Kiss Me Deadly Movie. Download or Watch Online.

Movies: 18470 | TV Series: 3282 | Added today: 0 | Storage: 65898 GB

Genres:	CrimeThrillerDr
Starring:	Ralph Meeker, Nick Dennis, Cloris Leachman, Jack Elam, Albert Dekker, Leigh Snowden, Paul Stewart
Director(s):	Robert Aldrich
Available Quality:	DivX, iPod, Hi Def, Hi Def
Country:	USA
Year:	1955
IMDB Rating:	7.7
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Tough L.A. private eye Mike Hammer gives a ride to Christina, a frightened young woman he finds running along the road one night. His car is run off the road by unseen thugs. Hammer is knocked out and Christina is tortured in an unsuccessful attempt to get information from her. They are put back into Hammers car which then is forced off a cliff. Hammer wakes up in the hospital. Velda, his trusty secretary, informs him that Christina is dead. Pat Chambers, Mikes policeman friend, tells him to stay off the case, but Mike thinks it might be a big story--meaning big money for him--because the FBI is interested. He, Velda, and Nick, his garage mechanic friend, start investigating in hopes of finding out why Christina was killed.

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Visitor Reviews: (20)

tieman64 18 May 2012

Atomic Noir

"Kiss me Deadly" is a minor noir notable for it's surreal imagery andsci-fi overtones.The plot is simple: Out driving one night, Detective Mike Hammerencounters a young woman on the road. She's recently escaped from alunatic asylum and is being pursued by several violent thugs. Thesethugs attack Hammer and kill the woman, leaving Hammer bent on revenge.Hammer eventually learns that the thugs are after a mysterious glowingbox which contains stollen radioactive material. Why do they want thisbox and where does it come from? No explanation is given, though thishasn't stopped audiences and critics attributing countless apocalypticallegories to the film. Screenwriter Albert Bezzerides mocks theseviewpoints, though, claiming that he detested writing such a hackscreenplay and was only interested in making each moment as interestingas possible.Yes, "Kiss me Deadly" ends with an iconic sequence, but much of thefilm is merely routine, the dialogue pedestrian and the visualsunimpressive when stacked up to greater noirs. What's interesting isactor Ralph Meeker's take on Private Investigator Mike Hammer. He turnsthe Hammer of Spillane's books, a pacifist and man of conscience, intoa sleazy detective who wallows in messy divorce cases, oftenmanipulating their outcomes to his own advantage. 7/10 - Aside from a great opening sequence and bombastic finale, thislittle noir has lost much of its bite.

Boba_Fett1138 18 May 2012

What is there not to like?

The movie starts off like your basically typical film-noir from thattime period. It uses all of the right required ingredients and handlesthem very well. It's definitely one fine made and effective film-noirbut then it has something extra to it as well. The movie really makesan unexpected and surprising twist, which I won't spoil but it is farfrom anything you would expect to see in an 1955 film-noir, let me tellyou that much. I loved it because it was so unusual and surprising butsome people don't seem to like it because it seems out of place and hasbasically nothing to do with the film-noir genre.This is a movie that didn't got made by any of the big studios and itgot shot in only a couple of weeks, with not really the most prolificor best actors involved with it. It makes it all the more impressivethat this movie is basically just as good as your other averagefilm-noir with some big name stars attached to it.The main character of the movie comes from the detective novels byMickey Spillane and this movie got also based on one of his books. It'sa pretty good tough character that obviously really fits the genre. Nota big surprise that quite a few movie and television projects got basedaround the Mike Hammer character. As is custom for the genre, the story gets quite hard to follow attimes and once you start thinking about it, some of the jumps in thestory just really don't make much sense. The one moment he hears a nameand the next he is already at the location were that character isholding up, as if he has no problems finding anyone. Also it doesn'tmake too much sense that some characters get killed and how the overallmovie progresses, with it's many different characters with differentagendas. But this is only when you start thinking too much into thestory. While watching it, it hardly ever becomes a complaint sinceyou're basically too drawn into the movie and the events happening init.This movie is truly a recommendable one, if alone already for the bigunexpected surprise twist it has to offer.8/10http://bobafett1138.blogspot.com/

12 May 2012

Brilliant realist late film noir

Kiss Me Deadly seems light years ahead of the studio made film noirs of just ten years earlier. Seventy-five per-cent of it is shot on location in Los Angeles circa mid fifties. Likewise the performances by Ralph Meeker and company are gritty and disturbingly honest. Meeker is the master of understatement and his Mickey Spillane is by far the quintessential reading of this pulp detective. Meeker inhabits his roles so thoroughly it's hard to pick him out in his various screen performances. The great fun of this cienimatic ride is following Spillane thru seedy L.A. and meeting the underworld characters, B-girls, and working-class joes that populate his world. Hold on to your hats for the surprise ending as Spillane follows the links to the contraband he was hired to find.

