The Honeymoon Killers (1970) User Reviews

Disturbing

[LeaBlacks_Balls · 7/10 · 21 February 2010]

Based on the true story of Raymond Fernandez and Martha Beck, who met through a lonely-hearts correspondence club, Ray (Tony Lo Bianco) is sleazy and untrustworthy; Martha (Shirley Stoler) is obese, compulsive, and needy. Together, they play out a horrifying scheme in which he lures lonely women out on dates and proposes marriage to them, while she pretends to be his sister. After the marriage ceremonies, they take the womens savings and then murder them in cold blood.

The way this film is shot, with its grainy black and white footage, murky sound, bright whites and dark shadows, only adds to its incredibly unsettling nature. Watching this is almost like watching a documentary, and occasionally, a snuff film.

Though the acting from the supporting cast is a bit iffy at times, the two leads are excellent. Particularly Shirley Stoller. While Lo Bianco creates one of the most hateful slime-balls I've ever seen, Stoller dominates this film. Her Martha is a frightening, unpleasant, disgusting woman, who is as ugly on the inside as she is on the outside. Her evil nature fills the frame whenever she is on screen.

If you're looking for a fast paced thriller, look elsewhere. The pacing in this movie is slow, which only adds to the disturbing documentary feel. But if you want to see a movie where character comes first, and action second, seek this classic out.

Gritty, over the top and unintentionally campy

[eyecandyforu · 7/10 · 15 May 2008]

I had to add a comment after reading so many on here comparing The Honeymoon Killers to John Waters. If Waters had made a serious attempt at true crime, this would be it. Based on a true story, two sociopaths come together through a "lonely hearts" dating service and discover they are mutually compatible serial killers. Tony Lo Bianco plays Raymond Fernandez, a greasy con-man and loser preying on naive women looking for love. Lo Bianco manages to be sexy even as such a pathetic jerk. Shirley Stoler is Martha Beck, his accomplice and apparent true love. Probably best known as the evil Nazi commandant in Seven Beauties, Stoler steals the film and in my humble opinion is really the only reason to check the movie out. Stoler and Water's star Divine are so similar, they could be "sisters". Stoler eats the scenery with gusto in an angry, bitchy way and it's fascinating just to watch her mouth move. The film is surprisingly watchable with some shockers and a parade of character actresses as victims. To contrast this grim black and white film against the Oscar winner for best picture that year (Patton) only adds to it's bizarreness. The director, Leonard Kastle presents the story bleakly with no bells and whistles. Sadly this is the only film he directed, it would have been great to see how his career would have progressed.

Shocking Degeneracy

[rmax304823 · 8/10 · 14 December 2002]

I went downtown to see some widescreen extravaganza at a Duplex Cinema and when I bought my ticket realized I'd been standing in the wrong line. (The story of my life.) Instead of seeing some technicolorama epic I wound up seeing this, a cheap black-and-white true crime story.

Well, felix culpa! I emerged shocked. At the time of its release there was nothing quite like it. Two small-time murdering cons deeply in love with one another in some twisted kind of way. Balding, overacting Tony Lo Bianco. Plumply menacing battleaxe of a nurse, Shirley Stoler. The photography is grainy and primitive. Indoor lamps don't simply cast light -- they glare. The movie's idea of a proper family home looks like something that might be owned by a worker in the Pabst Brewery in Newark.

Lo Bianco as Ray is a minor Latin con type, adroit with lonely women, while Stoler, as Martha Beck (great name) is the passionate one, filled with jealousy and rage. I don't know if the victims were supposed to be seen as somehow contemptible, what with their obtuseness and whining, but we never forget that we're dealing with human beings here. The first murder is relatively genteel. Death on a bus follows a poisoning. The next is bone-chilling. To appreciate the shock value of the violence a viewer needs to remember that this was filmed before all the extended gore and homicides we see now in movies like "Henry: Portrait of a Serial Killer," "Atlantic City," and "Torn Curtain."

Previously, when the victim was whacked hard on the head with a claw hammer, he or she slumped forward, decorously dead. Not here. As in "The Assassination of Trotsky," the victim is momentarily stunned, then recovers screaming. The second homicide involves the only use of a directorial touch unusual enough to draw attention to itself. The victim is lying on her back in bed while her two attackers discuss the best way to murder her. The camera concentrates on her uncomprehending and frightened eyes flicking from side to side, then a sharp pan to a pistol pressed against her head, and the sound of a shot. (A contemporary review of the film criticized one of the scenes because we could hear Ray urinating into the toilet bowl offscreen.)

The last duet of murders exceeds the limits of any sympathy we might have felt towards the lovers. Ray has promised Martha that he's not going to boff the last victim, whereas, it is revealed, he's been unfaithful -- to Martha, that is. Well, that's enough for Martha. After disposing of both her last rival and child she drops the dime on the two of them. If she can't own Ray exclusively then no one's going to have a piece of him. Ray writes her a love letter in jail. His ability to forgive is almost religious in its magnitude. Either that or he just can't stop telling lies.

