went through the last three days. Feeling hurt and dejectedas Davy's about to get on the train by himself he spots running to thetrain station Irene! The film ends with Davy now knowing that he's notalone as he and Irene both kiss and leave for Seattle together likethey planned to do in the first place. Stanley Kubrick showed in his first major motion picture "Killer'sKiss" just what the movie going public could expect from him in thefuture when he has more money and experience to put into the movies.Movies that he'll make and direct. And after some 44 years up until hisdeath in 1999 the movie going public were never disappointed in any ofhis cinematic efforts.
Davey Collins 12 May 2012
very stylish, very under-rated
Simply put: one of the most stylish film noirs. Stanly Kubrick's and FilmNoir's most under-rated titles. It kept me enthralled with its visuals andstrong mood. Entertaining to say the least. I would highly recommend thisto anyone interested in noir.
ChorusGirl 12 May 2012
Valuable NYC time capsule
Decent, B-NeoNoir with the expected trimmings--boxer, dame, thugs,dingy walk-up apartments--given some class (to use the noir vernacular)via Kubrick's lush direction, and a wildly unsettling finale amongstdisemboweled mannequins. Earns a place on your "must" list for itsremarkable on-location NYC photography, some of the best of any noir.Two locales in particular--the cavernous original Penn Station (alreadyon the road to ruin) and 1955 Times Square with its acres of moviepalaces and neon marquees--get plenty of footage, serving as anirresistible time capsule. It lends great realism to one of the leastglamorous urban films since the Warner pre-Code era.
10 May 2012
Brilliant
The movie was incredible. Pure genius. The only problem I had with it was that the story moved too quickly (the movie's only 67 minutes long), but I guess that probably had to do with the budget.
09 May 2012
From small things, big things grow!
This review is from: Killer's Kiss (El Beso del Asesino) [NTSC/REGION 4 DVD. Import-Latin America] (DVD) Despite a limited budget, some average acting at times, one can see the potential that Stanley Kubrick had start to develop into a career of ground breaking and influential filming. The things that stand out in the film include;- Reverse negative shot of the nightmare anticipates the famous "trip" scene in 2001;- Voyerism shots reminds a bit of Rear Window;- Huge shadows reflected on the buildings, similar to The Third Man;- The boxing sequence as good as any around that time;- The final fight to the death amongst the dummies was highly capably staged and filmed;- The seediness of the late night New York stands out;- The chase over the roof tops and the alley ways well edited and flows well.Ignore a bit of corny dialogue, this is where Stanley's brilliant creative genius as a film-maker really begins.
trixster 08 May 2012
Nothing ground-breaking
For Kubrick's first (available) feature, it's actually fairly unimpressive. The story is completely generic film-noir; there's really no ground broken there at all. The performances are all fairly mediocre; none of the actors are even recognizable to me. But Kubrick has never been all about story and characters, his films are famous for their images. And his direction is impressive, it's fairly obvious what was gonna blossom out of this seed; some of the shots and sequences are quite fantastic. But there's nothing eye-opening or wondrous like in his later work. Not a bad first film, but not great either.
08 May 2012
For Kubrick Fans' Eyes Only: Others Beware!
There may be something that one can glean from KILLER'S KISS, but I think it will be lost on anyone that is not already a die-hard, Kubrick fan. That is to say, if you haven't seen any of Stanley Kubrick's films, do not start with this one under any circumstances. I kept asking for more. The fact that Kubrick had directed it raised my standards far too high. I kept waiting for a complexity in the story to arise, for the characters to grow some depth, for the subtle "turn" in the plot. But nothing ever came. And then the film ended, after only 67 minutes. As the credits rolled, I sat there in shock before finally muttering: "I guess that was it." Of course, there are some highlights in the film. The lighting is great, the shots are nice, etc. But compared to his later work, KILLER'S KISS fails to meet the director's own standards. So what is the use in seeing this film? I agree with one reviewer who commented that this film is like an artist's early "throwaway" sketches. While you can catch glimpses of Kubrick's later glory, on the whole the film lacks heart and should have been left on the drawing board. But a star does not emerge overnight-we must take his early, inexperienced work with his later masterpieces. Thus, if you are interested in Kubrick, the director, you might enjoy dipping back into his filmography to see where he came from. But if you are interested in catching a good noir, I would recommend over a dozen films before KILLER'S KISS would even make the list.