Dr.X 12 May 2012

Nearly perfect film noir

I am a huge film noir fan, and this is one my all-time favorites of thegenre. The detective character is played to demented perfection. Look forthe evil smile on his face as he smashes a hand in a desk drawer or roughssomeone up for more information. The dialog is brilliant, challenging, andenjoyable to watch. The characters are the perfect mix of intelligent,dark,cold, and selfish that makes a film like this really work at multiplelevels. My only quibble is I found the ending a bit disappointing.Otherwise, this is a true classic.

ironside 05 May 2012

"Kiss Me Deadly" revealed the developed of Aldrich styleÂ

"Kiss Me Deadly" had few similarities with Spillane's story about agang of dope traffickersÂ Instead Aldrich reworks the plot so that thecriminals are mixed up in the theft of priceless and high1y dangerousradioactive material which they are planning to smuggle to an unnamedpowerÂ The complicated story begins with Hammer picking up a scaredgirl on a lonely road at night and continues through the girl'ssubsequent death, a kidnapping and a series of very brutal killingsÂSpillane's Mike Hammer remains the ultimate in violent private eyesÂThe killings seem to matter less than the sadismÂ One scene in whichHammer deliberately breaks the irreplaceable records of an Italianopera lover in order to get the information he wants is more repellentthan any of the murders in the filmÂ Furious but stylish, "Kiss Me Deadly" is a film of great power andstays unique for its mixing of art and pulp fictionÂ

05 May 2012

Sleepy

I Agree with the last review here, so and stagie End of Noir was at least eight years prior this just reminds us of how we miss the Classic Black Cinema Features from the 40's.

Brent 04 May 2012

A very sorry ending.

I was really disappointed in this movie. Those that voted this thing a 10have a screw lose. The acting was ok, kinda wooden and cardboard. Theendingwas sorry. I just didn't care for this at all.No way could I recommend this mess.

04 May 2012

The Hunt for the Great Whatsit

After the post-war generation crafted the elegantly deadly James Bond and issued him a license to kill they drained the swamp and found Mike Hammer sleeping it off under a rotting log. Robert Aldrich's KISS ME DEADLY brings Mickey Spillane's pulp hero to life in all his amoral glory. Ralph Meeker plays the private eye whose specialty is divorce cases. Meeker's Hammer is a character who'd transcended cynicism before he crawled out of the crib. Hammer is a modern man (circa 1955) and the brooding, blasted and failed Romanticism of Sam Spade and Philip Marlowe isn't for him. Hammer has no preconceptions to shatter. His curiosity in things end after he learns "what's in it for him." Unfortunately, as drawn in this movie, Hammer has almost no dialogue. We have to learn about him through his actions, and about the only time we see animated humanity behind his grinning eyes is when he's smashing someone's fingers in a desk drawer. On second thought, maybe we don't want to learn that much about him after all. He's got a hep bachelor pad though, with a real swinging answering machine. Hef would have been proud. KISS ME DEADLY is long on style and dreadfully short on substance. The closer you look at the plot the flimsier it becomes. I wonder if that was the point, though. It seems to be, with its stylized violence and penchant for clothing its actresses in nothing but terrycloth robes, that KISS ME DEADLY was trying to push the envelope a bit, jump the Code and stake out unclaimed territory. If so, it probably worked in ways a modern audience is too jaded to recognize. Even so, there is a violent scene or two that made me squirm. Not for every taste, but an intriguing character study of an inaccessible character. I enjoyed it as a fresh take on the tough-guy private eye, but KISS ME DEADLY is probably not for everyone.

yarborough 27 April 2012

Hugely disappointing.

