Per te ho ucciso

Decent enough noir. Art directors Nathan Juran and Bernard Herzbrun and cinematographer Russell Metty do a very good job of creating a down and out London of the mind on the Universal backlot. And Lancaster and Fontaine are solid, as usual, in their roles of traumatized ex soldier (a noir staple) and lonely nurse. Screenplay is on the flat side, however, which is surprising when you consider that two of the four writers (maybe that's the problem) include Ben Maddow and Walter Bernstein, two of the better dialogue slingers in Tinseltown at the time. The other problem, also connected to the unmemorable writing, is, as the previous reviewer mentioned, a rather standard villain, essayed by the usually excellent Robert Newton. And this thing cries out for a slinky femme fatale to counter balance Fontaine's saintliness. Let's give it a generous B minus for the great visual atmospherics.

PS...As Lancaster's character was being flogged in an English prison all I could think of was "That's what you get when you don't have a written constitution with an 8th amendment".

Kiss the Blood Off My Hands (1948)

This is a surprisingly vivid movie. Some will find the plot a little canned, a vehicle for quick appeal, not quite a B movie enterprise. But I enjoyed so much the two leads--Joan Fontaine as ever luminous and sympathetic, Burt Lancaster in his tough yet lovable best--I loved the whole movie. Furthermore it is photographed, mostly at night, with amazing fluidity and drama, another high point in the film noir style.

Though this is a British-feeling movie set in London, it is topped out with American actors and directed by an American, too. It is a great example of that American archetype known as film noir. It even has the standard core of the best of them, a returning soldier struggling to make sense of normal life. Lancaster has a past that includes two years in a Nazi prison camp. He has the mental scars to show for it (as the text at the beginning explains needlessly for the time, but maybe helpfully for a viewer now).

It is the at first highly unlikely but increasingly plausible relationship between two lonely people that commands the movie. The less compelling plot line of a somewhat stereotypical blackmailer and the associated crimes is handled well in each case, though more about action than psychological depth. You get frustrated when Lancaster never tells Fontaine what is going on in his shady moments, but that's part of his problem and we are to go along. He trusts no one for good reason.

The finale? A bit hasty, maybe, the way that other famous Fontaine thriller is ("Suspicion"), but it's satisfying, too, and not quite a "Hollywood" ending.

The director is little known Norman Foster, who made a bunch of Charlie Chan and Mr. Moto films in the 1930s, and the quite good "Rachel and the Stranger." Another example of how teamwork lifts even less inspired aspects higher. This has a great cast, excellent music (by the dependable romantic whiz Miklos Rozsa), and great filming (with Russell Metty behind the camera).

The hardest thing about this film is finding it. I bought a really lousy DVD copy of a lousy tape made years ago off an AMC broadcast, and even so it was terrific watching, visually. It has been broadcast on TCM and I think their version would be superior, if you can find someone who has copied it (legality aside, though it might be past copyright).

It's not a masterpiece of a film, but it looks so darned good it should be released in full Blu-Ray and now. Meanwhile, happy hunting for a better copy than mine. It's worth it!

Film noir tended to flaunt provocative titles, but few of them have set sail under a banner so arresting as Kiss The Blood Off My Hands. Parsed down, this translates simply as Redemption Through Love. Hot-tempered American seaman Burt Lancaster jumps ship in London and kills a man in a pub brawl. Chased through the labyrinthine byways of the postwar city, he climbs into Joan Fontaine's life. A spark ignites, but, terrified by his rages, she leaves him -- to a spell in prison for robbery and assault as well as a graphic lashing with a cat-o'-nine-tails.

Six months later they meet again. Fontaine finds him a job as a lorry driver for the clinic where she works as a nurse. But a slithery Cockney (Robert Newton), witness to the unsolved pub killing, blackmails him into to helping to hijack his cargo of penicillin, worth a fortune on the black market. Fontaine's unexpected presence throws a monkey wrench into the scheme, and Newton decides to use her as his instrument of revenge. But it turns out that she, too, can lash out when cornered....

In its setting more congenial to Sherlock Holmes than to Philip Marlowe, Kiss The Blood Off My Hands lacks something in the way of snap and sass, though its fog-bound nightscapes spook up the story. More romantic and, ultimately, upbeat than its transatlantic cousins, the movie upholds its noir pedigree by abandoning its protagonists to desperate circumstances. But it's a pity that Fontaine is kept such a saintly helpmate; in Ivy and Born to Be Bad, she showed her dark side, too.

Kiss the Blood Off My Hands is directed by Norman Foster and adapted to screenplay by Leonardo Bercovici and Walter Bernstein from the novel of the same name written by Gerald Butler. It stars Joan Fontaine, Burt Lancaster and Robert Newton. Music is by Miklós Rózsa and cinematography by Russell Metty.

It's a film that has a very up and down relationship among film noir aficionados, which is perfectly understandable. In many ways it's a frustrating viewing experience, because it has some truly great moments and from a visual perspective it's moody personified. In fact the back drops are pure noir dressage, even if the American studio recreation of post war London doesn't exactly look as it should.

Things start brilliantly with a brooding Lancaster accidentally killing the landlord of a public house with one punch, and then subsequently he is pursued through the dank streets of London in a chase sequence of some gusto. Upon entering a bedroom window he is met by a startled Fontaine, and thus begins a love affair between two opposites.

We learn that Lancaster's character is a scarred man from the war, that he was in a Prisoner of War camp, and that he just can't catch a break. Hanging around the vicinity is Newton's cockney low life, who witnessed the killing of the publican and uses this fact to blackmail Lancaster into doing an illegal job for him.

Film is 98% shot at night time, Metty's black and white photography tonally oppressive, this marries up nicely with the trials and tribulations of Lancaster throughout the picture. Fontaine is a radiant foil (this in spite of her suffering morning sickness as she was in early pregnancy), in fact both leading actors work very hard to make the thin screenplay work. But thin it is, and it sadly doesn't deliver a whammy at the finish.

It's a shame that the writing couldn't do justice to the themes of the plot, this is after all a story involving killings, violence, corporal punishment and dissociative disorder. What promises to be a tale of doomed lovers, ends up being a troubled romantic melodrama dressed up in noir clobber. That said, it's never less than enjoyable and the high points (visuals, acting, Rózsa's score) make it worth time invested. 6.5/10

What should have been a much more effective film with an absorbing, sometimes gripping story, is somehow turned into a tepid melodrama interesting only for the performances of the principal players--Burt Lancaster, Joan Fontaine and Robert Newton.

Basically, the story has hot tempered Lancaster running from the law and seeking shelter in Fontaine's apartment. Against her better judgment, she becomes involved with him but can't protect him from a blackmailer (Robert Newton) who has witnessed Lancaster's crime. Joan Fontaine gives a surprisingly strong performance in a confrontation scene with Newton that is the most gripping moment of the film. To tell any more would be to give the rest of the plot away.

As intense as Lancaster is, it's not a very well written role--there is definitely something lacking in the screenplay. Nor is the chemistry between him and Fontaine very strong or believable. She gives one of her better performances as the woman who just happens to cross paths with a killer.

The low key lighting gives the film a grim, film noir look that is appropriate for this kind of story, as does Miklos Rozsa's score although it does not rank with some of his best work. At best, it's a routine melodrama that could have been so much more.