There’s always jazz in film noir–in black and white classic film noir, that is. Even in the post classic noir era of the 60s when rock and R&B inspired pop was du joir, it’s always jazz.
That’s because the film directors were old guys. (With the exception of Ida Lupino, God bless her). Jazz was the music of their youth. It was subversive to them, anyway.
So when Kelly (Constance Towers) beats the blankety-blank out of her pimp in the pre-credit opening sequence of Samuel Fuller’s The Naked Kiss, the jazz is a blarin’. Maybe that’s because Kelly turns the radio up so nobody can hear the pimp pleading and whimpering while his masculine nick-nacks are being smashed to smithereens…
No. It’s the old guy thing.
While the jazz isn’t subversive, that’s about only thing that isn’t in this opening sequence. Everything else is as stunning as Constance Towers is.
Whoa! Those cheekbones!
The sequence opens with Kelly looking directly into the camera with a furrowed and sweaty brow, mid wallop. She’s using her purse as a bludgeon and she’s in her brassier, a skirt and stilettos–of course.
Okay. I’m predominately a realist. Men are physically stronger than women. Sorry.
(Believe me, no one is sorrier about that than I am. There is almost nothing that I would like more than to have a figure like Raquel Welch and the physical strength of Lou Ferrigno. Not happening. Either or. And yes, I’m getting on up there too–hence my references.)
Anyway, there’s no way a man is just going to take a beating from a woman wielding a patent-leather clutch like a battleaxe unless he’s incapacitated. And, yep, it turns out Kelly’s pimp is just that. She’s slipped him a mickey.
But that doesn’t stop him from getting in a few licks of his own.
Samuel Fuller is known for his realistic physical violence sequences. In the opening, famed cinematographer, Stanley Cortez (The Night of the Hunter, The Amazing Ambersons) strapped a camera to a cameraman who was tethered to a production assistant acting as an anchor. (Movie cameras–especially those from that era–are extremely heavy.) Fuller told Towers to literally wallop the camera with her purse.
The effect is staggering. And unprecedented. The viewer takes on the perspective of the pimp getting the blankety-blank beat out of him.
During the melee, the pimp pulls Kelly’s hair and–holy smokes!–her hair is a wig. It comes off! She’s bald!!!
True. Not that big of a deal, certainly not befitting of three exclamation points–these days. Remember, this is 1964. (Refer to my previous post Prelude to The Naked Kiss.)
Sooo…yeah…
!!!
Kelly finally, realistically, gets the better of her pimp. She straddles him. She throttles him. Then she grabs one of those bottles–a martini bottle, I think it’s called–and sprays him with it for good measure.
Then she goes through his pockets. He’s got a bank roll of 800.00. That’s a good chunk of change circa 1964. But Kelly doesn’t take all of it. Just the 75.00 he’s cheated her out of. She stuffs her brassier with it.
With all due respect to Ms. Towers–it could use a little stuffing. Nobody’s perfect.
After all that, she gives him a final kick in the ribs, snatches up her wig and gets herself together in front of his dresser mirror. Now the credits roll and the music changes into feminine melodramatic swells as she refreshes her makeup and combs out her wig. She’s a little worse for wear, but still beautiful. And still defiant.
And it’s just the opening sequence.
No exclamation points needed.
To be cont’d…
I haven’t seen this !!! What’s wrong with me. I love the description of the opening scene. I will try and rent it before you continue with the next post. Obviously, you are in love with the film. I’m curious.
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Well, it gets considerably more compelling…You will be intrigued by it, no doubt. Keep in mind that it is made on a shoestring budget.
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It sounds great so far Pam. Film studios would do well to hire you to describe their movies. I believe you could make bad ones exciting! I’m sure this one will go in our queue really soon when you finish.
We now have access to “The Big Red One”…should be able to watch it this week.
Thanks Pam!
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You are describing my dream job, Max. I would love to be a movie critic. Perhaps if I would have continued my education, that’s what I would have been. Who knows? I could write promos too, that would be fun…Oh well. Yeah, put The Naked Kiss in your queue. I’d bet money that you’d like it. And thanks, for the kind words.
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I sure will… you have never disappointed me on a movie…
You would be a great critic…or a promo writer for them… Like I said…you make everything sound exciting.
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Anthony Eisley is in this film as well,he was a very good actor and I know Jack Webb used him is a few of his shows as well,including one where he played a friend of Joe Friday who had gone bad…..looking forward to the next entry as always.
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Yeah. He is a good actor. He plays the sheriff in this movie. Hypocrite. Ha!
Dragnet…Dragnet is a guilty pleasure for me. I don’t think Jack Webb is a very good actor. I’m not crazy about Harry Morgan either. Of course that’s the 60s Dragnet. I’ve never watched the 50s version, but I’ve listened to the radio program. I like it.
