I decided to challenge myself and really open the doors of my film knowledge and take on “The Scarecrow Video Movie Guide”. It’s 808 pages of movies and movie reviews from some of the most knowledgeable movie people you don’t know. It’s a book put together by a staff that praises, and destroys, some of our favorites and not so favorites. You can read the rest of my series here.
Just a quick refresher: each episode, I’m going to tackle three films from three different categories. Two films will be films I’ve never seen before and one will be one I’ve seen before or own. For the new films, well, new to me, I’m going to review them like a typical FTS review using the TOAST Rating system. But, for the films I’ve seen, I’m going give a quick paragraph or two about why I like or don’t like the film. We’ll try to include the poster and trailer for each film. “….and here. We. Go!”
In this episode of Versus The Scarecrow, I take a look at films that center around a big score. Say the words “Heist Film” and I’m in. I don’t care how many people are stealing what from where, just give me an intricate plan, stifling amounts of tension, a few twists, and I’m happier than a clam at high tide. I review Stanley Kubrick’s The Killing, the French noir classic Rififi, and reflect on the original Ocean’s 11, all the while being disappointed that I’ll never get to be in a heist.
The Killing (1956) Directed by Stanley Kubrick. Starring: Sterling Hayden, Coleen Gray, Vince Edwards. IMDB says: “Crooks plan and execute a daring racetrack robbery.”
“You’d be killing a horse- that’s not first degree murder, in fact it’s not murder at all, in fact, I don’t know what it is.”
I knew going in that this was a Stanley Kubrick film, but I kept my expectations low. It was early on in his career and I was unsure if he had hit his more… “Kubrickian” side. While you didn’t see his trademark style, Kubrick did the noir genre justice employing a non-linear style, ramping up the tension, and leaving you with an ending you’ll love or hate.
The film opens with a voice over, showing you a man watching a horse race, and handing over a winning ticket with an address. The address is a meet-up spot and so begins the planning of a million dollar heist at a horse track. Leading up to the climatic heist, the story splits between the characters and follows their journey to the major event (a la The second half of Jackie Brown) and once that happens, all bets are off as the characters try to avoid the cops.
Filmed in black and white, the film does suffer from contrast issues at times. Some night scenes end up being too dark to make out what is happening, but then again, for a film made over 50 years ago, it doesn’t look bad. The score comes across as generic and doesn’t add or take away from the film. The only issue I had with the film was the writing. It was weak and it looked as if the actors/actresses were trying to make the best with what they were given. Now, it was the 50s, so I’m sure a lot of the dialogue seemed new and compelling, but for me, it doesn’t stand the test of time. It doesn’t get in the way of the story as it builds and builds into an unforgettable ending. I recommend this film to fans of heist movies and Stanley Kubrick completionists. Everyone outside of those categories will enjoy it too, just not as much. You can find it on Netflix or though the Criterion Collection.