This is a true story, and it has the digressions and non sequiturs we find in a real-life script. People get into unexpected and awkward arguments that are accidentally heard offscreen. Ray's sleep is constantly interrupted by Martha arguing with a victim in the next bedroom. The fact that this is based on real events make it all the more scary. Skip Freddy and the rest if you want to be scared out of your wits. Catch this instead.

Why ?

[dbdumonteil · 19 June 2002]

Why did Leonard Kastle make only one movie?When so many "directors" are allowed to release mediocrities by the dozen,when almost every thriller looks like the one before?

I saw "the honeymoon killers" at the beginning of the seventies in a "art et essai" movie theater (in France,"art et essai" means non -commercial and artistical works).The movie had little impact on the "mainstream" audience ,and the TV was afraid to broadcast it.

Thirty years later,it still packs a real wallop:it has worn extremely well,even better than praised classics such as "gun crazy" and "Bonnie and Clyde".I'm sure it had a strong influence on Francis Girod's "le trio infernal"(1974)."The honeymoon killers" is unique,a work of the first order.Hats off to the two leads ,Shirley Stoler and Tony LoBianco ;their casting was ideal.Had the producers hired two stars,the movie would have lost in credibility.Because,credible,this movie is,and not because it is a true story:for instance "Bonnie and Clyde" is also a true story,but the characters are icons,some kind of Robin Hoods,far from their models.Don't get me wrong,I love Penn's movie,but Kastle's is a different matter:this director-scenarist shows the couple "au naturel".We've already met Martha somewhere:she's the fat nurse, par excellence the outcast,deprived of the thrill of it all,particularly seduction and love.Her behavior,as horrifying it may be,makes sense.The whole movie depicts her pursuit of happiness.She's full of hatred,jealousy and her contempt for these ugly ,old and frivolous women is so intense it's almost unbearable.She hates them because their money can buy anything and most of them used to be wooed,something she has never known and never will.

This is one of the most ambitious side of the screenplay:taking a subject Alfred Hitchcock partially treated in "shadow of a doubt" (1942),it pushes it to its absolute limits:all these old biddies in their" pigpen" (as Joseph Cotten's uncle Charlie said),acting as if they are twenty-something and still dreaming of Prince Charming are so hateful the audience almost sides with Martha and her partner.

Ray is a very complex character:it's a gigolo,but in several respects ,he's still a child.Martha is at once his lover,his mother and his "sister" (they are as like as two peas in a pod ,one character says,echoing the "gun crazy " heroes,as like as two bullets in a revolver).Martha seems the leader,Ray acting more as an instrument. As their crimes become more and more appalling,sexual desire is increasing."I want to make love" Ray says,after having killed Fay.

Humor (most of the time black) is constant and some of the lines are hilarious.But the last crime is so horrible it leaves the audience completely in despair.And ending the movie with a romantic love letter is a product of pure provocation.

Although by no means a violent movie (particularly when compared to today's standards),it's definitely one of the most terrifying works of American cinema.A must .

The Fat Lady Swings

[wes-connors · 6/10 · 7 July 2011]

Overweight and sexually repressed nurse Shirley Stoler (as Martha Beck) finds herself entered in a "lonely hearts" club. She meets stud and scam artist Tony Lo Bianco (as Raymond "Ray" Fernandez). He uses the club to fleece lonely women, but meets his match with Ms. Stoler. The two team up as a brother and sister act as Mr. Lo Bianco lures the women into giving up their assets with wedding promises. But when Lo Bianco does the hanky panky with one of their victims, Stoler becomes jealous. Then, all hell breaks loose...

The opening statement, "The incredibly shocking drama you are about to see is perhaps the most bizarre episode in the annals of American crime. The unbelievable events depicted are based on newspaper accounts and court records. This is a true story," helps get you ready for the "documentary-style" presentation. To translate, this is a low-budget production with a lot of roughness showing. In hindsight, Stoler appropriately resembles the John Waters star "Divine" and Lo Bianco is perfectly cast. It's like watching an accident.

****** The Honeymoon Killers (9/8/69) Leonard Kastle ~ Shirley Stoler, Tony Lo Bianco, Doris Roberts, Barbara Cason

I think this film would have been better if it had been directed by John Waters and starred Divine.

[planktonrules · 6/10 · 24 March 2017]

Back in the late 1940s, Martha Beck was an obese, angry and lonely lady. When she met Ray Fernandez through a lonely hearts club, she became extremely dependent on him and agreed to follow him on his exploits. As for Ray, he was a con-man and made his money marrying women--after wards, he or Martha would soon murder them! They are known to have killed four people (including a 2 year-old) but estimates are this serial killing couple killed as many as 20! Not surprisingly, the story was a huge sensation when the press got involved!

