Kiss Me Deadly

Va-va-voom! Kiss Me Deadly (1955) and Orson Welles’s great Touch of Evil (1958) both came at the end of the film noir cycle in the late 1950s. Both films look into the dark heart of American life during that decade, with Aldrich tackling nuclear paranoia and Welles dealing with racism towards Latin-Americans and political and legal corruption. Both films have long been favourites of mine and both remain startlingly relevant now, as Alex Cox discusses below. Cox might have mentioned another film that borrows the motif of the baleful nuclear box, his own Repo Man (1984).

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kiss_me_deadly.jpgNuclear-powered nastiness
It’s one of the darkest noirs ever made. But, says Alex Cox, the classic Kiss Me Deadly is a parable at heart

It begins with titles that famously run backwards. Deadly … Kiss Me … Aldrich … Robert … Directed by … Then, two scenes in, a women we have assumed to be the heroine is tortured to death. This is no art film, though; no knowing homage. Instead, it’s the roughest, least compromising film noir of them all – Kiss Me Deadly.

The hero (if we can call him that) is Mike Hammer, a tough, no-nonsense detective created by pulp fiction author Micky Spillane. Spillane’s Hammer was of a different breed from the detectives who had gone before. Dashiell Hammett’s Continental Op and Raymond Chandler’s Marlowe were tough and cynical, but also intelligent, decent and insightful. Spillane’s Hammer was an indecent thug. A product of Senator McCarthy and the blood-lust of the Korean war, he liked nothing better than pounding commie sympathisers’ heads against a wall until their eyeballs popped.

Robert Aldrich’s Hammer – played by the oddly named Ralph Meeker – is worse than Spillane’s. Aldrich’s protaganist is cynical and dumb; a thug without insight, a detective who fails to detect. In a way, he is a prototype for the automaton-hero played by Lee Marvin in 1967’s Point Blank, and done to a turn by Arnold Schwarzenegger in The Terminator. (More.)

Gangsters on DVD

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Gangsters is arguably the most unusual series ever shown on British television. Produced by BBC Pebble Mill between 1975 and 1978, what began as a tough and uncompromising attempt to depict Birmingham’s underworld had by the end of its run become a fully fledged work of…what?”

What indeed… Along with The Prisoner, my favourite British TV series. Patrick MacGoohan and Rover have the edge but Gangsters was still something else, the product of a period when the BBC was actively encouraging experimentation and the pushing of dramatic boundaries. Pulpy, trashy, provocative, thrilling and, in the later episodes, downright surreal… Hard to believe now that this was primetime viewing; British television was a unique place in the 1970s.

Episode List

Series Overview

Interview with writer Philip Martin

Gay book covers

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Gay on the Range (very apt name in the year of Brokeback Mountain) has a great selection of gay paperback covers from the 1950s and 60s. The one above is one of the more psychedelic examples (I was 7 years old in 1969; no one told me it was “the gay year”.) Lots of hysterical art and titles, some of them genre parodies, others delicious examples of steamy prurience that teasingly imply “exposure” of the terrible world of “the gay”. For balance, the Strange Sisters site has a similar collection of lesbian book jackets from the same period.

Elsewhere on { feuilleton }
The gay artists archive
The book covers archive