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Among Stanley Kubrick's early film output The Killing stands out as the most lastingly influential: Quentin Tarantino credits the film as a huge inspiration for Reservoir Dogs and just about any movie or TV show that plays around with its own internal chronology owes the same debt. This sort of convoluted crime caper had really kicked off with John Huston's The Asphalt Jungle in 1950. From then on, nouveau noir scripts kept trying to find new ways of telling very similar stories. Here the novel Clean Break is adapted for the screen in a jigsaw-puzzle structure that caught Kubrick's eye. With a dry narration we're introduced to the key players in a racetrack heist as it's being planned, but the story bounces back and forth between what happens to each of them during and before the big event. All of this keeps the audience guessing as to exactly how it will go wrong, while the downbeat telling, the unsympathetic characters and the excessively dramatic score clearly foretell that it will go wrong from the start. The denouement is comically daft no matter how many times you see it.
On the DVD: The Killing is a no-frills DVD transfer, in 4:3 ratio and with its original mono soundtrack. Criminally, just one trailer is all that's been dug up as an extra. --Paul Tonks
Special Features
English
Region 2
Region 2
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Most Helpful Customer Reviews
23 of 24 people found the following review helpful
Format:DVD
During a span of 46 years, Stanley Kubrick made only 13 feature films, from "Fear and Desire (1953)" to "Eyes Wide Shut (1999)". Although each has its own charm and unique taste and style, none looks much like the other in terms of genre and theme. "The Killing" represents Kubrick's entrance into the dark shadowy world of film noir. He was the master of exploring the dusky side of human nature in his pictures, focusing on crime, deceit, betrayal and morality. So, film noir & Kubrick: what a perfect fit.
The term "killing" refers to an elaborate heist of a race track. The robbery is masterminded by ex-Alcatraz inmate Johnny Clay, who rounds up a motley assortment of crooks, most of whom are small-timers as well as insiders in the race track lounge. Clay and his trusted accomplices have different stories and motives. We know a lot about them because the movie has an unusually convulted narrative structure, which was ahead of its time albeit outdated today. Flipping back and forth in time, he introduces a character, takes him a certain way where each gets a chance to tell his version of the story. Such kind of flashbacks and flashforwards are used in heist sequence, reflecting the various aspects of the robbery in different space and time.
That non-linear storytelling works well with Kubrick's deft directorial touch, but when the film was first released in 1956, United Artists dumped it on the grounds that it was too weird for average viewer and nobody would sit through that. Then Kubrick decided to re-edit the film. After watching new version he absolutely hated it, and put it back the way first edited it. It was his very first triumph to gain absolute control over his work.
Overall, "The Killing" is a perfect classic film noir, depicting man's foibles of greed and betrayal devastatingly real. Its importance not only comes from its influence on modern day noirs, such as Tarantino's "Pulp Fiction" and "Jackie Brown", but also it manifests what Kubrick was capable of doing with a shoestring budget of $320,000, even at an age of 27.
The term "killing" refers to an elaborate heist of a race track. The robbery is masterminded by ex-Alcatraz inmate Johnny Clay, who rounds up a motley assortment of crooks, most of whom are small-timers as well as insiders in the race track lounge. Clay and his trusted accomplices have different stories and motives. We know a lot about them because the movie has an unusually convulted narrative structure, which was ahead of its time albeit outdated today. Flipping back and forth in time, he introduces a character, takes him a certain way where each gets a chance to tell his version of the story. Such kind of flashbacks and flashforwards are used in heist sequence, reflecting the various aspects of the robbery in different space and time.
That non-linear storytelling works well with Kubrick's deft directorial touch, but when the film was first released in 1956, United Artists dumped it on the grounds that it was too weird for average viewer and nobody would sit through that. Then Kubrick decided to re-edit the film. After watching new version he absolutely hated it, and put it back the way first edited it. It was his very first triumph to gain absolute control over his work.