There’s an episode of Dragnet–the TV series– that I’ve been trying to catch. It’s hilarious. It’s a court room drama and there’s so much dialogue that the actors have to talk really fast to get it all in in the allotted time. It’s so great.
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Perfectly described, Pam. Your love for Cinema comes across in every line.
Best wishes, Pete.
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Thanks, Pete. I do love cinema. That’s a fact.
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Great discussion so far on Naked Kiss 🙂 I know I may have said it before, but director/writer Samuel Fuller always comes off as a Renaissance Man to me and I can’t put my finger on it, but with all of the stories he tells, you can feel it. Anyway, keep up the great work as always 🙂 Speaking of “bad finger 20’s” reply from above and your desire to talk films, did you ever try viewing the “Trailers from Hell” website? 🙂 It has different filmmakers talking offering their perspective on a film. Here is one screenwriter Josh Olson (A History of Violence) did for Francis Ford Coppola’s The Conversation as an example
Here is a link to the site
https://trailersfromhell.com
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Thanks for the link John. It sounds fascinating. I’ll check it out.
Samuel Fuller’s films are influenced by his biography, some more than others. He was an author, screenwriter, newspaperman, photographer and film-director. He worked from the time he was nine years old until the end of his life. He was not college educated. WWII and his experiences working the crime beat for the tabloid The Evening Graphic, shaped his life and influenced his films the most. He was an amazing person.
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Fuller was a great tabloid filmmaker. The opening sequence, though as you mention a little unbelievable is a powerful opening. He made so many excellent films (Pickup on South St, The Steel Helmet, Shock Corridor, Park Row, Forty Guns, and The Big Red One.
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Thank you John for reading and commenting. To me, the opening sequence is not so unbelievable because she drugged the guy before she gave him the what for. I think it bridges the divide between artistic realism and stylistic licence marvelously.
Yes, Pickup on South Street is a film I want to feature at some point. Great film.
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I was breathless just reading this. Fabulous writing Pam!
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Yay!! I love it! I was going for that, trying to match the feeling that the opening inspires in me. Can’t match it, of course but it was fun trying. Thanks for the kind–and inspiring–words, Paul.
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I love your description of the film and wouldn’t be surprised if actually seeing it pales in comparison. Thank you for sharing this love of yours with us.
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You’re sweet, DW. Thanks for reading and the kind words.
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Now that’s a day dream I can get too! A 1960s Raquel Welch throwing me around with the power of the hulk. Sweet Christmas.
That opening scene is a smasher isn’t it. My jaw hit the floor. Right off the bat! Bang in your face sleazeball. POW! You’re in his shoes taking that beat down. Then the hair thing. Say whaaaat this is nuts. My tagline was “Jazz Slaps, Karate Chops & Bonbon Girls”
Certainly one of the best opening scenes out there. Kiss Me Deadly (1955) opening two minutes are pretty nuts but nothing, nothing, compared to Naked Kiss.
What a perfect write up for the intro Pam.
PS Haha I loved the little dig at Ms Towers. Haha nobody’s perfect.
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Thanks Mikey. I was getting a little worried about you…wondering where you’ve been. Dropped by your site a couple of times…You must be busy getting back to business from COVID, lockdown.
Not dissing, Ms Towers. She is gorgeous. But…like I “said”, Nobody’s perfect. Ha!
–Pam
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I know she gorgeous. Yep those cheek bones and she tough as nails and a heart of gold.
Yeah been back to work 4 weeks now. Kind of weird as it all seems normal when you at work. Come home, go get some beers/food and you’re queuing up again and it all comes back to you.
We are all so out of routine.
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Yeah, we are. But we’ll get back into it, Lord willing. Take care Mikey. Looking forward to the your next post.
–Pam
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[…] THE NAKED KISS (1964); THE OPENING SEQUENCE […]
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Wow! Now that’s a great trailer! You know how to build the suspense!
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Appreciate it. The movie is a fun ride with dark, and all too true highlights, lowlights and undertones.
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I’m enjoying catching up with this series of essays about this movie. I recently watched it again, after looking for it for years. The story stands out and I remembered all of it, even the part in the hospital, but I couldn’t remember the title. Then I came upon one of your posts 🙂 interesting timing.
I think it appealed to that part of me that wants everyone to get redemption
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Thanks. I’m glad you are enjoying it. There are so many things about it that I like: it’s hard core noir, the feminist vibes, the taboo subject matter, the castigation of hypocrisy, the sheer campiness of it. There are better Samuel Fuller films but there’s no Samuel Fuller film that I like better. Thanks for reading and commenting.
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I’m hoping to find a copy of The Big Red One, now. I didn’t know Fuller before at all
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He was/is awesome. I love him. I’m glad you are interested in him.
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There is so much to be seen in cinema, I expect I’ll never see all of it
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