I became aware of the actor, Burt Lancaster during my formative years. My school had established a new theatre program and presented as its first play,The Rainmaker, by N. Richard Nash. In viewing the production…probably the first full-length play I had ever seen, I realized this style of artistic expression would be significant to me. The Rainmaker’s central character, Starbuck, is a con-man who convinces a draught ridden farm town, that he can make it rain. I later discovered a film version of the work which starred Lancaster in the Starbuck role. Seeing the film’s character expand its depth and the actor’s luminous portrayal made a lasting impression on me.
Lancaster as Starbuck draws a bigger than life, yet totally believable persona. I feel the same way about another early (for me) discovery, Elmer Gantry…again a con-man selling religion to small town America. Brilliant!
But later, more subdued portrayals in Birdman of Alcatraz and Separate Tables confirm an incredibly versatile repertoire of acting skills. And his sunset performances…Atlantic City and Field of Dreams….iconic.
I recently rediscovered the 1946 film noir, The Killers, which features Lancaster in his very first movie role. Also cast in the film is Ava Gardner, Edmond O’Brien, and Sam Levene. The movie is directed by Robert Siodmak, with an uncredited screenplay by John Huston.
But perhaps the asterisk here is that the film is based in part on a 3000 word short story by Ernest Hemingway. It’s been said The Killers is the only film treatment of his work with which Hemingway was ever satisfied. The first fifteen or twenty minutes of the movie is practically a verbatim transcription:
Two irreverent hitmen arrive at a small town diner, searching for an ex-boxer named Ole Anderson also known as The Swede (Lancaster). The hoods commandeer the diner, its staff and its occupants, announcing their intentions of killing The Swede. When their proposed victim doesn’t show-up, they leave, no doubt in search of a home address. Meanwhile, Nick Adams a diner customer who works with The Swede, runs off to warn him of his impending peril. But The Swede is acquiescent and makes no attempt to leave his room. “I did something wrong – once.” he says. Momentarily the two hitmen arrive and release a barrage of gunfire leaving no doubt about The Swede’s fate.
And that is where the Hemingway story ends…no real explanation of why such a violent end should come to this seemingly passive man.
But then the film takes off in its own direction, exploring the back-story of this submissive solitary murder victim. The morning after the slaying the local police wash their hands of the matter but an insurance investigator, James Reardon (Edmond O’Brien) of the Atlantic Casualty & Insurance Company, is suspicious and sets out on a far reaching investigation.
The query entails a series of flashbacks allowing us to painstakingly piece together the victim’s rise and fall. These recollections remind us of the technique utilized in Citizen Kane. But unlike the Welles’ classic, in which the flashbacks enlighten us regarding Kane’s actions and their impact on others, the technique in The Killers informs us as to the influence of others on The Swede. This is true especially regarding the affect of the beautiful Kitty Collins (Ava Gardner) as she craftily manipulates the downfall of The Swede into the cesspool of the underworld.
Through the flashbacks we learn of the injury that ends The Swede’s boxing career, his gallant sacrifice that sends him to prison, the big-time payroll heist leading to double-cross after double-cross and his fateful customer service experience at the local gas station.
If viewers of the film are patient, they will be well rewarded in satisfaction. Insurance investigator Reardon slowly weaves his way through the scanty clues left behind by The Swede (a green silk handkerchief and a bewildering insurance beneficiary) and on to a cavalcade of first hand interviews…from an Atlantic City chambermaid, to The Swede’s ex-girlfriend (Virginia Christine), to his life-long friend, Detective Lieutenant Sam Lubinsky (Sam Levene.) The investigative results are not always exciting…but they are apprising. The scenes with Lubinsky shed particular illumination on The Swede’s descent from “good guy” to “reprobate,” and the orchestrating femme fatale.
The Hemingway content of the film is terrifically engaging. As dark as is the content, there is sharp, dry humor in the dialogue, providing a stark contrast in tone. The post-Hemingway screenplay, in my opinion, loses its edge a bit, becoming a more standardized procedural.
But there’s plenty of positive momentum in this film. The acting is outstanding. Lancaster delivers a wholly understated performance. He wears his vulnerability on his sleeve as we painfully relate to his doom. Ava Gardner is beautiful and alluring. She effortlessly exudes her seduction and The Swede is a dead duck….literally.
The supporting performances led by Virginia Christine, Edmond O’Brien and especially Sam Levine are also exceptional.
Robert Slodmak’s direction is focused and deliberate. There are times when I feel things are moving a bit sluggishly, but the end result is forgiving.
Miklós Rózsa’s score is complimentary, providing rich suspense and ambience.
But perhaps the leading element of praise might go to the cinematographer, Woody Bredell. The scenes present lights and darks in high contrast, masterfully providing us with the chilling atmosphere we require to appreciate this gruesome story.
The Killers is the epitome of classic film noir…checking all the boxes twice. It might be worth a check from you. Let me know what you think. There was a remake of The Killers in 1964 directed by Don Siegel. Although it was not so well received at the time, it’s gained appreciation over the years. I haven’t seen it yet, but it’s on my list. Stay tuned.
billbenbarker 