The Killers (Robert Siodmak, 1946): USA

Review by Byron Potau.  Viewed on DVD.

Director Robert Siodmak’s The Killers sounds like it would be the perfect film noir and has had a reputation as one of the best of the film noir oeuvre, but it falls far short of its stellar reputation.  Based on a short story by Ernest Hemingway, the film tells the story of a contract hit on the Swede (Burt Lancaster) and the investigation that follows.  The Swede’s life was insured, and insurance investigator Jim Reardon (Edmond O’Brien) is there to make sure the claim is legitimate before they pay it off, but his investigation leads him to seek out why and by whom the Swede was murdered.  The investigation leads through the Swede’s stunted boxing career and his ultimate involvement in a payroll heist.

The film shows promise, opening strongly with sharp gritty dialogue, superbly expressionistic lighting in an excellent roadside diner setting, tough, sleazy, amoral hit men, and a defeated character in the Swede that you just want to know more about.  The problem with the film is the story afterwards with insurance investigator Jim Reardon.  The film just makes too much of a stretch with this character, as he goes far beyond his duties, and the connections he makes are very slight with so many holes that it is implausible he would reach the conclusions that he does.  Also, he is given far too many liberties by the cops, as he rushes with them into a house with his gun drawn while bullets whizz by.  Did they forget he’s not a cop?  He is also not very interesting to watch, yet we have to see the story unfold through his eyes, which is a real drag.

The film’s strengths are its cinematography by Elwood Bredell, which is wonderfully stark, as well as Ava Gardner’s sexy performance as Kitty Collins, the woman the Swede falls for and who eventually leads him to his downfall.  Her allure and sultriness make for a one of a kind femme fatale, and it is easy to see how she can manipulate the Swede or anyone else she wants.  It is a shame she does not have a bigger role in the film.  The character of the Swede is also underused, and we never really get a sense of who the Swede really was.  The role seems more memorable as Lancaster’s debut rather than for the character.  This film is certainly watchable and interesting as an example of film noir, but don’t let its reputation raise your expectations too high.