Kiss Me Deadly
In the world of noir a good mystery is so much more about the journey than the destination. I couldn’t really explain to you what was happening through every scene of Mulholland Dr. or who did what in The Big Sleep but those films are such superb examples of atmosphere as a blueprint for understanding the director’s vision that nothing is lost by not understanding every last scene or plot twist contained within. A first rate noir is more than the sum of its double crosses and knifed backs. In fact without that brilliantly unnerving atmosphere it’s just another run-of-the-mill whodunit. Noir is atmosphere certainly more than it could be called a kind of plot which is why films as conceptually different as Sweet Smell of Success and The Killing are both considered to be part of the noir canon. Kiss Me Deadly is director Robert Aldrich’s adrenaline charged mystery set in a mid-'50s Los Angeles of sun-seared nuclear paranoia. It's a detective story but it’s also about an era of America defined by its paranoia over the possibility of impending nuclear holocaust.
Mike Hammer (played by Ralph Meeker) is a hot shot Private Investigator who makes his living snooping around and catching people with their pants down. He’s the one that the jilted wives of L.A. go to when they want proof that their husbands are cheating. It’s a dirty way to make a living or so he is constantly told but he doesn’t seem to mind. He’s out for his own gain. He likes cocktails, race cars, women, and his unbelievably cool apartment. If he had a code of ethics it probably boils down to “the ends justify the means.” A woman on the run winds up in Mike’s car one night and before too long he is embroiled in a mystery that ensnares gangsters, the FBI, a murderous blonde, and pretty soon the fate of the entire world. Everyone is after what Hammer’s girlfriend terms, “the great whatsit.” When it’s found it takes the fatalism of noir to a whole new realm.Continue Reading
Sweet Smell of Success
I tend to sum up Sweet Smell of Success by saying that it’s sort of the alpha male version of All About Eve. It’s a movie about men and envy and wanting to be numero uno at all costs. But really the star and thematic center of the film is New York. It’s sharply written and gorgeously photographed as a city full of shysters, whores, crooked cops, and naïve cigarette girls, with the city’s truly powerful people wielding their influence like back alley thugs. For all the neon-lit corruption it makes the New York of the late-1950s look like a terribly exciting place to be. It’s an after-dark town with a hot Jazz score soundtracking a desperate populace thieving, scheming, and hustling—the quintessential Dark City that Noir dreams are made of. As the terrifyingly important J.J. Hunsucker, New York’s most powerful gossip columnist (played by the imposing Burt Lancaster), says with true affection, “I love this dirty town.”
Hunsucker’s column attracts 60 million daily readers and he relishes his ability to make or break anyone he chooses. He’s a sociopath in a nice suit who strikes fear into the hearts of the major players in the worlds of entertainment and politics. Tony Curtis is Sidney Falco, a hungry press agent desperate for a piece of the Hunsucker pie. His world is a 24-7 confidence game where he feeds the dupes on his payroll line after line about how they’re next in line to get mentioned in Hunsucker’s column. But J.J. likes making Sidney squirm for his supper—he cuts him out of the loop entirely so that Sidney will do just about anything to get back in J.J.’s favor.Continue Reading