Category Archives: Albert Dekker

The Killers 1964 & 1946

The following is posted as part of Furious Cinema’s Scenes of the Crime Blog-a-Thon. It originally appeared in the Fall 2012 edition of Noir City.

One short story, Ernest Hemingway’s The Killers, which appeared in 1927, two film versions.  Robert Siodmak directed the first in 1946. Don Siegel helmed the later in 1964. Both films begin with the premise of Hemingway’s 2951 word piece; two anonymous professional killers hired to murder a man, but in most other respects are completely different.

Siodmak’s movie opens, to the accompaniment of Miklos Rozsa’s brassy jazz score, with the arrival of the killers in a small town. It’s night and all we see are their silhouettes backlit by streetlights. First they check the filling station. Finding it closed, they cross the road, go into Henry’s Diner. You can tell they’re professionals, each enters a different way, cutting off any possibility of their quarry escaping.

In the space of a few minutes, Al (Charles McGraw) and Max (William Conrad), establish a sense of menace and disorientation as good as any classic noir cinema has to offer. After rubbishing the diner’s food and the customer’s small town ways, they tell George, the man behind the counter:

“I tell you what we’re going to do, we’re going to kill the Swede.”

“What are you going to kill him for?

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Eight reasons to love Kiss Me Deadly

It’s a tough call, but one of my favourite films noirs is Robert Aldrich’s 1955 movie, Kiss Me Deadly. I’ve seen it at least fives times, most recently a couple of nights ago, and still find things about it to appreciate I hadn’t noticed previously.

Shot in just three weeks with a group of largely no-name actors, Kiss Me Deadly is very loosely based on a Mickey Spillane novel of the same name. Most Pulp Curry readers are probably familiar with the plot, so I won’t go into it here. If you’re reading this and you’re not, all I can say is go and watch it – right now.

It’s one of the last of the classic era noirs and a great piece of pulp cinema. Here are 8 things I love about it.

1. The opening

On a deserted stretch of highway, tough guy private investigator Mike Hammer almost runs over a near hysterical woman standing in the middle of the road. Reluctantly, he gives her lift. The credits roll in reverse above the sound of the woman, Christina, sobbing and Nat ‘King’ Cole singing Rather Have Blue Eyes.

No sooner does she recovered her composure than she proceeds to psychoanalyse Hammer with a devastating accuracy that’s worth reprinting in full:

Christina: You’re angry with me, aren’t you?… Read more