07 May 2012
Unfortunately Nothing More Than an Exercise in Style.
"Killer's Kiss" was Stanley Kubrick's second feature film, which he wrote, directed, photographed, and edited himself. It was supposed to be an "experimental" film, and that shows in the film's self-conscious style and self-indulgent tone. "Killer's Kiss" is usually categorized as "film noir", and it is actually self-consciously noir, at times to the point of caricature. This is interesting, since many critics have argued that film noir had no real conventions. Hard-core noir probably does have conventions, and "Killer's Kiss" proves that by hanging the entire story on conventions of introverted 1940s crime films. There are voice-over narration, flashbacks, unfortunate coincidences, sleazy underworld characters, a woman who spells trouble for the men around her, general pessimism, and a brooding tough guy leading man. The trouble with "Killer's Kiss" is that it is no more than an exercise in style: Low-budget style in which conventions and experimentation exist for their own sake.Davy Gordon (Jamie Smith) is a veteran boxer whose career has been "one long promise without fulfillment". He is awakened from a dream one night by screams coming from the apartment facing his. He looks out his window to see that his neighbor, a pretty woman named Gloria (Irene Kane), is being assaulted. He rushes right over and learns from Gloria that her assailant was Vinny Rapallo (Frank Silvera), her boss at the dance hall where she works, whose advances she had rebuffed. Gloria and Davy become lovers and plan to leave town together, a situation which Vinny cannot abide.First I must say that "Killer's Kiss" is only 67 minutes long -and that it contains only about half that much material. It's rife with extraneous footage. Very little happens in the film. It has a noir sensibility on one hand and a down-the-rabbit-hole sensibility on the other. The world of "Killer's Kiss" is definitely off-kilter, as if realism were pulling it one way and nightmarish fantasy are pulling it the other. That could be interesting, but the film suffers from having little story, next to no credibility, and one-dimensional characters. The three lead characters are thoroughly unconvincing performances. While I was watching the film, it was not clear to me whether that was bad acting or an attempt at some kind of style. In retrospect, it was obviously deliberate, but that doesn't help. Davy mumbles a lot. Gloria is a bit of a tease. And Vinny is a sleazebag. That's all there is to say about them. The story is a fight between 2 cardboard men over a woman who isn't worth much. I'm not cutting Kubrick much slack, because it seems he wasn't trying to make a good film. He made a showcase for certain obvious stylistic devices. The bottom line is that "Killer's Kiss" was not made for an audience. It was made for its director. So don't expect much.The DVD (MGM 2001): This print has not been restored, but its flaws are minor. The only bonus feature is a theatrical trailer (2 minutes). Subtitles are available in English and French.
Michael Gillespie 07 May 2012
The movie is very good with one minor problem; the acting.
Stanley Kubrick combines several techniques to make this film bothunique and original for the time period. He utilizes voice-overtechniques,flashback, and creates wonderful imagery with an interpretive balletnumberduring an expository flashback. He also films one the most realisticboxingsequences, realistic in its brutality and naturalism. The one oversightthat Kubrick makes is in casting. Frank Silvera(as the protagonist)isbothbland and devoid of depth. Jamie Smith(the antagonist) is a stereotypical"thug" with little to offer this otherwise excellent film. The onlyexcusethat master film maker Stanley Kubrick could possibly offer would befunding.
whpratt1 04 May 2012
Irene Kane & Jamie Smith Made this A Great Kubrick Film!
Missed this great film of director Stanley Kubrick in 1955.The black and white effect was perfect for this depressing story. However,it was enjoyable watching these two actors, Jamie Smith (Dave Gordon),"OnlyFools & Horses '81 TV Series" and Irene Kane(Gloria Price) "All That Jazz"'79, look at each other through the windows of their one room apartments inthe same building, dressing and undressing and looking very depressed anddown in the dumps. Jamie was a down and out prizer fighter and Gloria was adance for hire gal, who was down on her luck working along Broadway, NYC andbeing taken advantage of by the villian, Frank Silvera (Vincent Rapallo)"Valdez Is Coming" '71". Stanley Kubrick wanted this film to be a veryrealistic film about two people being drawn together by hard luck,therefore, he had these actors act just the way ordinary people would act inREAL LIFE, it makes it appear that they are both poor actors, which is farfrom the truth. It was great to see a man and a woman become drawn to eachother and be able to try and cope with their horrible situations in life. This a great Classic film by Stanley Kubrick!!
hershiser2 04 May 2012
Worth watching for the chilling end scene
I sat through this movie simply because it was a Kubrick film. For thefirstfifty or so minutes, I was a bit bored, even though I saw some earlyKubrickshots that would later make him the famous director he turned out to be.However, the ending scene is an early example of Kubrick's way of"creeping"the audience out, and was done quite well.