I first saw this movie last week after, literally, waiting two years (thoughI must admit those years seemed short). Anyway, I was hugely disappointed.My interest was stirred when I saw a magazine that talked about the 50greatest TV shows of all time and, under the original Dragnet entry, itstated that the director of this movie learned a few things from the Dragnetshow in filming this so-called "film noir." But that is an insult to Webb.This movie is simply horrible. It is very tediously directed, as isexemplified by the relentless and irritating breathing of the unrecognizableCloris Leachman during the opening credits. Also, Mike Hammer in this movieis flat and boring--just plain tired. The idea that this movie is a filmnoir is outrageously absurd. Film noir's are supposed to be hard-boiled,dark, realistic, and starkly filmed. But the look of this movie is extremelybright, there is too much tenderness (particularly between Hammer and hisannoying car-mechanic friend), and it becomes a sci-fi flick in the last fewminutes. Also, the oh-my-God turn of events at the end of the film (with alady that Mike Hammer first believes is innocent), is a total insult to theintelligence of the viewers. Finally, the way Mike Hammer escapes from thehotel after being drugged is a complete joke. Avoid this movie at all costs.

lemon_magic 26 April 2012

Packed to the brim with noir; bursting with energy and cynicism

You can see where this movie got itself into trouble with the ArbitersOf Morality when it was released in 1955, because neither thescreenplay nor the cinematography pulls any punches here. The violenceis sickening and brutal, the characters are driven and unlikeable, thesexuality is barely contained, and the ending (I saw the one whereHammer and Velma make it out of the house and watch it vaporize fromrelative safety) is genuinely unsettling.I'd never seen Ralph Meeker in any role before, but he filled out theMike Hammer character in ways that were at least as interesting as anyactor in roles after him. It was weird seeing such a handsome guy actas twisted and bitter as any cheap hood or screen villain in every noirfilm before hand.I have to mention one scene - where Hammer pries open the Mystery Boxfor a split second and a horrifying actinic flash and a nerve scrapingsound effect stun the view before Hammer slams the box closed again -just in time. That little scene was worth the price of the DVD.Wow. Just...wow.

nmarshi 25 April 2012

Deadly Combination of Noir and Pulp

Saw "Kiss Me Deadly" at the Aero Theater in Santa Monica as part of theFilm Noir Festival which happens every year there. First time viewing,and expectations were high. We were lucky enough to have the firstassistant director from the film, and Maxine Cooper who played Veldawaved at us from the back of the cinema. However, the pre-filmdiscussion was lackluster and a missed opportunity. The film itself wasa gripping, complex tale, where neither the characters nor the audienceknew what was going on. This Mike Hammer-played unconvincingly by bigmuscled, Beach boy looking Ralph Meeker is an opportunist with a heartof gold, a cad with a conscience, a bully with a soft streak. Hissidekick and secretary Velda, didn't have the femme fatale aura I wouldhave expected. However, there are a host of other character actors whoflit in and out of the film who are worth the price of admission: NickDennis as Nick, Hammer's idiosyncratic car mechanic (va va voom); LeighSnowden as Hammer's fastest pick-up ever and Cloris Leachman in a smallbut pivotal role, in her first film. Where the film falls down is inits central intrigue: 'the "great whatsit' which Hammer and everyoneelse in the movie is chasing, has a dated, ho-hum quality once the catis out of the bag. Apparently the film was controversial in its day andthe studio may or may not have been behind the changing of the endingat the time "Kiss Me Deadly "was issued. According to our presenter thefinal 5 minutes were confusingly cut to satisfy the U.S. Government. Wegot to see the film as originally intended by the director, but there'snothing there now which warrants the fuss made 50 years ago. In fact,the supposed "incredible" ending I've read about in other reviewsplayed cheesily to me, to use a classic film critique term. Still,"Kiss Me Deadly" is worth seeing, as much for its foibles as itsaccomplishments, as well as for its wonderful glimpses into downtownLos Angeles, and Bunker Hill before the skyscrapers replaced itsVictorian tenements.

DZ 24 April 2012

Like a dynamite which explodes all the clichÃ©s

The movie is beyond its time by far and no country for clichÃ©s in thismovie. In the long opening sequence of it, there is a nasty scene (evenif it is off screen) that is beyond its time like the movie. Theinvestigation process runs very fast and recalls Lady from Shanghai ormay be even Sin City. Generally, Kiss Me Deadly seems different fromall the film noir, detective films, probably because it is unusual orstrange. Ralph Meeker looks like Orson Welles too by the way. I couldnot find any flaw in the direction, this is a very stylish film, theplot is not very powerful may be, but as said unusual that makes itgood. The final is probably one of the most non clichÃ© finals ever seen(remember the real boss) Does Mark Hammer have any relationship with agirl? Yes, but just to inquire, not to fall in love, he is like JasonBourne, another so realistic detective figure, so not like James Bond.Mark Hammer kisses his secretary only once and they seem spiritless.The name of the film is brilliant, not just because it sounds good,because a humor there is to me. In the movie, No woman falls in lovewith him and he does not even kiss a woman like the other detectives. Adeadly kiss? No way. There is also one more anti clichÃ© scene. MarkHammer brings a woman in a safe house, but they don't even get closer.A breathtaking thriller.

