The Killing (1956)

Director:

Stanley Kubrick

Writers:

Lionel White (novel)
Stanley Kubrick (screenplay)
(more)

Release Date:

6 June 1956 (USA)

Genre:

Crime | Drama | Thriller | Film-Noir

Tagline:

...In All Its Fury and Violence

Plot:

Crooks plan and execute a daring racetrack robbery.

Plot Keywords:

Heist Movie | Caper | Beautiful Woman | Heist | Cuckold

Awards:

Nominated for BAFTA Film Award.

Cast

Sterling Hayden	...	Johnny Clay
Coleen Gray	...	Fay
Vince Edwards	...	Val Cannon
Jay C. Flippen	...	Marvin Unger
Elisha Cook Jr.	...	George Peatty (as Elisha Cook)
Marie Windsor	...	Sherry Peatty
Ted de Corsia	...	Policeman Randy Kennan (as Ted DeCorsia)
Joe Sawyer	...	Mike O'Reilly
James Edwards	...	Track Parking Attendant
Timothy Carey	...	Nikki Arcane
Joe Turkel	...	Tiny (as Joseph Turkel)
Jay Adler	...	Leo the Loanshark
Kola Kwariani	...	Maurice Oboukhoff
Tito Vuolo	...	Joe Piano - motel manager
Dorothy Adams	...	Mrs. Ruthie O'Reilly
Herbert Ellis	...	2nd American Airlines Clerk
James Griffith	...	Mr. Grimes, Airline Supervisor
Cecil Elliott	...	Lady with Small Dog
Steve Mitchell	...	Brown, American Airlines Clerk
Mary Carroll	...	Woman asking Kennan for Help
William 'Billy' Benedict	...	American Airlines Clerk (as William Benedict)
Charles Cane	...	Plainclothesman at Airport (as Charles R. Cane)
Robert Williams	...	Plainclothesman at Airport (as Robert B. Williams)
rest of cast listed alphabetically:
Franklyn Farnum	...	Racetrack Extra (uncredited)
John George	...	Racetrack Extra (uncredited)
Art Gilmore	...	Narrator (uncredited)
Sol Gorss	...	Track Guard slugged by Johnny (uncredited)
Harry Hines	...	Chess Player (uncredited)
Kenner G. Kemp	...	Racetrack Extra (uncredited)
Hal J. Moore	...	Race Track P.A. Announcer (uncredited)
Harvey Parry	...	Bartender (uncredited)
Richard Reeves	...	Bill, Track Employee in Locker Room (uncredited)
Frank Richards	...	Track Employee in Locker Room (uncredited)

Directed by
Stanley Kubrick

Writing credits
Lionel White		(novel "Clean Break")
Stanley Kubrick		(screenplay)
Jim Thompson		(additional dialogue)

Produced by
James B. Harris	....	producer
Alexander Singer	....	associate producer

Original Music by
Gerald Fried

Cinematography by
Lucien Ballard

Film Editing by
Betty Steinberg

Art Direction by
Ruth Sobotka		(as Ruth Sobotka Kubrick)

Set Decoration by
Harry Reif

Makeup Department
Robert Littlefield	....	makeup artist
Lillian Shore	....	hair stylist

Production Management
Clarence Eurist	....	production supervisor (uncredited)

Second Unit Director or Assistant Director
Milton Carter	....	assistant director
Paul Feiner	....	second assistant director
Howard Joslin	....	second assistant director

Art Department
Karl Brainard	....	assistant set decorator (as Carl Brainard)
Christopher Ebsen	....	chief carpenter
Bud Pine	....	construction supervisor
Robert L. Stephen	....	chief painter
Ray Zambel	....	property master

Sound Department
Rex Lipton	....	sound effects editor
Earl Snyder	....	sound

Special Effects by
Dave Koehler	....	special effects

Visual Effects by
Louis DeWitt	....	photographic effects
Jack Rabin	....	photographic effects

Camera and Electrical Department
Lou Cortese	....	best boy
Paul Easler	....	process camera operator
Carl Gibson	....	head grip
Robert Hosler	....	second assistant camera
Bobby Jones	....	gaffer
Richard Towers	....	camera operator (uncredited)

Costume and Wardrobe Department
Beaumelle	....	costumes: Marie Windsor
Rudy Harrington	....	wardrobe: women
Jack Masters	....	wardrober