Det_McNulty 01 May 2012
A Sweat Filled Outing Of What Was Soon To Come
After the critical and commercial failure that was Fear and Desire Âawork Stanley Kubrick reportedly disowned- he released his secondfeature-length picture, Killer's Kiss. Although deeply blemished, itboldly paved way for the career of one of contemporary cinema's mostbeloved and greatest directors. As the tagline maliciously utters, "HerSoft Mouth Was the Road to Sin-Smeared Violence", as for its time itwas reasonably bloodthirsty, with its intensely choreographed boxingmatch and gripping finale. Do not let this marketing tagline deter youinto believing this is all about fight scenes, because there is afervent element of romance additionally integrated and so it avoidsbecoming superfluous.Concluding where it first began, this cold-hearted thriller weaves anoirish web of macho deceit and feverish obsession. Kubrick utiliseshis minimal budget of $75,000 admirably and displays his talent bymaking the low-budget appear nearly as costly as the Hollywoodproductions of the same period. Filming in his hometown of New YorkCity, the city streets are deftly captured with naturalistic maturityand expressionistic manoeuvring. The camera places a morose gaze on itseven moodier characters, observing their moping around in a way whichechoes their botched ambitions, neediness and boiling frustration.My fundamental gripe with Killer's Kiss is that it feels far toocasually strung together, in a way which makes a lot of the scenes feelboth useless and ineptly edited. This leads to a dispersal of tension,thus it does not feel as taut as it should do for a film-noir. If youare able to excuse the overly dramatic performances, bare screenplayand weak editing to the shoe-string budget then you will witnessconsiderable vigour in its short running-time (falling little over anhour). Ultimately, it is all about the perishing style with Killer'sKiss because the narrative is far too iffy for much attention to bespared, let alone critically garnered.Kubrick was not eager to "get deep" with his second-feature, but ratherto make a name for himself in the industry with something which wouldallow him to have more control over his future directional attempts.For any aficionados of the man's career there are many examples ofthemes and imagery which is further studied in the director's latercareer. So, if you are willing to view this sketchpad of motifs, thenprepare to witness the irrefutable promise Kubrick offered with hisominous noir.
01 May 2012
Don't miss it
I rented this movie a little while back because it was a Kubrick film. I love Kubrick's work. This is the only of his I haven't seen. The movie is just great. This movie really shows you what talent is. It doesn't have to wow you with mindless violence, it just does it with a great script. It works great as Noir because it has that quick and dirty feel of the great noir films. Like Detour. It does move fast, but at the same time it doesn't make you feel like your just along for the ride. Don't blink because you'll miss something great.
29 April 2012
Killer's Kiss on DVD
Being an avid Stanley Kubrick fan, I was very frustrated to find there were no copies of "Killer's Kiss" for sale or rent where I live. The day I bought my DVD player I found a copy of it on DVD, and I had to have it."Killer's Kiss" is the so-so film noir tale of a boxer who loses a fight and is ready to return to his home, where his family is, until he gets entangled with the dark life of a dance-hall girl. Through falling in love with this girl, he gets caught up with her jealous ex-lover, a crime king-pin. The story and the dialogue here are weak, but the film is redeemed by its own quirkyness and the beautiful black-and-white camera work. The DVD of "Killer's Kiss" has only one extra feature... A trailer of the film. It's nothing special, but it is somewhat interesting for historical purposes. The redeeming quality of this DVD ends up being the clarity of the picture, which, I feel is very good for an obscure 1955 film.It all really comes down to don't buy the "Killer's Kiss" DVD unless you love Kubrick, or have seen the movie and know you like it. You really have to wonder if this was the "Pi" or "Being John Malkovich" of its day.
