Review of The Killing (1956) by Harry W — 21 Sep 2013

The Killing, being one of Stanley Kubrick's significantly earlier pieces, is immediate in displaying that it's a stylish piece of film noir cinema, because it shows off classic cinematography techniques matched with great lighting and fine editing, and above all an atmosphere with a real feeling for true passion in the air as well as a feeling for true grit, due to the varying musical score which cleverly switches between hard hitting intense music and seductive atmospheric music.

Its story is also clever as it relates not to the investigation into previous criminal events which becomes untangled, but actually the events themselves as the viewer follows through them from various perspectives as the crime unfolds, dealing with it from the intense direction of the criminals themselves and the victims too. This ensures that The Killing succeeds as a great piece of film noir as well as being reminiscent of classical gangster pieces. For the right viewer, The Killing presents a flood of nostalgia for fans of films such as the original Scarface, and it works strongly as a fine early example of Stanley Kubrick's mastermind, when he was only 28.

Its great to look back at his early work and contrast it with his later pieces, because this small scale low budget film noir piece is excellently written and features a story that's very well developed, as are all the characters who are characterized very finely by strong casting choices.

Sterling Hayden is the number one as he plays through the complexities of his character's inner conflicts as well as exterior conflicts as he deals with so many complex criminalist dynamics.

Coleen Gray was excellent in The Killing, because she seduces the entire atmosphere with her smooth and suave word delivery and sex appeal, making her a strong and vibrant character with a certain level of tenacity over the characters.

Although The Killing isn't one of Stanley Kubrick's more notable or memorable films, it still features his fine touch handling the genre of film noir and application of various skilled atmospheres, and in the end its too clever and well written to pass up for fans of Stanley Kubrick, film noir, or good films in general.