I wrote:
> I can't think of
> > any "essential aspects of the style"
that
> > KISS ME DEADLY invented.
> >
> > Care to give us an example? Any
example?
>
******************************************************
And Patrick replied:
> The fat scrolling credits at the beginning
used
> effectively later by Star Wars.
Ah, yes, that classic of film noir: STAR WARS.
> The repeating stair
> angels which may have been borrowed from Hitchcock
but
> certainly not used as heavily as in KISS ME
DEADLY.
> Here they're used like the venitian blinds and
fan
> shadows were in Curtiz' CASABLANCA. They're also
very
> reminiscent of Escher's art work. Watching the
villian
> through his shoes was used by Hitchcock again
in
> STRANGERS ON A TRAIN, but here it's used to put
the
> viewer in the position of Hammer in a drugged
and
> beaten state and it continues right up until the
pool
> party where we begin to see their faces. KISS
ME
> DEADLY is full of fine noir camera angles and
very
> effective use of black & white.
Gee, no film noir had ever done that before.
> Velda is also depicted
> in a powerful way. Hammer is almost pimping
her.
> There's no whore/angel thing here as there is
with
> Jane Greer in OUT OF THE PAST. Velda is a broad
in
> broad strokes. The scene of her dance pactice is
a
> very expressive touch of how she sees herself. That
we
> can see the sweat on her is really
effective.
>
But if most of the elements you mention were used in other
films previously, how could they have been invented in KISS
ME DEADLY? And while the film does make use of many by-then
established film noir elements, some quite effectively (and
which you cite), you're over- praising the film, I think, for
the wrong reasons.
What power it does weild lies more in its brashness and
audacity of narrative; not for the most part its use of film
noir style. Stair angels (sic)? Gimme a break. I think more
people probably noticed the the end of the world at the
conclusion of the film. Talk abut a sequel- killer.
> Sure, OUT OF THE PAST, THE POSTMAN ALWAYS RINGS
TWICE,
> DOUBLE INDEMNITY, CASABLANCA, THE MALTESE FALCON
are
> better movies than KISS ME DEADLY, still not
many
> modern noir films come close to capturing KISS
ME
> DEADLY's essential persepctive even though
their
> stories may be better and their casts
more
> accomplished.
Hmmm... it does have a darkness about it, and certainly uses
many of the common stylistic touches of the day that have
since become associated almost exclusively with film noir,
but I'm not sure CASABLANCA qualifies as noir in the sense
most people here understand the term. I love the film myself,
but I don't think of it as noir.
What does the Brain Trust say?
Kevin Burton Smith Thrilling Detective Web Site Fall 2007
Issue New fiction from Helms, Blackmoore, Alexander, Harwood
and SPILLANE!
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