About 20 years later, this film version of their exploits was made. It obviously was a very low-budget project and was shot in black & white (by 1970 hardly any films were made this way) as well as had unknown actors (some of which, such as Tony Lo Bianco and Doris Roberts, became famous later). Interestingly, the only American filmmaker I can think of still making black & white films at this point was John Waters...and I can't help but think the movie was have been AMAZING had Divine starred as Martha! Playing it for camp instead of as a straight drama would have been interesting!

So is this film any good? Well, a lot of it depends on the audience. If you are a serial killer junkie, then you have to see it. As for me, I don't particularly enjoy seeing dramatizations of serial killers' exploits as sometimes the films are incredibly graphic and may tend to glamorize these evil folks' exploits. "The Honeymoon Killers" generally is NOT very graphic, though when they use a hammer on one of their victims, I gotta admit that she was really, really annoying I was rooting for them to killer her...and quickly! The acting is better than you'd expect with a cheapo project and the film does hold your interest. Still, it is very yicky at times and is something I'd rather not see again!

By the way, the way the couple got caught was probably fiction. I read about this hellish couple and this film's ending didn't exactly jibe with police records. Quite a few of the other incidents in the film have been altered a bit to seemingly make the film more cinematic and interesting (such as never mentioning that Marth had two children before meeting Ray). The clothes and hairstyles also make the film look like this happened about 1970...but it actually was set from 1949- 51.

based on true events of a killer couple

[PaulyC · 7/10 · 30 October 2008]

This film, originally titled "Dear Martha" suffers a little for its low budget but ends up being a decent movie. The bad sound which at times makes it difficult to understand the dialog might turn you off at first but if you stick with it, it stops being so distracting. What I liked about the film is that the movie stuck a lot to actual facts of the true story. It is heavily rumored that this couple the story is based on killed a lot more then two people but the film doesn't speculate anything and only shows the two confirmed killings. This is the story of Martha Beck, a lonely, moody nurse, who joins a "lonely hearts club" where lonely people write to each other. Well, soon she receives letters from Ray Fernandez, a charming con- man. They meet, she falls in love with him, and he robs her and leaves. She tracks him down and is so lonely, she convinces him she will help con people as long as they marry one day. They eventually become a team where she pretends to be his sister while he cons money out of lonely women. Martin Scorsese was hired to direct but was replaced after he was taking way too long with each shot and the director feared they would go over budget. That budget was $150,000 which even in 1969 was not a lot to make a movie. Shirley Stoler and Tony Lobianco as the twisted couple are very well cast as well as a small role by a young Doris Roberts who would later play the mom in "Everybody loves Raymond". Good Stuff!

One of the best American crime movies ever made

[tomgillespie2002 · 9/10 · 8 October 2014]

Released in 1969 under the guise of a low-budget exploitation film, The Honeymoon Killers is in fact one of the best American real-life crime movies ever made. It tells the story of Martha (Shirley Stoler), a lonely, overweight nurse who is entered into a 'lonely hearts' club by her friend Bunny (Everybody Loves Raymond's Doris Roberts). She receives a response from Latin lothario Ray Fernandez (Tony Lo Bianco), who is a con-man who preys on lonely women, shaking them down for their money. When he reveals this to Martha, she is undeterred, and insists on joining him on his quests by posing as his sister. Ray promises that he won't sleep with any of them, but Martha's overbearing jealousy soon leads to murder.

Based on the notorious case of the 'lonely hearts killers', first (and only) time director Leonard Kastle adopts a documentary-style approach, opting to use mostly hand-held photography, naturalistic lighting, and minimalistic editing. If sometimes the small budget becomes obvious, this only heightens the sense of realism running throughout the film, assisted by two astonishing performances from it's leads. Stoler is immense, evoking sympathy at first but then revealing her true motives are rooted in jealousy and bitterness as she becomes unpredictable and frightening. Bianco, who is still enjoying a prolific career, performs with a flawless Latino accent, demonstrating the charm and seduction that helped Fernandez dupe so many of his unfortunate victims in real-life

But the film is not without artistic merits as well. Lacking blood and devoid of any kind of shock tactics, the murders are cold and brutal. A hammer blow to the head has as much impact as Leatherface's notorious entrance in The Texas Chain Saw Massacre (1974), as the victim struggles and twitches while the killers struggle for finish her off. Another has the camera focus just on the panicking eyes of a sedated victim, as Martha and Ray argue off- camera about to do with her. A gun then appears at the corner of the screen and it's all over. It's shockingly blunt for it's era, but only serves to make The Honeymoon Killers one of the most invigorating and uncomfortable experiences I've had in recent memory.

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The Ugly Side Of Crime

[slokes · 6/10 · 1 February 2014]

Hollywood has glamorized crime for decades. What better way to push back against this message than grace you with the sight of a pudgy, shovel- faced woman screeching at her man for getting too touchy-feely with their latest mark?

