Review by Michael Jacobson
Hayden, Colleen Gray, Vince Edwards
Director: Stanley Kubrick
Audio: Dolby Digital Mono
Video: Standard 1.33:1
Features: Theatrical Trailer
Length: 89 Minutes
Release Date: June 29, 1999
The Killing is a
cinematic classic for many reasons. First,
it firmly established the reputation of the young director Stanley Kubrick.
Secondly, it remains perhaps the finest example of film noir ever
committed to celluloid. And
finally, for me, it’s one of those movies that makes me smile when I watch it,
and think to myself that this is what I love about the art of filmmaking.
It was a low budget film without much distribution, and
when it came out, had trouble finding an audience.
Many were put off by the non-linear format of Kubrick’s style, but that
was what made the movie such a towering work of genius, and insured that
eventually, it would find it’s way into a proper place in film history.
The story is about a group of men who unite to pull of a
daring and meticulously planned heist of a race track.
Each of the men has his own reason for needed to be a part of it, and
only one, the leader Johnny (Hayden) is actually a ‘criminal’.
What’s utterly absorbing and fascinating is the way the
heist unfolds. One by one, Kubrick
shows us parts of the plan, like pieces in a jigsaw puzzle…for example, how
each man has his own specific assignment to perform at specific times.
Then, we finally see the brilliant scheme unfold, and are able to witness
how it all comes together. Kubrick
boldly traces and retraces certain time segments, but using different points of
view, so that we the audience can fully understand the detail of this crime.
If the film were only that, it would be brilliant enough,
but there is a great point and message on top of it all:
there is no such thing as a perfect crime.
As we witness it unfold, we see so many things that can go wrong, and
some that do, despite the tightness of the master plan.
Kubrick’s style of filmmaking takes an already terrific
story and presents it on screen as an absolute visual treat as well.
His camera stalks the characters as they go from room to room, and even
follows the race horses side by side at blinding speed…it must have been a
rush for the audiences of the 1950’s. He
has a brilliant sense of black and white photography as well, and uses his play
of lights and shadows to perfection. His
direction was so impressive, it caught the attention of veteran actor Kirk
Douglas, who hired Kubrick and worked with him on his next two projects, Paths of Glory and Spartacus.
Overall, The Killing succeeds
as a suspenseful, thrilling, and utterly absorbing crime drama, and remains
perhaps the crowning achievement in the genre of film noir.
For a film of this age, the quality is outstanding. The images are sharp and clear throughout, with no grain evidenced. Even the darkly lit scenes ring forth with a true clarity. MGM can be proud of their DVD transfer for this film, which greatly outshines many of Warner’s Kubrick titles at half the age of this one.
This is a decent mono soundtrack, and particularly clean
given the age of the movie. Dialogue is clean and clear throughout, and
there is even a fair amount of dynamic range generated from the gunplay and the
Only a trailer.
The Killing is simply as entertaining as it is brilliant, and a film no movie lover could possibly dislike. It has drama, suspense, style, a terrific story, and a masterful sense of direction by Kubrick that could be considered the forefather of other films by directors like Brian de Palma or Quentin Tarantino. And as a DVD, it represents the ability of the format to allow us to enjoy our classic films with previously unavailable clarity and quality.