JohnDoe
Bryn
BrentonThe Killers (1946) and (1964)
April 13th 2008 00:01
The Companions of Death
A rebadged edition of this U.S release is now available in Australia
Original Director: Richard Siodmak
Original Cast: Burt Lancaster, Ava Gardner, Edmond O’Brien, Charles Levine, Vince Barnett, Albert Dekker
Remake Director: Don Siegel
Remake Cast: Lee Marvin, Angie Dickinson, John Casavettes, Ronald Reagan, Claude Akins, Clu Gulager, Norman Fell
“You see, the only man that's not afraid to die is the man that's dead already.” – Charlie Strom
Based on a short story by Ernest Hemingway’s, both versions of The Killers are quintessential films of their time. The original Directed by Richard Siodmak is a tense noir classic, the remake by Don Siegel a brutal thriller.
Both open with a pair of cold blooded hitmen coming to a small town and slaughtering their mark with a past, a trigger for an obsessive search for the truth about the dead man.
In Siodmak’s version it is an insurance investigator (Edmond O’Brien) that must journey into the seedy underground to discover the doomed Swede’s (Burt Lancaster) secret.
“Don't ask a dying man to lie his soul into Hell.” – Lt Sam Lubinsky
Burt Lancaster and Ava Gardner in Siodmak's The Killers
Siegel’s take on the story sees the professional gunman Charlie Strom (Lee Marvin) confused by the bullet riddled Johnny North’s (John Casavettes) acceptance of his fate.
Questioning the low lives involved, following the clues to solve the puzzle of a corpse. Edmond O Brien wants to know the “why”, Lee Marvin is determined to find out “who” hired him for the job.
“Sylvester, unless you want to renew your partnership with the late Johnny North, I suggest you tell us everything and anything we want to know.” – Charlie Strom
Lee Marvin and his partner in Don Siegel's The Killers
John Doe Says:
Two sides of the same coin, both films excel on their merits. Director Richard Siodmak (The Spiral Staircase, Criss Cross, The Crimson Pirate) was a pivotal component of evolving the noir genre. A moody black and white mystery masterpiece that toys with shadow and light in its cinematography and characters. This is as captivating as any of the better remembered efforts in the form. (Eg: The Big Sleep, Double Indemnity etc)
The crackling dialogue adapted by Anthony Vieller (Night of The Igunana, The List of Adrian Messenger, Beat the Devil) is a spring loaded labyrinth of deception. Taut and gripping this is the film that launched Burt Lancaster and Ava Gardner’s careers. Lancaster as the doomed Boxer Swede has a strong physical presence. Ava as Kitty, the gangster’s moll oozes erotic danger.
Miklós Rózsa’s music synch fills out the experience to elevate the already thick atmosphere.
Now onto Don Siegel’s (Invasion of the Body Snatchers, Dirty Harry, Charley Varrick) remake: determined to take the story in a new direction and drag it into the modern world, his is a gritty, violent and melancholy reinvention.This is the hard steel slug of a .45 to the head.
Intended as a TV movie of the week, when executives saw an early cut they realised it was far too ferocious for audiences of the time and opted instead to release it on the big screen.
Right from the vicious opening scene where Lee Marvin (Point Blank, Hell in the Pacific) as a grizzled, aging hitman and his sociopathic partner interrogate a blind receptionist its obvious why the studio made its decision.
This time around indie film revolutionary John Cassavettes (Faces, Shadows, Rosemary’s Baby, The Dirty Dozen) plays Johnny North, the race car driver that refuses to flee. Waiting to die his acceptance of his own murder is what gnaws on Marvin’s characters conscience.
As the object of lust and desire Sheila Farr Angie Dickinson (Point Blank, Dressed to Kill) delivers one of her best performances. Make no mistake though this is Marvin’s film and even a playing against type Ronald Reagan as a ruthless villain is no match for his charismatic portrayal.
A hazy morality permeates throughout the film and serves to increase its powerful impact. There is an inbuilt urgency to the camera work, vitality to the script and importantly an unwavering tone of intriguing narrative.
It is worth noting that Siegel was originally slated to helm the 1946 version but because of an excessive loan out fee from Warner’s the producers opted for Siodmark.
John Doe can’t say which version he prefers, both are executed with vigour and confidence. It was hard to perform the juggling act of contrasting the two, he only hopes that this review creates more interest to check out both. Fortunately the DVD release comes as a double disc with the pair of them so all you need to do is set aside the time.
The mood setting opening of Richard Siodomak's Noir Classic
The trailer for Don Siegel's The Killers
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Comment by James Rickard
unlucky_ fishermen.com
Angling Fish
Comment by JohnDoe
Film & TV on DVD
Nothing at all "fuddy duddy" about your opinion....
I think the original is a very innovative film and I agree Ava is a visual spectacle for sure...I'm torn on which I prefer I think both are high quality works in their genre...the original stands as one of the finest noirs ever and like you I adore B&W cinematography.!
At any rate the remake doesn't insult the original and offers an alternate perspective of the source.
Awesome that I'm not alone in my appreciation of The Killers monumental skill.
Comment by Damo
For the Sake of Argument
My Apologetics
I have a weakness for B&W.
Yet it if a movie has Lee Marvin, Angie D and Ronald Reagan then I want to see it.
Comment by JohnDoe
Film & TV on DVD
Don't forget that John Casavettes is also in the 1964 remake...the really sweet thing is if you get a copy on DVD it has both versions anyway.
Angie is glorious in full colour widescreen and Marvin is as ice cool as ever.
Please come back with your verdict if you end up seeing it, I love reading your comments.
Comment by Cibbuano
20/20 Filmsight
Science News
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Comment by JohnDoe
Film & TV on DVD