Martha (Shirley Stoler) is a bitter nurse with a brutal manner and a need for love she can only find in Ray (Tony Lo Bianco), a con man she meets after answering a letter from a "Friendship Club."

"Do I have to tell the truth?" she asks a friend.

"Whose puttin' you on the witness stand?" replies the friend, played by future "Everybody Loves Raymond" star Doris Roberts.

That everybody loves Ray is part of the problem. He's as attractive as she is not, and whenever he works his con on some shy spinster or swoony old woman, Martha gets angry. That's when the film veers from black comedy into considerably darker material.

I see what Leonard Kastle was aiming at here with his harsh and often brutally effective screenplay. I only wish he had let someone else direct it. Alas, he let Martin Scorsese go after a few days of shooting, because the guy was taking too much time on set-ups. That kind of style is sorely missed. "The Honeymoon Killers" tells the real story of Martha and Ray, a pair of con artists who bilked, and eventually killed, some very sad and trusting people. That it's not for the faint-of-heart speaks well for Kastle's humanity, his willingness to push against the Hollywood filter, but as a film it struggles with the seriousness of its material.

Firstly, the film suffers from being made on the cheap. Apparently for many of the set-ups, there was no Take Two, and you see the results. Lines getting garbled or muffled by someone dropping a coat on a chair. A boom mike slipping into a shot. A murder victim whose tongue is still moving after she is pronounced dead.

Second, I can't say I want to go out and see another Shirley Stoler movie after this. She evidences no subtlety in her central performance. Lo Bianco performs better, but his wheedling accent is like something Hank Azaria would use for a walk-on character on "The Simpsons." Since the film is pretty much just these two, it is rendered more painful for their lack of believability. Why must Martha huff and shriek so whenever Ray is working his cons, in plain view of the person they are conning? It's like Kastle doesn't trust you enough to twig onto the feral nature of this couple.

Finally, there are the obvious left-wing clichés Kastle plants to give his film a timely message. A couple of the victims are characterized by their inane patriotic banter. Another is a cross-clutching Catholic. Kastle wants to use them to mock the middle-class values that surround Martha and Ray, who alone seem alive to the static nature of suburbia (Ray: "One little jail after another with ten feet of grass between them.") But it clutters the film with subtext it can't carry. Also, this feels too much like patronizing people who have already been victimized enough.

What the film does quite well is showcase Martha and Ray's twisted natures in service of their crimes. A lot of reviewers have problems with why Ray takes up with dumpy Martha. I didn't. Martha is the one person who sees him for what he is, and loves him for it. Plus, she's kind of a surreal mother figure, as several characters note. He's as desperate to be loved as she is, and just as sick. She may kill the victims, but he's the one in the mood for love when it's over.

I can't recommend "Honeymoon Killers," but it has a power like few films you come across. Crime films should be brutal at some level, and this one certainly is. It's like the tagline in the trailer says: "See 'The Honeymoon Killers,' and then just try and forget them."

Awesome docudrama still packs a punch today

[Casey-52 · 9/10 · 7 October 2000]

THE HONEYMOON KILLERS is a cult film, to be sure. One of those forgotten gems just begging for higher recognition (like SPIDER BABY and DON'T LOOK IN THE BASEMENT!), the film is a realistic portrayal of the true-life murderers who preyed on Lonelyhearts column readers.

Shirley Stoler and Tony LoBianco play the two lovers, Martha and Raymond, who meet through a Lonelyhearts column. When Martha discovers that Raymond is a gigolo who planned on using her for her money, she ditches her job as a nurse, plants her mother in a rest home, and takes off to live with him, becoming his partner in crime. The two genuinely love each other, much like a modern-day Bonnie and Clyde...except Clyde has a heavy Latino accent and Bonnie weighs upwards of 200 pounds! The couple, using aliases, pose as brother and sister as Raymond marries women and Martha steals their valuables. Eventually, Martha's jealousy over Raymond's many women drives her to murder most foul.

Many have compared THE HONEYMOON KILLERS to HENRY: PORTRAIT OF A SERIAL KILLER and BONNIE AND CLYDE. I can safely say that it beats BONNIE AND CLYDE into the ground and gives HENRY a run for its money. Shirley Stoler is absolutely fantastic and deserved much more fame and many more roles than she received. Tony LoBianco is pretty good, too, but is less memorable. In HONEYMOON KILLERS, Martha is in charge of the situation. She is the one who commits the murders, she is the one who bosses Raymond around, she is the one who controls Raymond's choices, and she is eventually the one who gets sentenced to death with her man.

Filmed in lush black and white on grainy film stock and featuring a classical music/public domain soundtrack, THE HONEYMOON KILLERS really does pack a punch today with its cheap documentary-like feel. It would make a perfect double bill with NIGHT OF THE LIVING DEAD! Though a little slow to begin with, HONEYMOON KILLERS eventually leaves its soap opera beginnings and delves into the deep, dark side of human nature. It is fascinating to view Martha at the start of the film and witness her drastic change to homicidal maniac. Absolutely essential viewing for any film fan!