Overall, "The Killing" is a perfect classic film noir, depicting man's foibles of greed and betrayal devastatingly real. Its importance not only comes from its influence on modern day noirs, such as Tarantino's "Pulp Fiction" and "Jackie Brown", but also it manifests what Kubrick was capable of doing with a shoestring budget of $320,000, even at an age of 27.
4 of 4 people found the following review helpful
Format:DVD|Amazon Verified Purchase
The Killing is directed by Stanley Kubrick who co-adapts to screenplay with Jim Thompson from the novel Clean Break written by Lionel White. It stars Sterling Hayden, Marie Windsor, Elisha Cook Jr, Vince Edwards, Jay C. Flippen and Coleen Gray. Music is by Gerald Fried and cinematography by Lucien Ballard.
Ex-con Johnny Clay (Hayden) has a plan to make a killing at the racetrack, with some special inside help he plots to nab $2 million in an intricate robbery. It looks a good thing, the right people are in place, but there's a potential spanner in the works in the shapely form of Sherry Peatty (Windsor), the unfaithful and devious wife of one of the robbers.
Cheaply made by Kubrick and his producer partner James B. Harris, The Killing is a lean and mean mid 50's film noir. Poorly received at the box office and met with indifference by critics on its release, it's a film that has come to be noted as hugely influential; more so as Kubrick's reputation grew over the passing years. Clocking in at under 85 minutes, film is told in a fractured narrative structure that at the time was viewed as an oddity. Story is constructed around crosscut flashbacks as the robbery is planned and then executed, Kubrick's direction as meticulous as the actual robbery itself. It's not hard to understand why confusion was an issue back on its release, but now it comes off as something of a masterstroke. Even if Kubrick was forced to tinker with the final product, adding in a voice-over to aid those troubled by the nonlinear narrative (which the director despised).
In spite of some problems, such as the cheapo sets and some stiff performances from secondary characters, The Killing is quintessential film noir. With Kubrick thriving on shooting his characters in cramped surroundings, the use of angles very effective, and Ballard photographing superbly for the low-key interiors, mood is perfectly set. Story is filled out with hapless characters, where destinies are defined by greed, betrayal and the devils trump card, that of bad luck. As is normally the case with the best film noir, it's a dame who holds the key to misery here. Sherry Peatty (Windsor excellent) is cold and utterly bitch like, and having a hold over her cuckolded husband George (Cook Junior never better) that would be easy to detest were it not for the fact George is so pitifully weak. From that coupling bursts a doom and bleakness that underpins the story, rendering the film with a fatalistic sheen.
The Killing does have a dated feel to it, but only slightly so. While there's no denying that the budgetary restrictions, the voice-over and some less than good performances, stop this being the masterpiece of the crime genre some want us to believe it is. It is however a damn fine film, tense, exciting and very compelling, it does warrant a place on a favourite list of any self respecting film noir fan. 8/10
Ex-con Johnny Clay (Hayden) has a plan to make a killing at the racetrack, with some special inside help he plots to nab $2 million in an intricate robbery. It looks a good thing, the right people are in place, but there's a potential spanner in the works in the shapely form of Sherry Peatty (Windsor), the unfaithful and devious wife of one of the robbers.
Cheaply made by Kubrick and his producer partner James B. Harris, The Killing is a lean and mean mid 50's film noir. Poorly received at the box office and met with indifference by critics on its release, it's a film that has come to be noted as hugely influential; more so as Kubrick's reputation grew over the passing years. Clocking in at under 85 minutes, film is told in a fractured narrative structure that at the time was viewed as an oddity. Story is constructed around crosscut flashbacks as the robbery is planned and then executed, Kubrick's direction as meticulous as the actual robbery itself. It's not hard to understand why confusion was an issue back on its release, but now it comes off as something of a masterstroke. Even if Kubrick was forced to tinker with the final product, adding in a voice-over to aid those troubled by the nonlinear narrative (which the director despised).
