The Killers

177
IMDb Rating 7.1 10 6,927

Synopsis


Downloaded times
February 12, 2021

Director

Cast

Angie Dickinson as Mrs. Barlow
John Cassavetes as On-Screen Trailer Host & Narrator
Lee Marvin as Monte Walsh
Seymour Cassel as Professor Wright
720p.BLU 1080p.BLU
869.1 MB
1280*720
English 2.0
NR
23.976 fps
93 min
P/S N/A / N/A
1.58 GB
1920×1080
English 2.0
NR
23.976 fps
93 min
P/S N/A / N/A

Movie Reviews

Reviewed by bmacv 7 / 10 / 10

Siegel takes Siodmak into fast, brutal post-Camelot era

Under the title Ernest Hemingway's The Killers, Don Siegel's 1964 movie shows no more fidelity to the short story from which it takes its name and a fraction of its plot than Robert Siodmak's 1946 masterpiece, The Killers. And though it borrowed from the earlier movie its flashback structure (substantially simplified) and much of the backstory written for it, it's not quite a remake, either: the changes strike too deep. A pair of contract hit-men track down a victim who seems ready, almost eager, to die. The killers this time around are Lee Marvin and Clu Gallagher, whose cozy arrangements suggest something of Fante and Mingo in The Big Combo. The first big shift from its 1946 predecessor is that Marvin's curiosity, not an insurance investigator's, sets the plot in motion, by his delving into the target's past and the whereabouts of a million dollars from a heist years before (in fact, he becomes the principal character). The second is a racheted-up level of violence: The movie opens with the pair tracking down their prey in a school for the blind, whose residents they ruthlessly terrorize during their hunt. And the level stays high. John Cassavettes plays the victim, a former race-car driver fallen on hard times since a bad smash-up. Through the reminiscences of old buddy Claude Akins and past associate Norman Fell, we relive his racing career to an extent that stretches of the movie look like outtakes from Grand Prix. In those glory days he crossed tracks with the femme fatale of the piece, Angie Dickinson (in her rat-pack, late-Camelot salad days herself). After his car crash and their break-up, she lures him off the primrose path – to serve as driver during a mail-truck robbery. But Dickinson's heart belongs to daddy – daddy in this instance being Ronald Reagan as a heavy. This marks his last film role. For a while it was chic to dismiss Reagan as a lousy actor, but he was always compentent enough. The puzzle is that the undeniable charisma that helped garner him the governorship of California and the presidency of the United States never came through on the screen; he couldn't carry a picture. He has a nasty moment slapping Dickinson silly when her attention strays to Cassavettes, but Marvin redeems his top billing by stealing the movie. Ernest Hemingway's The Killers remains a good example of how the complexities and suggestiveness of the noir cycle were to metamorphose into a faster, flatter, more literal and brutal style of moviemaking starting in the late 1950s. Don Siegel was in the forefront of this change, starting in period noirs (The Verdict) but reaching his apogee, so to speak, in Dirty Harry. He delivers the goods, pronto, in a plain brown wrapper.

Reviewed by jay4stein79-1 8 / 10 / 10

Sadistic and Nasty

I love many Don Siegel films. His The Invasion of the Body Snatchers is paranoid bliss, and Dirty Harry is an amazing, gritty (and some say fascist) take on the cops and robbers genre. The Killers, though, is probably my favorite film of his. I can't quite put my finger on why, though I figure it has something to do with having one of the greatest casts in movie history and the fact that the movie is absolutely brutal. Arbitrarily connected to the Ernest Hemmingway story upon which it was supposedly based, the film follows two hired killers (the growling Lee Marvin and too-cool-for-school Clu Gulager) as they wipe-out stockcar racer turned grandlarcenist Johnny North (John Cassavetes). Along the way, they untangle Johnny's past with the sultry Sheila Farr (Angie Dickinson) and Ronald Reagan's crime boss, Jack Browning. It's a story told in flashbacks but it's never difficult to follow and it contains some of the frankest sexuality and violence to be found in early 1960s cinema. The best part of the film, for me, is Lee Marvin, one of the world's most under-appreciated actors. He had charisma and goodlooks that could match anyone in Hollywood, but he, like, say, Robert Mitchum, had a meanstreak and a seedy-side that makes him many times more interesting than Cary Grant or Clark Gable or John Wayne or Jimmy Stewart. There's something so nasty about him that, frankly, it's difficult to not enjoy his performances.

Reviewed by hitchcockthelegend 8 / 10 / 10

The only man who isn't afraid of dying is dead already.

The Killers is directed by Don Siegel and adapted to screenplay by Gene L. Coon from the short story written by Ernest Hemmingway. It stars Lee Marvin, Angie Dickinson, Clu Gulager, John Cassavetes, Ronald Reagan and Claude Akins. Music is by John Williams and cinematography by Richard L. Rawlings. Hit men Charlie (Marvin) and Lee (Gulager) enter a school for the blind and gun down motor mechanic teacher Johnny North (Cassavetes). He doesn't resist. Why? This question bothers Charlie and he sets about finding out... It's difficult when reading the name The Killers to not think of the 1946 film made by Robert Siodmak, a film that is revered as one of the quintessential movies of film noir. But Don Siegel's film, a re-jigging of the plot, is well worthy of consideration as quintessential neo-noir. Originally slated to be the first made for TV movie as part of a new era for movies on television, the film was pulled by NBC for being too violent. With the film also featuring a murder by sniper scene, the recent assassination of John F. Kennedy by sniper ensured The Killers was temporarily on unsafe ground. With Ronald Reagan making his last appearance on film before moving into politics, unusually playing a villain no less, the 64 version of The Killers has a bit of history. It's a film about double-crossing, murder and fateful yearnings, featuring amoral characters in a wonderfully constructed story that is told in flashbacks! Photographed in bright, almost garish, colours, it's very much the polar opposite to Siodmak's version, well visually at least, but it is very effective and striking, almost enhancing the lurid nature of Coon's screenplay. It's an aggressive film where the violence packs a punch, and the ending has a considerable black heart. The cast are mostly effective. Marvin and Gulager's hit-man pairing are deliberately off kilter in terms of personality, and it's these two that propel the movie forward (well backwards really). Cassavetes makes interesting work as live wire dupe Johnny, Akins does good as a pal watching on helplessly as Johnny loses his life footings and Dickinson sizzles as she fatalises the femme. Weak link is Reagan, who looks ill at ease playing a tough villain type. It's no surprise to learn later on down the line that he wasn't very fond of the role. Good quality neo-noir crafted by a man who knew how to do the real deal back in the day. 7.5/10

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