I’ve come back to The Killing by way of its recent 4K upgrade from the folks at Kino over the pond. I last watched the film back in 2016. I have to confess, watching it again my memory of it was pretty fuzzy- I remembered the overall plot and some of the cast, but specifics, and indeed the ending, escaped me completely. To some extent it was rather like watching the film for the first time.
Which was nice, but worrying- I used to have such an excellent memory for films; I’d usually remember most everything. Maybe its just me getting older – hope this isn’t how dementia starts- but I rather suspect its a case of just watching too many films over the past few years. In some ways we’re living in a film buff’s paradise, the access we have to films these days, whether it be films we have collected on disc, or stream on the various platforms. Back in the 1970s we were at the whim of terrestrial schedulers on three networks so only watched films when we could, which increased the rarity and sense of occasion (I still recall the Jaws network premiere, and that of Star Wars and Alien, quite vividly, and movie seasons over Christmas holidays just made the festive seasons more special). Those were the bad old days, certainly, but nonetheless films seemed to have much more of a value back then. I suppose watching fewer films, they stuck in your memory more too.
But now, they almost seem to blur into each other- certainly some film noir, of which I have watched an awful lot of over the past few years. I suppose it inevitable when they share so many narrative and visual tropes and character archetypes. Alarming though, that I’d forgotten so much of this film. Maybe this blog should revert to its original purpose back from its Film Journal days, serving as a diary of viewing- not that this blog really ever diverted away from too much (though I have stopped compiling monthly/annual lists of the films). But whatever next? Index cards next to each disc on the shelf?
Because to be sure, someone who professes to be a film buff shouldn’t be forgetting details of films as exquisite as The Killing, one of the definitive heist movies and one of the best examples of a perfect film noir. Its a taut, gripping story about flawed characters, depicted by brilliant actors in memorable performances. Did I say memorable? Hmmm. Well, to be fair, while I’d forgotten so much of the film, I’d not forgotten the likes of Sterling Hayden here- what a gritty, convincing turn.
Kubrick’s third directorial effort and widely considered his first ‘proper’ film, The Killing is absolutely amazing and, dare I suggest, one of his best. Its certainly a film for people who don’t profess to like Kubrick’s filmography- it lacks his full ‘auteur’ stamp, as he didn’t have the complete control he would soon have following Paths of Glory and Spartacus; The Killing is more routine, more accessible compared to how inscrutable some of his films can seem.
That being said, its tricky to describe The Killing as routine- it certainly makes demands upon its audience, with a chronology-shifting narrative in which it moves forwards and backwards in time depending upon each characters involvement in the heist. It’s helped somewhat by a voice-over which is pretty wonderful but was, I suspect, possibly a studio-mandated element to help steer viewers along.
When I last watched The Killing in 2016, I hadn’t been aware even of the existence of Vince Edwards’ later noir, Murder by Contract, which I watched last year as part of Indicator’s Columbia Noir line of boxsets and which proved to be one of the best films I watched last year (so good was it, indeed, that I watched it twice). So anyway, back in 2016, Edwards was just another face- this time around, I immediately recognised him and enjoyed, again, another of his performances. Naturally Edwards will always be more remembered for his massively popular Ben Casey tv show of the 1960s but I think he’s brilliant in The Killing, Murder by Contract and City of Fear in which he has this weird charisma with the camera (and inevitably the on-screen ladies) that only certain actors destined to be stars have. So if my memory really does go south there will be index cards for Vince Edwards dotted around my shelves of Blu-rays.
Regards this 4K release of The Killing, it looks absolutely amazing. Lots of grain, detail and contrast- 4K with its HDR really suits these black and white films. Can’t believe I haven’t bought Citizen Kane on 4K yet (must be all those copies on DVD and Blu-ray making me already feel like a double/triple-dipping idiot). There is a lovely tactile quality to this film, in its detail evident in sets and clothing, and the HDR really improves the lighting which can be so intrinsic to the noir experience. The scene in which the guys sit around a small table lit by a lone bulb above them, their faces both brightly lit and masked in shadow, the cigarette smoke drifting about them- its like each frame is a painting and is one of the best film noir shots I’ve seen: in 4K its really something. While Kino doesn’t include booklets or anything at all like that, it does use original poster artwork which make its releases great collector pieces, in a similar way to the art direction on Indicator’s releases (this disc also has a reversible sleeve). Devoid of extras other than some trailers, the disc features a commentary track by Alan K. Rode which, from the twenty-thirty minutes I’ve heard, is absolutely terrific and which I look forward to listening to in its entirety. More on that in another post maybe.