In spite of some problems, such as the cheapo sets and some stiff performances from secondary characters, The Killing is quintessential film noir. With Kubrick thriving on shooting his characters in cramped surroundings, the use of angles very effective, and Ballard photographing superbly for the low-key interiors, mood is perfectly set. Story is filled out with hapless characters, where destinies are defined by greed, betrayal and the devils trump card, that of bad luck. As is normally the case with the best film noir, it's a dame who holds the key to misery here. Sherry Peatty (Windsor excellent) is cold and utterly bitch like, and having a hold over her cuckolded husband George (Cook Junior never better) that would be easy to detest were it not for the fact George is so pitifully weak. From that coupling bursts a doom and bleakness that underpins the story, rendering the film with a fatalistic sheen.
The Killing does have a dated feel to it, but only slightly so. While there's no denying that the budgetary restrictions, the voice-over and some less than good performances, stop this being the masterpiece of the crime genre some want us to believe it is. It is however a damn fine film, tense, exciting and very compelling, it does warrant a place on a favourite list of any self respecting film noir fan. 8/10
23 of 26 people found the following review helpful
Format:DVD
An early piece of cinema from acclaimed director Stanley Kubrick (2001, The Shining, Full Metal Jacket etc.) The story tells of a group of men who come together to rob a race-track in the middle of their biggest race. Each character has his own part to play in the crime and the robbery can't go ahead unless they all perfom their own part.
When it comes to the actual robbery, we get to see the crime form each man's point of view, which means the time of day repeatly shifts to keep up. It's a style not unlike 'Pulp Fiction' (Quentin Tarentino has said on many occasions that this is one of the films that inspired him to write that film as well as Resevoir Dogs)
You could say that the acting is wooden, or 2-dimensional, but it seems to fit the film noir setting of the piece. There is a 'True Romance' style shooting and a final twist at the end thrown in for good measure.
If you haven't seen this film before, you are missing out on a cracking bit of drama. It comes with Tarentino's seal of approval, and it's a Kubrick, what more do you want !!
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Most Recent Customer Reviews
Well made period crime DVD
I enjoyed this DVD- it told the story of a planned robbery well with plenty of detailed description of the characters. Read more
Published 3 months ago by A. Roberts
fast and new
it arrived in 2 days and was perfectly new i couldnt espect any better thumbs up can not complain at all
Published 4 months ago by duhria
Kubrick's The Killing
Wow!, what an entry into the multi-layered story genre and this was done in 1956. Very realistic in a "Naked City" sort of way. Read more
Published 8 months ago by Richard Hartung
only a genius can be so idiot
This is an excellent film about a very well planned hold up of the bets of an important hippodrome in one main day of races, 2 million dollars in total. Read more
Published 10 months ago by Carlos Vazquez Quintana
"The Killing (1956) ... Sterling Hayden ... Stanley Kubrick (Director)...
United Artists presents "THE KILLING" (6 June 1956) (85 min/B&W) (Fully Restored/Dolby Digitally Remastered) -- Nothing can stop The Killing from greatness --- It's one of those... Read more
Published 16 months ago by J. Lovins
spoken languages
Great movie ... by the way, Besides English, the DVD comes with German, French, Spanish and Italian Soundtrack ...
Published on 25 July 2009 by eternal sunshine
textbook
Textbook "how to make a film" craft, exposes auteur cinema in retrospect. The scenes are so well crafted that the plot is disappointing. Read more
Published on 23 April 2009 by Richard J. Jardine
Bet on Film Noir
One of Kubrick's early films, and the first to show the world that here was a film director who would never produce run of the mill movies. Read more
Published on 27 Feb 2008 by S J Buck
Kubrick makes a real killing
You can't help wondering if Sterling Hayden didn't get the feeling that he was just rehashing his biggest hit The Asphalt Jungle when he starred in heist movie The Killing six... Read more
Published on 23 Nov 2007 by Trevor Willsmer
A thrilling start to a truly great body of work
Kubrick's first studio movie and first collaboration with producer James B. Harris is this cheeky, witty, lively story about grand theft at a horse racing track. Read more
Published on 7 Sep 2007 by R. J. Harvey
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