Gangsters, machine guns, pancake makeup and a hyperactive poodle contribute Mafia excitement and a nostalgic charm to this week’s Forgotten Film. We decided to deviate from the usual repertoire of cheesy ’80s flicks and go all the way back to Stanley Kubrick’s 1956 thriller, “The Killing.” It’s a far cry from “Dr. Strangelove” or “Eyes Wide Shut,” but Kubrick’s sixth film is great entertainment nonetheless.
Rebecca — I’m glad Mason didn’t get to pick this week. I like having cinematic diversity.
Lisa — Now we don’t have to discuss ’80s lingo or talk about movies nobody would ever dream of watching.
Rebecca — Heehee. Yeah, this movie is actually worth seeing, even if it doesn’t change your life.
The story begins auspiciously with a notorious gangster’s release from Alcatraz. Johnny Clay, played with sinister perfection by Sterling Hayden (“The Outsider” and the Godfather movies), returns to his hometown of Chicago and to the woman who loves him, faithful Fay. Johnny has paid his debt to society and wants to make a new life for himself and his woman.
But rather than taking the conventional route and getting a job, taking night classes or finding God, he plans an elaborate heist to rip off $2 million from a local racetrack.
Rebecca — Some people never change.
Unfortunately, Johnny can’t pull off the heist by himself. The plot thickens when spineless bookie George Peatty (Elisha Cook Jr.) reveals the shady plan to his devious wife Sherry (Marie Windsor). Of course, Sherry immediately spills the story to her handsomely greasy boyfriend.
Rebecca — Big mistake.
Lisa — Ahhh … how I love the stereotypical evil woman who ruins it all.
Rebecca — Now, now, Lisa. Maybe all women really were evil in 1956.
Lisa — Yes, that must be it.
A cast of bizarre plot twists and characters make this seemingly typical mob story a cinematic gem. For example, the requisite hitman is hired to shoot a horse, not a human; a thug hired to create a diversion at the racetrack is really a Russian chess master; and in the end, it all comes down to poor ol’ George Peatty and his bad aim with a machine gun.
Lisa — And don’t forget the craziest thing of all: All the people working at the airport are men!
Rebecca — Umm … I think that was normal in the 1950s.
Lisa — Oh.
Rebecca — But the poodle on the runway was definitely not normal.
The machinations combine with the gangster lingo and several outbursts of classic lines such as: ” If people didn’t have headaches, what would happen to the aspirin industry?”
Lisa — My personal favorite is, “This is a bad joke without a punchline.”
The mobsters thought they would get away clean; like the Titanic, the heist was supposed to be unsinkable; an infallible plan where “no one gets hurt.”
At first everything goes smoothly. Then, slowly but surely, things start to disintegrate. But don’t worry, we won’t give away the ending because you’ll definitely want to see it for yourself.
Rebecca — Just remember, never refuse a “lucky” horseshoe.
“The Killing” is worth watching. The complicated plot line is surprisingly easy to follow, even with the nonlinear time sequences — think “Pulp Fiction.” The energetic, faceless narrator adds humor and cohesiveness to the story by giving frames of reference: “Earlier that day …”; “At 10 o’clock that morning …”; “Half an hour earlier …”
Most importantly, “The Killing” doesn’t require mental gymnastics. The story isn’t particularly intense, which allows for a full appreciation of Kubrick’s innovative writing and directing techniques. And at only 85 minutes, the film won’t consume your evening.
We are giving “The Killing” four well-deserved stars. So this weekend, we recommend you rent this movie and sit back and relax with your fedora, malt whiskey and favorite sawed-off shotgun.
Kubrick’s Killer Classic
Daily Emerald
February 7, 2001
Bryan Dixon Emerald
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