Vera Cruz and Apacheand World for Ransom He would go on to direct the follow-up The Big Knifeand two macabre psychological horror-thrillers:
He became an assistant director in Hollywood, working in the - period with many directors.
A notably high percentage of these were in the extreme left: Aldrich began directing inand by then, the film noir cycle had run its course as a Hollywood phenomenon, peaking in the years - However, film noirs were still being made steadily through the 's, and many of these works were classics of the cycle.
There is a remarkably detailed visual analysis of the film in "Kiss Me Deadly: The remarks below are simply intended to point out a few more things about this film, one of the most complex and creative of all film noirs.
Partly this is due to depth of field. Many scenes keep in focus far into the rear of the scene. This is a technique associated in Hollywood with Orson Welles. Aldrich is often considered to be a Welles disciple. There are other techniques that aid in the film's 3D quality: When Mike Hammer's car pulls up to a gas station near the beginning of the film, we see the entire front of the gas station along the right side of the shot.
The gas station facade is by no means smooth; it contains many projections. All of these are fully lit up. The gas station is shot as if it were an elaborate piece of sculpture, like one of Louise Nevelson's friezes. As the camera moves past it, it emphasizes the station's complex 3D qualities. The projections on the station all are "rectilinear": A shot with even greater depth of field shows Mike Hammer knocking on a door in the Angel's Flight neighborhood.
Behind him we see first a long narrow alleyway, then a huge depth of field showing a Los Angeles city scape. This is an astonishing shot. Both the alley and the cityscape are irregular, just like the gas station. They are full of protuberances, and show a huge amount of specialized detail.
The stairs view is bounded on the left by many protuberances from the building, mainly rectilinear, although there are some angular planes as well. A third similar shot shows the left hand side wall of Hammer's apartment. The tables and furniture form the rectilinear protuberances near Hammer's wall.
For example, take the gas station, once the characters stop there and get gas. The front of the station is a long horizontal space. Then, at the left hand side of the station, we also see a walkway going straight back from the camera. The walkway is joined to the front of the station like the letter L.
The front of the station forms the long part of the L, the shorter walkway the connecting stoke at the base of the L.Kiss me, deadly.
When she played Lulu in Pandora's Box, Louise Brooks created more than a character: she set the precedent for cinematic femmes fatales forever. Robert Aldrich's Kiss Me Deadly. Kiss me, deadly When she played Lulu in Pandora's Box, Louise Brooks created more than a character: she set the precedent for cinematic femmes fatales forever.
By David Thomson. "Kiss Me Deadly ends in a fireball of allegorical power. But Aldrich isn't concerned with the narrative ripples of the final incendiary image or its literal consequences, just the raw thematic ingredients spewing into the atmosphere.
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Kiss Me Deadly (), Robert Aldrich's hard-edged, stylistically innovative adaptation of the Mickey Spillane novel, features what may be the most violent and unsympathetic private eye in the history of cinema.
As Mike Hammer, Ralph Meeker is like a bull in a china shop, lurching haphazardly from one deadly encounter to the next, often .
Find trailers, reviews, synopsis, awards and cast information for Kiss Me Deadly () - Robert Aldrich on AllMovie - Regarded by many critics as the ultimate film 10/