Fancy a date?

[AAdaSC · 7/10 · 12 February 2017]

This is the true story of Ray Fernandez and Martha Beck who were dubbed "the lonely hearts killers" in the 1940s and were electrocuted in Sing Sing as a result in 1951. They are portrayed by Tony Lo Bianco and Shirley Stoler who give convincing performances.

Outside of the two main characters, everyone else is pretty annoying. The women all seem like slightly stupid nagging types and the film is slow to begin - the women really do grate during this period. The sound quality is also poor throughout the film. However, once the couple get together and do their thing, we have a chilling film. It stays with you.

great film, crappy title

[movieman_kev · 9/10 · 30 May 2005]

Biopic based on Martha Beck and Raymond Fernandez, a couple dubbed The Lonely Heart Killers. Martha is an obese nurse who is a sad and pathetic individual who meets a con-man Raymond through a Loney Hearts club. He swindles women into falling in love with him and bilks them out of their fortunes. Martha and Raymond are meant for each other as they're both despicable, hateful people. This film is among the best biopics that I've seen. And aside from a few fairly campy moments, it's acted marvelously.The decision to shoot in black and white was brilliant. A lot of films get praised highly and don't warrant it. But this film deserves every accolade praised upon it.

My Grade: A

DVD Extras: 30 minute Interview with Leonard Kastle; essay except with rare photos and clippings from Beck and Fernandez's trial and incarceration; Biographies, and Theatrical Trailer

A diabolical couple meet and go on a frantic two year lonely hearts crime spree

[Ed-Shullivan · 7/10 · 9 April 2020]

What happens when you light a match on to hot oil and stand directly in front of it? You will get burned badly and the scars will be left permanently as an ugly reminder. Now imagine if you repeated this experiment several times over the span of a couple of years how these exterior scars would overlay each other causing more and more permanent damage. That is what happened in the case of the real life Honeymoon Killers Raymond Fernandez and Martha Beck, who this crime film is based upon.

It is filmed in a quasi docudrama style, and for the period of 1970, was bold and daring in displaying the intense relationship that existed between these two callous killers. Adding to the documentary style the film was released in black and white with limited camera angles and the sound quality made us the audience feel as if it was a home made 35mm film and we were right in the room with them while they plotted and then carried out their murders.

Actress Shirley Stoler who played Martha Beck was so believable with her envy over her Spanish lover and co-conspirator Raymond Fernandez (played by Tony Lo Bianco) that you could actually feel sorry for her initially until you witness how evil she really was.

I recommend watching this version first, and then watch the 2006 remake in a colour version titled Lonely Hearts with Jared Leto and Salma Hayek in the lead roles and also starring the late and great James Gandolfini as Det. Charles Hilderbrandt, and John Travolta as Det. Elmer Robinson. The film styles are quite different but with the same result. Murder is murder, and who doesn't enjoy a good murder mystery real life crime drama brought to life by the film industry for the viewing audience's entertainment.

I give this film a 7 out of 10 rating

Obese, insanely jealous nurse WLTM devious Latin Lothario for cuddles, kisses and killing.

[BA_Harrison · 5/10 · 17 September 2013]

True-life serial killer flick The Honeymoon Killers takes a long time to live up to its claim as a shocking cult classic, spending more time on the killers' unusual love affair than the actual murders; thankfully, when it eventually gets around to depicting the violence, it doesn't disappoint—for a film shot in 1969, the killings are extremely uncomfortable viewing.

The film is based on real life killers Martha Beck and Ray Fernandez, an insecure, overweight nurse (played by Shirley Stoler) and a gigolo con-man (Tony Lo Bianco) who fall in love after meeting via a lonely hearts club; posing as brother and sister, the pair trick lonely desperate women out of their savings, but turn to murder whenever their plans go awry.

Shot in a lo-fi, docudrama style (no doubt as a result of the very low budget), The Honeymoon Killers is rough around the edges, the pacing is often sluggish, and the dialogue dreary, but the film still achieves a certain sordid appeal thanks to its sickening subject matter and memorably nasty murder scenes, which include a callous hammer attack/strangulation and the drowning of a child.

Simply one of THE great American movies!

[Infofreak · 31 July 2002]

'The Honeymoon Killers' is easily one of the most underrated movies of all time. Often unfairly ignored as "just" a b-movie, or half remembered as trivia - the movie Scorsese nearly directed - it is in fact close to perfect, and one of the finest of all American movies dealing with murder. Why writer/director Leonard Kastle didn't make any other movies after this brilliant debut is both a mystery and a tragedy. His work is so impressive and fresh here, who knows what he could have been capable of. He may have turned out to be one of the greats, and even rivaled Scorsese, or Coppola, both having had a similar starts with low budget genre material (see 'Bloody Mama' and 'Dementia 13', their respective collaborations with king of the quickies Roger Corman).

