The Killing

Career criminal Johnny Clay recruits a sharpshooter, a crooked police officer, a bartender and a betting teller named George, among others, for one last job before he goes straight and gets married. But when George tells his restless wife about the scheme to steal millions from the racetrack where he works, she hatches a plot of her own.
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Credits: TheMovieDb.

Film Cast:

  • Johnny Clay: Sterling Hayden
  • Fay: Coleen Gray
  • Val Cannon: Vince Edwards
  • Marvin Unger: Jay C. Flippen
  • Randy Kennan: Ted de Corsia
  • Sherry Peatty: Marie Windsor
  • George Peatty: Elisha Cook Jr.
  • Mike O’Reilly: Joe Sawyer
  • Track Parking Attendant: James Edwards
  • Nikki Arcane: Timothy Carey
  • Maurice Oboukhoff: Kola Kwariani
  • Leo the Loanshark: Jay Adler
  • Joe Piano – motel manager: Tito Vuolo
  • Mrs. Ruthie O’Reilly: Dorothy Adams
  • 2nd American Airlines Clerk: Herbert Ellis
  • Mr. Grimes: James Griffith
  • Lady with Small Dog: Cecil Elliott
  • Tiny: Joe Turkel
  • Brown – American Airlines Clerk: Steve Mitchell
  • Woman Asking Kennan for Help: Mary Carroll
  • American Airlines Clerk: William Benedict
  • Plainclothesman at Airport: Charles Cane
  • Plainclothesman at Airport: Robert B. Williams
  • Racetrack Spectator (uncredited): Tom Coleman
  • Onlooker (uncredited): Rodney Dangerfield
  • Racetrack Spectator (uncredited): Franklyn Farnum
  • Racetrack Spectator (uncredited): John George
  • Narrator (uncredited): Art Gilmore
  • Racetrack Spectator (uncredited): Kenner G. Kemp
  • Racetrack Spectator (uncredited): Carl M. Leviness
  • Track Guard Slugged by Johnny (uncredited): Sol Gorss
  • Chess Player (uncredited): Harry Hines
  • Race Track P.A. Announcer (uncredited): Hal J. Moore
  • Bartender (uncredited): Harvey Parry
  • Bill – Track Employee in Locker Room (uncredited): Richard Reeves
  • Track Employee in Locker Room (uncredited): Frank Richards
  • Racetrack Cashier (uncredited): Arthur Tovey

Film Crew:

  • Director: Stanley Kubrick
  • Novel: Lionel White
  • Writer: Jim Thompson
  • Producer: James B. Harris
  • Conductor: Gerald Fried
  • Director of Photography: Lucien Ballard
  • Editor: Betty Steinberg
  • Visual Effects Camera: Paul Eagler
  • Second Assistant Director: Howard Joslin
  • Set Decoration: Harry Reif
  • Associate Producer: Alexander Singer
  • Visual Effects: Jack Rabin
  • Visual Effects: Louis DeWitt
  • Production Supervisor: Clarence Eurist
  • Sound: Earl Snyder
  • Special Effects: Dave Koehler
  • Assistant Director: Milton Carter
  • Stunts: Don Turner
  • Sound Effects Editor: Rex Lipton
  • Hairdresser: Lillian Shore
  • Stunts: Fred Gabourie
  • Music Editor: Gilbert D. Marchant
  • Assistant Set Decoration: Karl Brainard
  • Camera Operator: Richard Towers
  • Wardrobe Master: Rudy Harrington
  • Makeup Artist: Robert Littlefield
  • Gaffer: Bobby Jones
  • Key Grip: Carl Gibson
  • Script Supervisor: Mary Gibsone
  • Best Boy Grip: Lou Cortese
  • Second Assistant Camera: Robert Hosler
  • Construction Manager: Bud Pine
  • Head Carpenter: Christopher Ebsen
  • Paint Coordinator: Robert L. Stephen
  • Wardrobe Master: Jack Masters
  • Second Assistant Director: Paul Feiner
  • Production Assistant: Marguerite Olson
  • Property Master: Ray Zambel
  • Transportation Coordinator: Dave Lesser
  • Production Assistant: Joyce Hartman
  • Art Direction: Ruth Sobotka

Movie Reviews:

  • John Chard: This is a bad joke without a punch line.

    The Killing is directed by Stanley Kubrick who co-adapts to screenplay with Jim Thompson from the novel Clean Break written by Lionel White. It stars Sterling Hayden, Marie Windsor, Elisha Cook Jr, Vince Edwards, Jay C. Flippen and Coleen Gray. Music is by Gerald Fried and cinematography by Lucien Ballard.

    Ex-con Johnny Clay (Hayden) has a plan to make a killing at the racetrack, with some special inside help he plots to nab $2 million in an intricate robbery. It looks a good thing, the right people are in place, but there’s a potential spanner in the works in the shapely form of Sherry Peatty (Windsor), the unfaithful and devious wife of one of the robbers.

    Cheaply made by Kubrick and his producer partner James B. Harris, The Killing is a lean and mean mid 50’s film noir. Poorly received at the box office and met with indifference by critics upon release, it’s a film that has come to be noted as hugely influential – more so as Kubrick’s reputation has grown over the passing years. Clocking in at under 85 minutes, film is told in a fractured narrative structure that at the time was viewed as an oddity. Story is constructed around crosscut flashbacks as the robbery is planned and then executed, with Kubrick’s direction as meticulous as the actual robbery itself. It’s not hard to understand why confusion was an issue back upon its release, but this is something that now comes off as something of a masterstroke, and this even if Kubrick was forced to tinker with the final product where it was decided to add in a voice-over to aid those troubled by the nonlinear narrative (which the director despised).

    In spite of some problems, such as the cheapo sets and some stiff performances from secondary characters, The Killing is quintessential film noir. Kubrick thrives on filming his characters in cramped surroundings, the use of angles very effective, and Ballard photographs superbly for the low-key interiors, thus the mood is perfectly set. Story is filled out with hapless characters, where destinies are defined by greed, betrayal and the devils trump card – that of bad luck. As is normally the case with the best film noir, it’s a dame who holds the key to the misery here. Sherry Peatty (Windsor excellent) is cold and utterly bitch like. She has a hold over her cuckolded husband George (Cook Junior never better) that would be easy to detest, that is were it not for the fact George is so pitifully weak! From that coupling bursts a doom and bleakness that underpins the story, rendering the film with a fatalistic sheen.

    The Killing does have a dated feel to it, but only slightly (and not remotely irritatingly) so. While there’s no denying that the budgetary restrictions – the voice-over and some less than good performances – stop this being the masterpiece of the crime genre some of us want it to be. However, it’s a damn fine film, that’s tense, exciting and very compelling, and it does deserve to warrant a place on a favourite list of any self respecting film noir fan. 8/10

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