Music Department
Gerald Fried	....	conductor
Gilbert D. Marchant	....	music editor (as Gilbert Marchant)

Transportation Department
Dave Lesser	....	transportation

Other crew
Mary Gibsone	....	script supervisor
Joyce Hartman	....	assistant to director
Marguerite Olson	....	production assistant

Production Companies

• Harris-Kubrick Productions

Distributors

• United Artists (1956) (USA) (theatrical)
• RKO Radio Pictures (1957) (France) (theatrical)
• MGM/UA Home Entertainment (1989) (USA) (VHS)
• MGM/UA Home Entertainment (1993) (USA) (video) (laserdisc)
• Art Free (2004) (Greece) (theatrical)
• MGM Home Entertainment (2007) (USA) (DVD)
• Cinemagia (Brazil) (DVD)
• Criterion Collection, The (laserdisc)

Also Known As:

Bed of Fear (USA) (working title)
Clean Break (USA) (working title)
Day of Violence (USA) (working title)

Runtime:

85 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (RCA Sound System)

Certification:

Brazil:12 | Finland:(Banned) (1956) | Norway:16 | West Germany:18 (original rating) | Canada:PG (Manitoba/Ontario) | Spain:T | South Korea:15 | Canada:G (Quebec) | Iceland:L | Finland:K-16 (1960) (cut) | Finland:K-15 (2003) | Argentina:13 | Australia:PG | Ireland:12 | Sweden:15 | UK:PG | USA:Approved (PCA #17836) (original rating) | West Germany:12

Filming Locations:

Bay Meadows Racetrack - 2600 S. Delaware Street, San Mateo, California, USA

Company:

Harris-Kubrick Productions

Trivia:

Marie Windsor landed the part of Sherry Peatty after Kubrick saw her performance in The Narrow Margin (1952).

Goofs:

Crew or equipment visible: When Sherry is removing her makeup in their room, George is moving toward her. When he hits his mark, announcing that he is dropping out, the shadow of a crew member's head is clearly seen on his shirt and then fade on the right side.

Quotes:

[first lines]
Narrator: At exactly 3:45 on that Saturday afternoon in the last week of September, Marvin Unger was, perhaps, the only one among the hundred thousand people at the track who felt no thrill at the running of the fifth race. He was totally disinterested in horse racing and held a lifelong contempt for gambling...

Movie Connections:

Referenced in Lat sau san taam (1992)

One of my five favorite Kubrick films - gets better every time

At the age of 27, Stanley Kubrick's third film, The Killing, took Lionel White's hard-boiled, non-linear story of one man (Johnny Clay, with quick-talking, straightforward ease by Sterling Hayden) and his crew planning and tasking a race-track robbery. It's almost fifty years old, but by this time Kubrick intently defined his style, and somehow the film seems to have themes and characters that are identifiable (and recognizable) with any period. The supporting characters are as sharply drawn (and psychologically involving) if not more so than Johnny Clay. Driving us into this world of schemers shouldn't be dense, and as Kubrick passes by any pretense - and keeps the compositions and material entertaining and absorbing - and it allows a viewer a lot of promise on repeat viewings.

While the story elements are similar to the sort of Kubrick-movie psychology (mostly dealing with men who are head deep in a rather existential crisis of what's against society), what's unique is how the craft is intuitive. On a low budget, and even with a cast that's very good if not excellent, everything is always assured in the style and turns grinding in the plot. I could watch this movie another two times (after three in the past two years or so) and still see shots so detailed yet with the tone that of the most inspired film-noirs. It's questionable as to where Kubrick got influence for some of the compositions, with usage of shadows and the dark (and light shades too), but whether or not it was some famous expressionist or from the 40's film-noirs, the mark of Kubrick uncurling as an artist is evident.

One remark by some is that the narration is sometimes irritating, that the kind of B-movie police drama expository tone, and the information is too much. The voice is not my favorite part of the film, but the narration itself, the information, is an interesting mold in the film's structure. It adds on a layer to that existentialist subtext, as every description makes it sounds like the narrator's a reporter looking back on the past events with a (detached) objectivity. For me, this did make it a little much to concentrate on in the first viewing, however this is a film that demands un-thwarted attention for it's 83 minutes. If you turn away for too long, a piece of the puzzle will be out of sight. It's a great film, and it's gone on to inspire a flock of homagers and imitators in the last half century. A+