22 April 2012

A delightfully dark film noir with a cold war angle

Mike Hammer's not a nice guy. He's a private detective who specializes in framing husbands by setting out his girlfriend and secretary to seduce them. Sure, he's got a soft spot for beautiful women and for the Italian mechanic who fixes his cars. That doesn't mean he won't risk their lives or sell them out for personal gain. When he picks up a frantic woman on a dark night, and when he finds out later she's been killed for knowing too much, he pursues her killers, but not out of any desire for justice. He sees an opportunity, and tries hard to make the most of it. We get to follow along on the deadly ride.Kiss Me Deadly is a delightfully dark film noir with a cold war angle that ends with a bang. The original ending was cut upon its theatrical release, and both endings are restored here. It's got all you want from a film noir, and goes dark enough that it manages to shock even now. Criterion's done a great job with it and it looks better than ever. Well worth checking out.

seymourblack-1 22 April 2012

Brutal, Dark & Cynical

A I Bezzerides' screen adaptation of Mickey Spillane's "Kiss Me Deadly"used an inspired combination of familiar and contemporary elements inorder to create an exceptionally powerful and compelling thriller. Aprivate detective engaged in a complicated investigation, hard boileddialogue, a duplicitous woman and ruthless criminals are all typicalfilm noir components but these are also augmented by some mid-1950s newtechnology such as the telephone answering machine and a "MacGuffin"which is symbolic of the major fear/threat which preoccupied people atthe time when the movie was made. With its riveting opening sequence, atwisting plot and a sensational conclusion, it's easy to see how thislow budget offering grew to be considered a film noir classic.Director Robert Aldrich and cinematographer Ernest Laszlo combinebrilliantly to provide the many well composed scenes which complementthe plot's dark cynicism so effectively. A variety of unusual andinteresting camera angles, powerful close-ups and slanted perspectivesall contribute to the unsettling atmosphere. The overall sense ofdisorientation which these techniques induce is also further enhancedby the opening credits which roll in the wrong direction.Private detective Mike Hammer (Ralph Meeker) is driving along thehighway one night when a woman dressed only in a trench coat stops himand he grudgingly agrees to take her to the nearest bus stop. She tellshim that she's just escaped from the local "laughing house" where shewas being held as a prisoner. When they stop at a filling station, thewoman named Christina (Cloris Leachman) gives the attendant a letter tomail and when she gets back in the car asks Mike to remember her if,for any reason, she doesn't make it safely to the bus stop. Shortlyafter, the couple are attacked, Mike is knocked unconscious andChristina is cruelly tortured and dies. Her body and the stillunconscious Mike are then put into his car which the unknown attackerspush off a cliff.Later, Mike wakes up in hospital and when he's fit to leave isquestioned by federal agents. They quiz him about Christina but beinginstinctively uncooperative, he tells them nothing. After beingreleased, Mike decides to investigate the matter himself.Christina had told Mike that she was named after the poet ChristinaRossetti and during his investigation Mike visits Christina's home andsees a book of Rossetti's poems which he takes away with him. Hediscovers that the letter that Christina had sent from the fillingstation had been sent to him and simply said "Remember Me". Afterlocating Christina's frightened roommate Lily Carver (Gaby Rodgers), hetakes her back to his place and together they try to deduce the meaningof Christina's message. The clue they need is discovered in one ofRossetti's poems and this leads to the discovery of a key which in turnleads them to a metal box in a locker at the Hollywood Athletic Club.Mike opens it and is shocked to see that it contains a brightly glowingsubstance which burns his wrist. He immediately closes the box andreturns it to the locker.Mike returns to his car to find that Lily has disappeared and aftergetting in touch with his police contact Lieutenant Pat Murphy (WesleyAddy) learns that the real Lily's dead body had been found some timeago. Pat sees the burn on Mike's wrist and utters the words "ManhattanProject, Los Alamos, Trinity". Mike recognising that he's unable tocope with this type of investigation responds by passing the key toPat.Lily's impostor (Gabrielle) steals the box from the HAC locker andtakes it to her boss at a beach house. However, a disagreement betweenthem leads to a sequence of events which culminate in the film'sspectacularly violent ending."Kiss Me Deadly" contained an extraordinary amount of violence for thetime in which it was made. As well as Christina being tortured withpliers and killed, one of Mike's friends is crushed to death by a carwhen the jack that was supporting it is released and a criminal who wasalready tied up is stabbed to death. Mike is beaten up, shot, knockedunconscious and tied up on more then one occasion and also dishes out afew beatings. Numerous other characters also suffer violent deaths. Acouple of other incidents also highlight Mike's sadistic streak. On oneoccasion, he beats up a guy who'd been tailing him by repeatedlybanging his head against a wall before propelling him down a very longseries of stone steps. On another occasion, when a corrupt doctor triesto extort too much money from him, Mike traps the man's fingers in adrawer and repeatedly crushes them with extreme force. After both ofthese incidents, the expressions on Mike's face convey the level ofpleasure that he derives from this type of brutality.Mike Hammer is depicted as a deplorable thug whose normal line ofbusiness involves blackmailing adulterous couples after they've beencaught in compromising situations which he sets up. During his carjourney with Christina, she accurately summed him up as a person whoonly thinks of himself and his possessions and who, in relationships,never gives, only takes. His motivation in pursuing the investigationwas purely selfish because he thought that the involvement of so manypeople in the events surrounding Christina's death must mean that therehad to be something very valuable that they were all chasing.Meeker is particularly good as the unlikable Hammer but theperformances by the entire cast are also remarkably strong.

