Review of The Naked Kiss (1964) by Russell G — 11 Jan 2008

The type of tone that this flick completely and utterly executes, I don't think, could be used in a movie in the present day. Why? Because somehow, people have missed out on the fact that a lot of noir is completely sincere.

I'm not sure what turn it took to mean that every noir or noirish flick made now has to be tongue-in-cheek nearly the whole ride through. I think it may have something to do with the general lack of talent that comes with modern screenwriting.

Perhaps it's just a popular misconception. Either way, I think that the most notable thing about this movie is that it takes what the box called "perfectly pulp" setup and weaves it with a great amount of characterization yet with a zeal and sincerity that reminds ya more of the classics from the 30's and 40's rather than the hard-nosed cinema that this helped pave the way for.

Of course, the subject matter contrasts with that a bit as Fuller isn't tied down by any moral committee. The flick is constantly dark, serious, and frequently contains a lot of subject matter that, endorsed or not, never would've made it through in the long days of the past.

A lot of that honesty comes from the blunt yet complex script by Fuller and the accompanying portrayal of Kelly by Constance Towers. The kind of overidealized heroine that the role requires is completely nailed by Towers who consistently balances the over-emoting, the toughness, and the seriousness that the role requires.

A lesser actress would've pushed any of the above elements over-the-top, and such an unbalanced performance could have completely toppled that golden tone that the film nails. Everyone else involved is perfectly wonderful.

The big moment for Michael Dante as Grant comes across as perfectly convincing and as cold as ice. The big supporting role filled by Anthony Eisley is maybe just as nailed. The acting suits the hardness of the role, and such an unlikable and mostly ambivalent character's prominent place in the script marks yet another departure from the old modes and traditions that Fuller tips his hat to while simultaenously blasting to pieces.

Visually, the direction is still dynamic if a bit utilitarian. But to deny Fuller accolades for the way he directs this would be a grave disservice because while the film may not look like a Kubrick, the ability to both direct his actors to the script and to stage and maintain extreme stretches of dread and depression is surely worth applauding.

Also worth mentioning is the film's ingenius third act that somehow manages to still encapsulate the viewer in the world despite the fact that, by the film's end, the climax had come about a half hour before.

After such a devastatingly huge plot twist, you'd expect the narrative to lose some steam, but Fuller picks back up the narrative, and due to the characterizations of the preceding hour, you can't help but keep with it with all the enthusiasm as its onset.

**** out've *****.