Cilada Mortífera

I first saw this movie when I was a kid and had a crush on Vince Edwards as Ben Casey. Well I am all grown up, no longer have a crush, and still think this movie was excellent for its time. The cold blooded approach of Edwards character Claude, his lack of affect, makes him more menacing than those shouting gun waving villains you usually see in film. This guy knows his job and that's all it is, a job. The music is so monotonous it fits the characters attitude (or lack of one). Even the other bad guys in the film know there is something not quite right about their hired gun. I liked it. Whenever it's on I make it point to try and catch at least some of it.

A B-movie and something of a small classic comparable to Melville's "Le Samourai" which it may have influenced. Vince Edwards in his pre-Ben Casey days is the young man who actually wants to be a contract killer and the movie is about his somewhat clinical initiation into the job. Superbly written by Ben Simcoe, brilliantly photographed in black and white by Lucien Ballard and with a terrific yet simple score by Perry Botkin this movie comes close to perfection. It was directed by Irving Lerner who up to then hadn't really done anything of note, (perhaps he was just waiting for the right material). Edwards is superb as the almost overly confident killer who comes undone when he has to kill a woman. It's a very simple picture, in which almost all the killings are kept off-screen concentrating instead on the killer's psychology and how he goes about his work. Never a commercial success it has now build up a considerable cult following.

Entertaining, low budget crime thriller.

Vince Edwards was tailor made for the role of Claude, a cool and calculating hit-man who has to bump off a beautiful woman before she spills the beans to the authorities about a certain criminal King Pin.

Edwards starred in several of these well crafted bargain basement efforts just before he became an international TV star as Dr Ben Casey.

Stylish direction and some interesting camera work compliment a thoughtful script. Be watching for one particularly unsettling scene which unfolds in a barber shop. Masterfully underplayed but makes a lasting impact.

Just like a sling - shot, this excellent little film is simple but highly effective.

Murder by Contract is a unique little film. It operates within its own little hermetic (back- projected) world, and it is no accident that one of its main scenes is set on an abandoned film studio. Vince Edwards plays a disaffected antihero, and, with its brilliant minimalistic guitar score (by Perry Botkin) it could be possible to read this film as Jarmushian WAY avant la lettre! The ending is quite disappointing - the film just kind of peters out, but there are so many beautifully observed details along the way. Not for nothing is the great Lucien Ballard the cinematographer. But who is Irving Lerner and what happened to him? Hershel Bernardi plays such a perfect kind of Second Avenue Theater role as one of the two "boys" who are the hit-man's handlers, and the over-sensitive call-girl scene is hilarious. Highly recommended - see it in a theater if you can! A film like this makes me angry at films like the way - over-hyped Reservoir Dogs. That film is SO overdetermined - the antithesis of a modest work like this one, which only reveals itself to the patient viewer.

Frankly, I came in expecting little from this totally anonymous abbreviated 50s crime drama and left the theatre shocked at how much bang for my 67 minutes I got. I am hard-pressed to think of another movie of this length which accomplishes as much plotwise or entertains as much audiencewise as this thoroughly neglected late-50s gem.

Vince Edwards leaps off the screen with amazing charisma to burn and Bernardi and Pine are nearly as effective as the hapless bumbling mobsters assigned to chaperone him through his contract. Conflict, wit, suspense, and outright humor abounds in this simultaneously clever and tense little script. Even the non-existent production values are completely camouflaged by economic and nimbly staged set-pieces.

The ending is probably the one weak point... it's a bit sudden and anti-climactic given what the movie seems to be building to. However, the good performances, nifty cinematography (some good POV work), and satisfyingly unconventional script make this slightly warped b-movie a classic which deserves far, far more attention. Melodramatic? Hell yeah. But in the best self-aware and crowd-pleasing tradition. 9/10 and worthy of the time of any crime drama or noir fan. Trust me.