pullgees 22 April 2012

H-Bomb? more like damp squid.

. This is flip side B-movie through and through. I like manyfifties crimemovies for their tight directing slick dialogue this had none of that,Chandleresque it was not. Of course it was Spillaine but even Spillainewrote better stuff. In fact it was on the brink of parody with theobligatory bar room singer singing a forgettable song and the down beatHammer looking fed up drooping into his glass and most of the otherstereotyped ethnics doing their bit to look streetwise. You could make agood send up of the genre taking essentials from this movie. The actingwasabysmal and most of the script was flat. The only lively dialogue was withthe interview with the Feds but it never kept it up. I'll forgive thesillyradiation effects as the fifties public had little understanding of thehazards like when Dr No fell into an open reactor.

secondtake 21 April 2012

Anti-Slick, Anti-Glam, Nasty-Nasty

Kiss Me Deadly (1955)Anti-Slick, Anti-Glam, Nasty-NastyThis is as raw and as brilliant as low budget thriller noir crimemysteries get. You know before the credits run that you're in for a ride--a woman inonly a trenchcoat is running frantically down a highway at night, andshe is desperate for good reasons, which we gradually learn. You alsoknow that mise-en-scene accuracy isn't the point--the white stripe inthe road jumps around from cut to cut. But once we are in the car, andthe credits roll backwards, top to bottom, and we hear her panting(which would be orgasmic in some other situation) and panting andpanting, you will either be enthralled or exhausted.By the time she and Mike Hammer, played with psychotic heartlessness byRalph Meeker, go through a police roadblock, get assaulted by somethugs and tortured, and then get pushed off a cliff in his sports car,we are about eleven minutes into the movie. It's fast without polish,and yet it holds together, it's smart, it actually shows Hammer to be athinking, reasonable detective, even if a mercenary one (it's all aboutmoney to him). There are bad bad guys and bad good guys, and a bad badsuitcase. Even the sweet tongued and ever helpful secretary/loverVelda, played by Maxine Cooper, uses sex for purely commercialreasons--to trap husbands and give their wives reason to hire Hammer,or so it seems.And who was director Robert Aldrich at the time? A man from privilegewho was working his way up in Hollywood, and who might be the lastyou'd expect to dip into these steamy seamy depths. Or reach theseheights, in fact. I'd hate to be laughed at but despite all itswould-be flaws and obvious low budget devices, this is his best filmoverall, surely his best for sheer chutzpah and flair. And itbrandishes the quirks that will resurface in some of his later films(notably Whatever Happened to Baby Jane), as well as his Hollywoodsmarts (the masterful The Dirty Dozen).So, yes, this movie clunks in many parts. But you forgive it, like youmight (sometimes) forgive a Corman film its huge gaps and bad acting.The force of Meeker's portrayal is key. This was the movie role of hislife, resorting largely to television for a career afterwards (Aldrichused him again in The Dirty Dozen, and leave it to Kubrick to seeMeeker's ability for Paths of Glory). The cinematographer is theadmired Ernest Laszlo, who makes a lot out of very little throughout.The twists Aldrich (and/or his screenwriter, A. I. Besserides) made tothe plot from the original Mickey Spillane novel (which isn't exactlytame) give transcendent brilliance of Kiss Me Deadly--the radiant,blinding contents of the suitcase (it roars when opened, too!) make theplot a terrible fantasy, and make all the other improbable events fairgame.And so the movie presents, intentionally or not, a comment of someconfusing kind about nuclear power, atom bombs, the cold war,government secrecy, the lone dissident, and maybe, if we believe theending, the futility of keeping nukes out of the hands of crooks. Let'shope this all stays a fantasy.