The late Shirley Stoler is a knockout as bored nurse Martha Beck, and Tony Lo Bianco is equally impressive as her Spanish con man boyfriend Raymond Fernandez. Sadly neither actor got the career breaks they deserved. Stoler had small supporting roles in credible movies like 'Klute' and 'The Deer Hunter', and cult favourites like 'Frankenhooker' and 'Miami Blues', but always seemed to overlooked because of her weight. Lo Bianco starred in excellent sleepers like 'The Seven-Ups' and 'God Told Me To', but more often than not ended up as second-Mafioso-on-the-left in crappy movies like 'Boiling Point' and 'The Juror'. Too bad, both are brilliant here and had the potential to go on to better things.

'The Honeymoon Killers' is a minor masterpiece and should be essential viewing for all movie buffs. Don't miss this one!

Spot the Scorsese

[rooee · 6/10 · 14 November 2015]

A young Martin Scorsese directed bits of this creepy psychological thriller about Ray Fernandez and Martha Beck, the "Lonely Hearts Killers" who murdered a shockingly large number of women in a two-year spree in the late 1940s. As the camera prowls and the framing draws deliberate attention to itself, you can sense Scorsese – before, that is, he was sacked and replaced with Leonard Kastle. This would be Kastle's only film, and it's pretty good all things considered.

How true is this "true story"? Not very. For a start it's clearly set at the time it was made (1969), and yet states in the epilogue that Ray (Tony Lo Blanco) and Martha (Shirley Stoler) met their fate twenty years earlier. But how about the more general truth of fiction? Here the film succeeds, focusing on the psychology of this chunky, frumpy lady and her lithe Latino partner-in-crime; the bitter jealousy and the vile scheming, and the growing tensions between them. It works well, thanks to a smart script with a sharp edge of ironic wit.

Martha is a sad-sack who is empowered at work but desperately lonely at home. Ray is a vile opportunist whose control is cracked by the juvenile love he shares with Martha. It's a story of its time. These days the couple wouldn't need to lure the lonely through newspaper ads – they could swindle all their money over the internet. But Ray and Martha are hands-on and in-your-face, and the film portrays a collection of increasingly sinister encounters as they convince a series of sad spinsters to part with their cash. Ray wields charm like a scimitar, while Martha is like a wrecking ball.

With its suburban sitting room setting and its unsettling blend of the OTT and the naturalistic, the influence on Henry: Portrait of a Serial Killer is clear. When the killing begins, Kastle doesn't shy away. The death-by-hammer scene is genuinely shocking, even by today's standards.

Mostly the movie eschews graphic violence in favour of tense episodes laced with morbid, mordant wit. You can see why it was disregarded at the time, just as you can see why it's being reconsidered today. For all its melodrama (Gustav Mahler parps over the serial killers' domestic dramatics) and its sleazy exploitation appearance, it's surprisingly subtle and has flashes of real craft. It is undoubtedly a genre-evading oddity – but an accessible one which will be enjoyed by anybody looking for something clever, nasty, and funny.

Probably the greatest cult film not directed by John Waters.

[mark.waltz · 7/10 · 3 January 2022]

What I like about this film is that it is not played for camp. It is completely serious and the stars, Shirley Stoler and Tony Lo Bianco, do not take their roles in a comical manner in any way. Initially, my only issue with the film is the lack of motivation for the character of Martha Beck (outside of sexual manipulation) who is obviously jealous of the other women in Ray Fernamdez's life but didn't seem at all the violent type. Of course the first woman they bilk is sparred, but the other ones are not so lucky, and by the time Martha strikes, my misgivings were satisfied.

Stage, screen and TV actress Shirley Stoler is unforgettable, whether as the Nazi guard in "Seven Beauties" or her supporting role in "The Deer Hunter", or in temporal short-term and recurring roles on the daytime soaps. Stoler is quite attractive here even though her minimal smiling often makes her look sinister. She would cross paths with one of the victims here, Marilyn Chris, when they worked together on "One Life to Live" in the mid 1980's with Chris as restaurant owner Wanda Wolek and Stoler as reformed ex-con Roberta Coleman, at one time related to Dorian Lord through marriage. She returned years later as the vengeful widow of a mobster, sharing scenes with Tony winners Phyllis Newman and Elaine Stritch.

Lo Bianco oozes sleazy charm as the manipulative Ray, but Stoler easily dominates the film with her commamding presence that is surprisingly vulnerable. Dortha Duckworth is convincingly pathetic as Stoler's ailing mother. Doris Roberts is instantly recognizable as Stoler's roommate in the opening scenes. This has deservedly won a cult following over the years, and is probably regarded as a classic of the genre because of how serious it is without being even unintentionally funny, baby dated for being filmed on a very low budget in black and white, but that actually adds to the atmosphere and thus makes it a real classic.

