The Killers (1946)

the Killers ( The Killers ) is an American film carried out by Robert Siodmak, left the August 28th 1946. It is based on the news éponyme of Ernest Hemingway.

Synopsis

Two killers unload one evening in a peaceful commune of the New Jersey, with the research of the pump assistant of the service station. Prevented by a colleague, the man however does not try to flee. He is assassinated.

A detective of an insurance company in responsibility of regulate the contract of the killed pump assistant, will reconstitute the wire of the events having led to his murder by questioning the people having côtoyé it.

Data sheet

Distribution

  • Burt Lancaster : Ole Andersen (“the Swede”)
  • Ava Gardner: Kitty Hakes
  • Edmond O' Brien: Jim Reardon
  • Albert Dekker: Big Jim Colfax
  • Sam Levene: Inspector Sam Lubinsky
  • Vince Barnett: Charleston
  • Virginia Christine: Lilly Harmon Lubinsky
  • Charles D. Brown: Packy Robinson
  • Jack Lambert: “Dum-dum” Clarke
  • Donald MacBride: R.S. Kenyon
  • Charles McGraw: Al
  • William Conrad: Max
  • Phil Brown: Nick Adams
  • Queenie Smith: Mary Ellen Daugherty
  • Jeff Corey : “Blinky” Franklin
  • Harry Hayden: George
  • Bill Walker: Sam

Analyzes of the three foregrounds

In the two foregrounds, very short and assembled cut, we see a car rolling to sharp pace in the night. The foreground tallies the dark back of two characters sitting on the bench before car in front of which a road lit by headlights ravels.

The second, following a connection in the rather brutal axis, shows nothing any more but the part of the lit roadway, with the left of which briefly a panel indicating appears the entry in the village of Brentwood.

The spectator as is carried in the night with characters of which he is unaware of the identity and the motivations. The absence of noise of engine like dialogs, and the darkness masking the crossed landscape accentuate the climate of mystery.

In addition the speed of the car and the projection produced ahead by the sequence of the two foregrounds create as a kind urgently dramatic with which the beginning of the following plan strongly will contrast.

One dissolve-connected, suggesting a temporal ellipse, indeed brings us to a third completely different plan; we have initially business in a very broad overall plan, a long time fixes, showing a place of village empty and slightly enlightened: one can distinguish the curve from a road coming from a curiously enlightened background; on both sides two rather obscure buildings.

It is on a good part of this plan of more than two minutes that will be held the credits, accompanied by a music to the accents sometimes distressing. While at the same time these credits is not finished will appear by far the lengthened shades of two characters, then the characters themselves, which one can be carried to think that they are the occupants of the car.

One sees thus that the point of view of the spectator, towards whom the characters advance slowly, is completely opposite of that of the beginning: for the question of knowing where one went so quickly that of knowing substitutes which is arriving so slowly.

External bond

  • the Killers on Internet Movie Database

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