Kiss of Death (1947)
March 9th, 2010Crinkling up, sweetheart—this is a dilly of a noir, with one of the most fearsome and iconic screen moments in it, so let’s start right there, shall we? Richard Widmark, looking like a skeletal Cheshire cat, plays the vicious Tommy Udo, a ropy satirize looking to locate a throngs. In the final analysis on the street is that a geezer called Rizzo has ratted him out, so Tommy pays a assail, discovery Rizzo’s closets empty, and neutral his wheelchair-bound mother instead, professing ignorance as to her boy’s whereabouts. So what does Tommy do to faithful some small measure of avenge in the moment? He sends the old lady down a brace of flights of the walkup, wheelchair and all, cackling as she falls all the modus operandi down.
It’s a chilling and worthy form, and in some ways is the paradigmatic Widmark moment—his gallery of bad guys all maintain their roots in the Tommy Udo archetype. And however this is a bit of a nasty motion picture, it’s not so nasty as to draw up Tommy our exemplar. That would be Scratch Bianco, an ex-con who can’t restrain a begin, pressed back into a life of crime—when a jewelry heist goes bad, Notch finds himself deny in the clink. The D.A. dangles a deal—if Nick will persuade up the names of his compadres, he can diminished down on his sentence. But Nick’s no squealer, and intends to do his dilly-dally like a man—that is, until his wife sticks her head in the oven, leaving their two little ones daughters orphaned. Now Nick is ready to talk, despite the opinion from his Rabble counselor-at-law, and it’s his testimony that has Tommy Udo on the ultimately.
An foot in the door title card announces that all of the shooting was done on fingers on, and the movie has a streetwise sensibility—a lot of that also comes from Victor Polished as Nick. Mature alternately resembles Jerry Orbach, Chris Noth and Dean Martin—he’s not a fantastically good actor, but ably carries this movie along on his wholesale and well-tailored shoulders. Director Henry Hathaway gets lots of nice hopped from his unreserved cast, in fact—Brian Donlevy is terrific as the crafty but belief district attorney, making this performance character of the flip side of the amoral huckster he plays as the nickname character in The Flagrant McGinty, and one of his aides is played by a lanky prepubescent Karl Malden. Nick strikes up a jailhouse romance with Nettie, his daughters’ onetime babysitter, played by Coleen Gray, who’s competent to pull this elsewhere without seeming daffy or simpering—her distinction also provides occasional narration by reason of us, which tends to be much more moral than the narrative playing into the open.
The story moves inexorably post to the necessary confrontation between Tommy and Blemish, and the last reels of the film are taut with suspense—you can see why, some fifty years later, somebody got the bright idea to remake this movie, though the newer version lacks the crispness of the primordial, in large measure, I suspect, due to the skilled script here by Ben Hecht. (This movie was produced a year after Notorious, which Hecht wrote as vigorous.) Hathaway loves the procedural stuff, but doesn’t let it cotton on to a leave in the way of his chronicling, and the occur is this terrifically tense piece of work.
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