28 April 2012
Gritty little noir.
Brutal, raw, low budget noir by Stanley Kubrick. This was only his second feature and even though it's roughly edited, it shows just how much talent he had. At 67 minutes, it's pretty short (and there's a chase scene at the end that could've been trimmed by a minute or two) but it's an enjoyable but bleak look at what happens when a washed-up boxer gets involved with a girl and her shady, obsessive boss. There's no melodrama here. It's pure gritty film-making on location in NYC. Excellent noir. (This would also make a good companion piece to Robert Wise's 1949 film The Set-Up which stars Robert Ryan as a boxer on his way out. And it has a bummer of an ending.)Another reviewer said this was "ugly". I think that it was supposed to be. It wasn't supposed to be beautiful. It's a realistic, gritty, and dark look at NYC in the fifties. Compared to the high budget police procedural noirs from the same year, of course it's going to look ugly.It's not going to be for all tastes but it's worth a look especially if you like bleak film noir.
27 April 2012
GOOFY GRINDHOUSE
This review is from: Killer's Kiss (DVD) low budget sleaze, with some flashbacks with narration, including one that involves a...ballerina?!the shots of 50s nyc are great, but most of this movie is cornball ed wood stuff.an ed wood movie, as directed by stanley kubrick!
ackstasis 27 April 2012
"It's crazy how you can get yourself in a mess sometimes and not even be able to think about it with any sense- and yet not be able to think about anything else."
Davy Gordon (Jamie Smith) is an over-the-hill boxer, lonely in life andfeeling particularly useless to the world. We first find him standingagitatedly in the centre of a train station, puffing away at acigarette, anticipating somebody's arrival. Via a flashback that spansthe entire film (including numerous flashbacks within flashbacks), weexplore the events in past days that have led Davy to this moment.Three days earlier, Davy prepares for one of the most important fightsof his life, determined to beat the up-and-coming boxer Rodriguez toretain his pride. The woman in the apartment opposite his, Gloria(Irene Kane), fascinates him, and he stares mournfully through herwindow in an attempt to appease his loneliness. It is his futurerelationship with Gloria, and her connection to the sleazy bad-guyVincent Rapallo (Frank Silvera), that precipitates the suspensefulevents in the film.Stanley Kubrick's second feature film (after the impossible-to-find'Fear and Desire' of two years earlier) is a solid directorial effort,especially considering that Kubrick, just 27 years old at the time, wasliving on welfare and working on a shoestring budget. Indeed, as theyoung director was simply unable to afford on-location filming permits,filming of the picture was mostly done discreetly, some shots evenrecorded secretly from a nearby vehicle. When the sound equipmentsuffered technical problems, Kubrick fired his sound crew and decidedto record the dialogue in post-production. Since Irene Kane was unableto return for the sound dubbing, radio actress Peggy Lobbin filled in.The first thing you'll notice about 'Killer's Kiss' is that, even soearly in his career, Kubrick had an eye for stunning and uniquecinematography. The short but brutal boxing match near the beginning ofthe film is the most gritty I've seen since 'Rocky' or 'Raging Bull,'and Kubrick's camera-work puts the audience amidst the action. Thehand-held camera employed during the action-packed scenes hovers justoutside the ropes of the boxing ring, as if we are a spectator watchingon. Suddenly, without warning, the viewer is tossed into the thick ofthe violence, and we witness the fight from Davy's point of view, as hecops a nasty blow to the head and plummets to the floor, the countingreferee bearing menacingly over him.At just 67 minutes, 'Killer's Kiss' is substantially shorter than anyother Kubrick films that I have seen, but this is probably a good thing I don't think the story and suspense could have held up any longerthan it did. The acting in the film is adequate enough (I actuallyquite enjoyed the performances of Smith and Silvera), though I wasn'ttoo enthusiastic about Irene Kane. To be fair, however, theaforementioned post-production dubbing might have played a part inthis.If this were not a Stanley Kubrick film, I firmly doubt that anybodywould even recognise the name of this film (in fact, even now awarenessis somewhat limited to Kubrick enthusiasts). However, this doesn't stop'Killer's Kiss' from being a competent ultra low-budget 1950s film-noirthriller, and it most certainly predicts greater things to come for oneof cinematic history's greatest directors.