Davey Gordon, a New York City boxer at the end of his career, falls for dancer Gloria Price. However, their budding relationship is interrupted by Gloria's violent boss, Vincent Rapallo, who has eyes for Gloria. The two decide to skip town, but before they can, Vincent and his thugs abduct Gloria, and Davey is forced to search for her among the most squalid corners of the city, with his enemy hiding in the shadows.
A Morte Passou Perto, El beso del asesino, De kus van de doder, Целувка на убиец, Dræberkysset, Der Tiger von New York, Il bacio dell'assassino, Le Baiser du tueur, O Beijo Assassino, 杀手之吻, Поцелуй убийцы, נשיקת הרוצח, A Morte Passou Por Perto, A gyilkos csókja, 非情の罠, 킬러스 키스, Pocałunek mordercy, Kohtalokas suudelma, Поцілунок убивці, 殺手之吻, Dödande kärlek, Žudiko bučinys, Vrahův polibek
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Kubrick hits the streets of NY with seemingly no script and no money and still comes out with something that'd probably be most other filmmakers' best-looking movie.
"A Morte Passou por Perto" é o segundo filme do gênio Stanley Kubrick. A história gira em torno de Davey (Jamie Smith), um boxeador que está apaixonado por sua vizinha, Gloria (Irene Kane). Gloria é dançarina na boate de Rappalo (Frank Silvera), que possui um interesse romântico pela garota e não enxerga com bons olhos a relação que começa a surgir entre sua dançarina e o boxeador.
A relação inicial entre os dois personagens, apresentados como o casal da trama, é posta de forma muito interessante. Eles vivem em apartamentos que ficam de frente um para o outro. Da janela de um, é possível ver o apartamento do outro, e é assim que Kubrick nos mostra os dois pela primeira…
Action! - Three Auteurs: Stan and the Thousand Ku(t)bricks
Kubrick appears to have had a strong interest in cinema noir at this stage in his career. Some of these themes can be found in his first picture as well, but they really shine here.
Unquestionably superior than his first, the technical side of this film features more and greater detail, especially in the way Kubrick and his crew illuminate everything with minimal resources, like in the scene in the room with the lamp. Kubrick's experience of filming a boxing match is put to good use here, but don't go in expecting Rocky or anything like it.
Although the plot is not particularly original, the film is vastly improved by its…
An underrated film-noir that turned out to be far more engaging than expected, Killer's Kiss is no masterpiece in my opinion but it did serve its purpose well as a warm up exercise for director Stanley Kubrick's talents before he started churning out one masterpiece after another until the very end of his legendary film career & is as experimental as his later features.
The story revolves around Davey Gordon; a 29-year old boxer well past his prime, who's waiting at the train station for his girl and in an extended flashback recounts the happenings of his recent past. Filmed on a shoe-string budget, it presents Stanley Kubrick in charge of the responsibilities of director, cinematographer & editor all by himself, at…
(The Average Joe’s Movie Club Cast)
Criterion Collection Spine #575 (Part 2)
Stanley Kubrick's underrated sophomore feature was so much better than I expected.
"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."
Like many young cinephiles Stanley Kubrick was my first favorite director, so why am I just now finishing off watching all his feature films. After loving Kubrick's later work so much, I was underwhelmed when I finally got to his early movies like 'The Killing', and 'Paths of Glory'. Then since most people write off Killer’s Kiss, I did not even feel like bothering…
Stanley Kubrick's second feature length film is a poorhouse Noir effort. The film is much more interesting as a precursor to a brilliant film career than it is a great film in its own right. The plot is fairly standard stuff - a story of a boxer who gets himself into trouble after falling head over heels for a woman he just met. It's mainly told through flashback and the low budget is obvious. Many scenes seem drawn out and there's a long stretch where the leading lady tells her story over the backdrop of a ballet dancer, obviously cheaper than actually filming it. Killer's Kiss does showcase Kubrick's eye for shot composition, and the film is a triumph in…
A fairly standard noir romance from a man who would come to change cinema forever. A fighter who's been down on his luck finds he has little to hold on to when he meets a beautiful young dancer. However, her emotional entanglement with her manager puts him in a deadly situation when the boss demonstrates that he only has her to lose.
You can see the seeds of Kubrick's genius especially in the framing and composition of his shots, many of which involve brilliant use of mirrors and windows. The story also uses a bold amount of flashback, more than once going two layers deep into the past and surfacing to the present once in the middle only to plunge back under. Unfortunately the story is just a bit too generic to stand out, and the final chase/fight scene slightly overstays its welcome. Solid little flick but it can't touch the masterpieces yet to come.
"Like the man said, 'Can happiness buy money?'" ~ Vincent Rapallo
Even renowned director Stanley Kubrick had his salad days. He was on welfare during the making of this film, his second feature, which he wrote, produced, directed, filmed and edited. In later years, he would describe this production as his "student level of filmmaking."
All the shooting was conducted in New York City with virtually no budget and without on-location filming permits. In fact, it's been said that Kubrick had to negotiate with homeless people to use an East Side alley for the movie's murder scene.
A borrowed spring-wound Eyemo camera was used for many of the sequences, and it was stolen before production ended. What's more, technical problems…
Would’ve been remembered as Kubrick doing for New York what Mann does for Los Angeles if it wasn’t so dramatically inert. Legalities be damned, the fact that Killer’s Kiss has no screenplay credit gets the full Nicolas Cage “you don’t say” from yours truly.
the way stanley kubrick escalated from making succinct 1 hour films at the beginning of his career to the extreme opposite with 3 hour films by the end
“Can happiness buy money?”
A character in Killer's Kiss uses that phrase almost as a punchline, and it hits like one considering so much of this film is incredibly light on dialogue. This film has been a Kubrick blind spot for me for some time, but I've been getting after another Kubrick book on audible (Robert Kolker and Nathan Abrams positively DEFINITIVE 2024 Kubrick biography, Kubrick: An Odyssey) and felt like I needed to see how much of young Kube's Look magazine influence was laid out in what is basically his first real movie.
Does anyone even really count Fear and Desire? I plan to tackle that one next, but it sounds like every critic, cinephile and Stanley himself wished…