A Heavyweight Contender

[ags123 · 7/10 · 24 February 2021]

Despite the gruesome story and obvious low budget production values (at times you can hardly make out the dialogue), "The Honeymoon Killers" succeeds thanks to some inspired directorial touches and superb performances by the two leading players. Scorsese worked on it for a week and it's questionable whether he could have improved upon what's there. When the film starts to become unbearably distasteful, redemption comes in the form a beautifully staged and photographed finale. Not for everyone (thrill seekers and action fans will be disappointed), "The Honeymoon Killers" is an acquired taste that may take several viewings to fully appreciate.

Cold, Gritty & Realistic

[seymourblack-1 · 8/10 · 9 August 2016]

This movie is a real one-off because, not only was it Leonard Kastle's only foray into directing but also its styles of storytelling and presentation were quite unique and largely responsible for it achieving its cult status. The fact-based story of a couple of ruthless con-artists who add murder to their modus operandi, is told in a remarkably detached, objective and non-judgemental style that also avoids either glamorising the criminals or providing any justification for their actions. The resulting coldness and grittiness that this creates is perfectly complemented by the movie's grainy black and white photography and together they contribute strongly to the extremely realistic look of everything that happens on-screen.

Martha Beck (Shirley Stoler) is a lonely, overweight, nurse who works at her local hospital in Mobile, Alabama and is generally unpleasant to everyone he meets. After her best friend signs her up to a lonely hearts club, she gets involved in correspondence with Ray Fernandez (Tony Lo Bianco), a Spanish-American who lives in New York City and this leads to him visiting her at her home where she lives with her invalid mother. During his visit, he seduces her and borrows money but after returning to New York City, promptly writes back to end their relationship. Martha isn't prepared to accept this and so, with the help of her friend, convinces Ray that she'd been so devastated by the contents of his letter that she'd attempted suicide. In the circumstances, Ray agrees to her travelling to see him at his home and it's there that she learns that he's a con-man who makes his way in the world by romancing lonely spinsters and widows before stealing their money.

Unfazed by Ray's revelation, Martha places her mother in an old people's home and then, posing as his sister, becomes his regular partner-in-crime. Their love affair continues despite the nature of Ray's work but when he marries one of the ladies as part of a scam and she becomes too amorous, Martha's jealousy becomes so intense that she kills the woman by giving her an overdose of sleeping tablets and this becomes the first of a series of murders that the couple commit before their criminal exploits are eventually brought to an end by actions that Martha takes after discovering the full extent of Ray's infidelity.

The real-life crimes that provided the basis for this disturbing drama were carried out in the 1940s and a noticeable feature of this film is that the criminal couple never seem to have anyone on their tails and never get involved in any shoot-outs or chases. They simply seem to carry on what they're doing totally untroubled by the police and ultimately become the architects of their own downfalls. The loneliness, desperation and gullibility of the couple's victims add a certain poignancy to what transpires and the gruesome nature of the murders (including that of a child) is profoundly shocking.

Considering the movie's incredibly low budget, it's remarkable how effective the final product was and the performances of the actors playing the main protagonists clearly played a huge part in this. Tony Lo Bianco is exceptional as the sociopathic swindler whose slimy charm is such an important part of his success and Shirley Stoler is unforgettable as his bitter, deeply unpleasant and evil partner whose jealousy ensured that she would never find happiness or peace of mind.

dark indie

[SnoopyStyle · 6/10 · 11 January 2022]

Martha Beck is a bitter middle-aged head hospital nurse in 1950's Mobile, Alabama. She lives with her angry mother. Her friend signs her up for Aunt Carrie's Friendship Club. She decides to try the singles club and meets Ray Fernandez who turns out to be a con man targeting lonely older women.

This is a low budget black and white indie supposedly based on a true story. The filmmaking is a bit amateurish but it does feel right. There are a lot of longer takes but it may be the necessities of indie filmmaking. The acting is also a bit amateurish. The leads are interesting but they're not the normal leading types. This is a rather dark film dealing with the ugly side of humanity. These are not appealing characters but that is the point. This is considered a cult classic although it's not going to be everybody's taste.

Disturbing Greatness

[aratron-00391 · 10/10 · 19 February 2021]

Sickening and funny at times. Great movie based on a true story. Excellent performances. The film will hold your interest. Watch it you will enjoy it. The actual character Ray thought he had voodoo powers this was ignored in the film. But do wish it would have been mentioned and displayed.

