Finally one neo noir I love! Samuel Fuller's The Naked Kiss (1964) was #4 on my ballot.
The Naked Kiss (1964)
This is one gutsy flick, especially for the time. Sam Fuller directed, wrote and produced The Naked Kiss and his potent tabloid style of realism is stamped all over this hidden gem.
Kelly, played to steely perfection by Constance Towers, is a prostitute come to the small town of Grantville. She's told in no uncertain terms by Police Capt. Griff (Anthony Eisley), that her kind doesn't belong in the town. Instead he sends her to a gentleman's club across the state line. It seems the Police Capt. likes working girls, just not in his tidy town.
Sickened with her life, Kelly decides to stay put in Grantville and finds she has a real talent helping disabled children in the local hospital. That's the set up, the movie starts from there.
Cinematography: Sam Fuller uses a mixed bag of cinema styles to great effect. In a long shot, he uses a classic Film Noir technique with low key lighting and the characters silhouetted in shadow. In a dream sequences, the filming style is reminiscent of Italian films of the time, very artsy and different than the rest of the film. For the opening sequences, he was one of the first to use a hand held camera for an 'in your face look'.
The Naked Kiss (1964)
This is one gutsy flick, especially for the time. Sam Fuller directed, wrote and produced The Naked Kiss and his potent tabloid style of realism is stamped all over this hidden gem.
Kelly, played to steely perfection by Constance Towers, is a prostitute come to the small town of Grantville. She's told in no uncertain terms by Police Capt. Griff (Anthony Eisley), that her kind doesn't belong in the town. Instead he sends her to a gentleman's club across the state line. It seems the Police Capt. likes working girls, just not in his tidy town.
Sickened with her life, Kelly decides to stay put in Grantville and finds she has a real talent helping disabled children in the local hospital. That's the set up, the movie starts from there.
Cinematography: Sam Fuller uses a mixed bag of cinema styles to great effect. In a long shot, he uses a classic Film Noir technique with low key lighting and the characters silhouetted in shadow. In a dream sequences, the filming style is reminiscent of Italian films of the time, very artsy and different than the rest of the film. For the opening sequences, he was one of the first to use a hand held camera for an 'in your face look'.