Blu-ray releases have significantly enhanced the viewing experience of a feature film, notably the 1964 remake, making it feel like a new experience altogether.
This achievement is part of the Criterion Collection, which previously released both film adaptations of Ernest Hemingway’s The Killers in 1946.
The 1964 remake, now available through Arrow Films’ new disc, has been notably improved to the extent that it feels like a first-time viewing.
Delve into the article for the Savant Blu-ray review of the 1964 crime thriller The Killers, directed by Don Siegel.
Savant Blu-ray Review: “The Killers” (1964)
Classic film noir generally resists remakes due to the specific characteristics inherent to the time they were made.
However, director Don Siegel, known for his work in the evolution of 1950s noir, contributed to the breakdown of romanticism in noir with films like Private Hell 36 (1954), Baby Face Nelson (1957), and The Lineup (1958), as cynicism and violence gradually intensified.
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Gene L. Coon’s innovative screenplay for Siegel’s The Killers remake completely alters the original storyline.
The 1946 version of the story centered around an insurance investigator who tried to figure out why the victim didn’t resist.
However, Siegel’s adaptation is different. It doesn’t involve law enforcement but features two hitmen investigating the crime. This gives the narrative a similar feel to that of Pulp Fiction.
The film unfolds primarily in daylight, diverging from the traditional noir setting.
It follows the ruthless hitmen, Charlie Strom and Lee, as they pursue their target, Johnny North, who appears to accept his fate passively.
As they delve into North’s past, they uncover his connection to a significant armored car robbery involving Sheila Farr and her partner, Jack Browning.
The hitmen aim to locate Sheila and Jack in pursuit of the stolen money.
The Killers revolutionizes the conventions of crime on screen, seemingly disregarding the constraints of the production code.
The absence of “nice” characters and minimal police presence redefine the narrative, placing the obsessive Charlie and the witty, health-conscious Lee at the forefront.
In a departure from Hemingway’s original Al and Max, Charlie and Lee exhibit a distinct sense of urgency, reflecting the fast-paced and adrenaline-fueled atmosphere of the sixties.
Their aggressive tactics, such as intimidating innocent individuals and employing forceful methods to extract information, epitomize their relentless approach.
Portrayed with a modern flair, Charlie and Lee embody the quintessential appearance associated with hitman characters, often sporting intimidating dark glasses that render them almost anonymous.
Director Don Siegel captures a defining visual moment, wherein Charlie’s poised gun and the prominent silencer are emphasized through a striking wide-angle lens shot, solidifying their iconic portrayal.
Johnny North’s portrayal as a hopeless loser remains consistent with the 1946 version.
John Cassavetes, known for his role in Don Siegel’s Crime in the Streets (1956), assumes the character of a confident Cobra race car driver, a role that aligns with his on-screen persona.
Angie Dickinson, a prominent actress of her time, embodies the archetype of an amoral thrill-seeker initially drawn to Johnny’s success but quickly abandons him upon his injury, eschewing any romantic allure for a more pragmatic pursuit of wealth.
Cassavetes’ character, North, finds himself defeated as he becomes involved in Jack Browning’s robbery scheme, reminiscent of a similar plot in Richard Quine’s 1954 noir Drive a Crooked Road.
Notably, Ronald Reagan’s portrayal of a humorless criminal in The Killers, his final feature film before assuming the role of Governor of California, is surprising given his subsequent political career.
Despite Reagan’s portrayal of a one-dimensional antagonist, his character exhibits a moment of shocking violence when he strikes Angie Dickinson’s character, leading to a memorable altercation with Cassavetes’ character that garnered acclaim but remains overlooked in cinematic retrospectives.
Lee Marvin effectively captures Charlie’s manipulative and intimidating demeanor, solidifying the star persona that he would cultivate for the following twenty years.
Meanwhile, Clu Gulager portrays a cruel hipster with a giggling demeanor, resembling Ed ‘Kookie’ Byrnes from TV’s 77 Sunset Strip, a characterization that may not resonate well with contemporary audiences.
Angie Dickinson, recognized for her roles in China Gate (1957) and Ocean’s Eleven (1960), brings a crucial toughness to her character. This quality would later serve her as a foil to mobsters when she reunited with Marvin in 1967’s Point Blank.
John Cassavetes, known for his directing pursuits during this period, delivers his trademark intensity, even securing a brief appearance for his Faces co-star Seymour Cassell.
Additionally, familiar actors such as Norman Fell and the talented Virginia Christine, known for her iconic role as the “Folger’s coffee lady,” contribute to the film’s impactful moments.
The production of The Killers was initially intended for television but faced challenges due to its nihilistic violence, particularly in the wake of John F. Kennedy’s assassination.
Consequently, the film was deemed too brutal for television and was released directly to theaters in July 1964.
The connection between the film and the prevailing violence in modern life, particularly in the aftermath of JFK’s assassination, garnered attention from film critics in the 1970s, positioning The Killers as a significant subject in discussions exploring the relationship between movies and escalating societal violence.
Notably, Lee Marvin and his portrayal featured prominently in Lawrence Alloway’s essay book Violent America: The Movies, 1946-1964, underscoring the film’s impact on contemporary screen violence concerns.
Don Siegel and Gene L. Coon’s ending effectively communicates a powerful commentary on the broader culture.
Despite the main character achieving his desires, the conclusion portrays him defeated, lying lifeless on a pristine suburban lawn, drained of vitality, highlighting his downfall in the face of the conventional consumer lifestyle he once disdained.
This portrayal of disillusionment with societal values is echoed in other films, including Burt Kennedy’s The Money Trap.
However, Siegel’s concluding shot leaves a lasting impression, offering an iconic image that resonates with the audience.
Arrow Academy’s Region B Blu-ray of The Killers significantly improved over Criterion’s 2003 DVD release, characterized by a grainy and flat transfer.
The film’s visual quality, which previously resembled a low-quality TV production, has been notably enhanced by Arrow’s remastering efforts, resulting in a grain-free, sharp image with vivid and accurate colors.
The Blu-ray offers both television and cinema aspect ratio versions of the movie, a thoughtful inclusion considering the film’s origin as a TV production but with a composition intended for theatrical widescreen presentation.
Opting for the widescreen version effectively showcases the film’s aesthetically pleasing visuals by framing out unnecessary elements and minimizing the impact of production cost-cutting measures, such as noticeable rear projection scenes and painted backdrops.
Arrow’s supplementary features include presentations by authors Marc Eliot and Dwayne Epstein, with Eliot’s coverage of Ronald Reagan’s involvement and Epstein’s insights on Lee Marvin.
However, Epstein’s assertion that Marvin was pivotal in shaping screen violence in the 1960s lacks substantial support.
The disc’s highlight is a 1984 interview with Don Siegel by a French TV crew. Siegel candidly discusses his work and the film industry, offering intriguing insights that would later resonate with filmmakers like Sam Peckinpah.
Additionally, the disc contains a comprehensive still gallery.
At the same time, the illustrated insert booklet, featuring an essay by Mike Sutton, interview excerpts with Siegel, and contemporary reviews, is included in the final product discs along with reversible package artwork options.
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