Good account of an actual crime

[The_Void · 7/10 · 21 September 2006]

The Honeymoon Killers is based on the real-life story of the known facts about the case of Martha Beck and Raymond Fernandez. The film is shot in a documentary style, which proves an adequate base for the film to work from; although it also makes the proceedings feel rather cold, and I have to say that I had a difficult time warming to the film. The idea of someone killing people he finds through a lonely heart club has been used numerous times in cinema, most notably in films such as 'Sea of Love', and I dare say that the inspiration for such films came from this real life case. The plot focuses on Martha Beck; an overweight nurse who meets Raymond Fernandez through a lonely hearts column. He's used to scamming the women he picks up in this manner, but the pair hit it off and it's not long before Raymond decides to bring Martha in on the scam, and she poses as his sister. However, she becomes jealous of the women that Raymond is picking up, and the deceit eventually leads to murder when she can't cope with other women invading her and her lovers' lives.

The film was originally going to be directed by Martin Scorsese, but the popular director was eventually replaced by writer Leonard Kastle. Whether or not Scorsese would have done a better job is up for debate, but Kastle does an adequate job, although the black and white photography is largely pedestrian. He does, however, succeed in building up his characters, and it's the situation is always believable because of that. The director also does well at providing the film with a fitting fifties setting, and some of the scenes are rather shocking as they include things such as a mother being murdered in front of her son. The acting is good, and Shirley Stoler in particular stands out as the central female. This was her debut performance, yet she performs like an experienced actress. Stoler does well at commanding every scene she's in, although her opposite number; Tony Lo Bianco, still manages a stand-out performance also. Overall, The Honeymoon Killers does well at providing a good account of an actual event; but I hesitate to call it a classic simply because I found it difficult to get into.

Natural Born Couple

[kosmasp · 8/10 · 30 October 2020]

Yes I'm riffing off Natural Born Killers and you may disagree - I fully accept that. I would beg to differ of course. Because while yes this is not a copy or rather the Oliver Stone movie is not a carbon copy of this, there are at least in my mind a lot of similarities. One of the major things is the "odd" couple pairing. Though they are different in other areas than Stones pairing was.

You have a mental capability of those too that is similar though. And they are quite crazy - not just for each other. You may feel that in some instances they go too far ... but that is what mad love probably means (I couldn't say from first hand experience, since I never had any). There are other themes discussed or at least hinted at - like obesity or rather as a result "fat shaming"! Which is not helping a troubled mind finding any peace - not to mention those who get in contact with them.

Add to all that a very well made film. Yes there were restrictions - not the black and white the movie is shot in, but restrictions from censors when it comes to nudity and violence. Still what is suggested (sometimes in shadows or off camera, but in one wild moment even can be seen) is quite harrowing ... and bewildering. Technically this is very good if you care about that and the acting is top notch. Not always easy to watch, but that is what makes this so good

The Honeymoon Killers...without Scorcese sadly!

[tonypeacock-1 · 6/10 · 11 May 2023]

This low budget release from 1970 is still shot in black and white and has a poor soundtrack that gives it a noir feeling from 1950. The screenplay is not fiction. It is actually based on true events that lead to the electrocution of the killers in 1951.

The cast are nobodies but I decided to give the film a go. After all it did have some good reviews and is regarded as a cult film amongst some. I later found out that the original director was Martin Scorsese who was unfortunately fired from the film after a week and replaced by director Leonard Kastle!

Anyway it basically follows a lonely nurse who reminded me of the late Hattie Jacques off a Carry On medical film with her strict nursing background and portly demeanour. She places answers an ad in a lonely hearts column and becomes 'friendly with a Spanish guy called Ray. She leaves her home in Mobile, Alabama and joins Ray in New York City from where they fleece other lonely women who answer Ray's advertisements. What made me laugh were they were willing to marry and give up their savings within one meeting! Would Scorsese have made a difference? Obviously it would have been very early in his career but he certainly has more eye for detail. One of the reasons he got fired.

THIS has a cult following?

[preppy-3 · 3/10 · 13 December 2006]

Movie based on real life killers Martha Beck (Shirley Stoler) and Raymond Fernandez (Tony LoBianco). Beck was a 200 pound nurse who met sleazy Fernandez through a lonely hearts correspondence. They met and fell in love. They then met rich old ladies through the correspondence, killed them and took their money.

I've seen this film multiple times over the years and its popularity totally escapes me. It does have some things going for it: it's well-directed by Leonard Kastle; the one murder shown is actually quite frightening and Stoler and Lo Bianco give out good performances. Also Doris Roberts has a small early role here. Unfortunately the bad things far out number the good.

This was shot on no budget and it shows: the sets are really shabby (although that DOES fit the tone of the movie); all the characters are unpleasant; people scream rather than talk to each other; the dialogue is banal; Stoler and Lo Bianco aside the acting is terrible; the music is hilariously inappropriate; the attraction between Beck and Fernandez is never explained and, quite simply, this is boring! The movie just drones on and on and on. Critic Pauline Kael hated it too--she hit it on the head when she calls this "minimalist film-making". A dull, unpleasant and boring little film. I can't recommend this to anyone.