allyjack 20 April 2012

An object lesson, and still entirely contemporary

(WARNING - CONTAINS SPOILER) From the very start there's an astonishingmuscularity to the images - evenduring a brief sequence like Hammer's foiled escape outside the beachhouse,I was wrapped up in the cool intelligence of Aldrich's artistry. As summedupby the opening device of having the credit roll go down instead of up,hepushes the traditional film noir posturing and hard-bitten attitudes tothepoint of absurdity, but then makes the moments of humanity far moreliterateand compelling than the norm and otherwise subverts expectation ateveryturn. Sometimes an incident is wholly delivered through extremeclose-up;sometimes it's in extreme long-shot; some characters areover-the-topparodies and others wrenchingly human; the notion of the omnipotentvillainis wittily sent up; when Rodgers is finally revealed as a true femmefatale,she's the toughest ever seen. In the end Hammer pulls off thetraditionalhero thing of finding the kidnapped Velda, but then the house blows up-which seems like the final statement on the forced tidiness ofconventionalresolutions. Never did a film pull off the textbook macho stuff so wellwhilesimultaneously revealing its relationship to ineffectual groping (theidealcold war statement) - the movie still looks like an object lesson, andfeelsentirely contemporary.

ellen-13 19 April 2012

Hot stuff

I'm not familiar with the Hammer books, but I was caught from the verystartof this movie by Cloris and by the sleaziness of every single character!Hammer is defined by the cops at the start, as a hero who no viewer couldpossibly have any connection to. What was wrong with him--his girlfriendisa nymphomaniac and he is totally cold to her??!!I was transfixed, the way people get when there's an accident on thehighway. And the ending was quite wholly gruesome, suited the wholepicturesatisfactorily.I have to say I was truly impressed to see his version of a phoneansweringmachine! Built into the wall! The recording even had the same phrases ascurrent answering machines!I assumed the bachelor pad was tidy because he had a cleaning lady or hisVelda (what a weird name) is his slave in more ways thanone.

youngsn 19 April 2012

Important noir / action film

This is not my favorite noir film, but after reading some of the reviewshere, I hafta comment. First, Hammer is not supposed to be sympathetic.Hammer is a representation of American mentality (both then and now). He isbrutal, bullying (this is about the time of Cuba and United Fruit),mindlessand anti-intellectual. He feels there's nothing he can't solve by theapplication of force. He toys with a (very real) power which is is totallyunprepared to deal with or understand. He is, in fact, just what his nameimplies: a hammer, blunt but dangerous.Second, the editing is very important. This was a key influence on theFrench New Wave. "Important" directors like Francois Truffaut and Jean-LucGoddard payed tribute to the "machine-gun" editing (a cliche, but it fits)and almost randomly occurring fight scenes: Truffaut in "Shoot the PianoPlayer" (Highly recommended, Truffaut's best), Goddard inBreathless.I think the villain could have been drawn better, but still, a very goodfilm, emphasizing film-noir's complex morality and the ability of noir toexpose the most seedy aspects of our culture.

Doug 18 April 2012

Tough Guy, Soft Dames, Fireworks

The story line when the film was made (1955) is credible, particularly atthe time of the Cold War and strained international relations. This isgoodstuff and is James Bond without all the gizmos and gadgets. If you are afilm noir fan this is a must see. If you aren't, then steer clear.I found this at the bargain table at a local video store for sale and hadtoown it. You will too. If you like Sunset Boulevard, LA Confidential, andthelike, enjoy this one!

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