The Naked Kiss

I began looking into Sam Fuller after seeing a documentary about him on TV in which Scorsese, Tarantino, and Tim Robbins discussed his films. Scorsese also mentions Fuller in his "Personal Journey" film retrospective, in which he sites "The Naked Kiss" as a major influence. From what I've read, the studios found the material in "The Naked Kiss" to be a tad on the heinous side, and re-edited Fuller's film to the point where he didn't even want his name in the credits. His name is very much in the credits however, for soon after the film opens with a prostitute beating a man unconscious with the heel of her shoe, Fuller is named writer, director, and producer. I suspect that the discomfited staggering between camp, noir, and grotesque melodrama, might be more a result of studio tampering than Fuller's misdirection. It is also difficult to discern just what sort of censorship the studios achieved, for whatever they did was austerely permeated by social taboos the likes of abortion, prostitution, child molestation, and murder. These issues are treated by Fuller in a way that is decisively an ideological digression from noir, despite the film's sporadic use of noir's aesthetic. In noir, women are the enigmatic femme fatales: deceptive, seductive, fatal, and the primary antagonism of all men. It appears to be precisely the opposite in "The Naked Kiss." Fuller's protagonist, Kelly, an ex-hooker, tells a cop that you can always tell when a man is "a pervert" from his "naked kiss." Throughout the film, as Kelly encounters women dealing with abortion, prostitution, and pretty much just general depravity, Fuller shows men reinforcing and furthering their depravity, then condemning it when need be. The character of Griff, the cop, is the essence of this. To Fuller, there is a perversity in the way men treat women in American society, and it is reflected in the title of the film itself.

"Pickup on South Street" 1953, an 80-minute film noir gem, is a favorite of mine. Richard Widmark and Thelma Ritter (not just exceptional in romantic comedy supporting Rock Hudson and Doris Day in "Pillow Talk") were the two characters and performances I like best. Filmmaker Sam Fuller's creative writing, directing strength, and (indie) producing savvy continued to shine in "The Naked Kiss" 1964. It is the ultimate pulp fiction: high drama soap, touch of camp and tints of film noir. Beautifully shot in Black and White. Terrific cast with Constance Towers as Kelly, the central power of energy and charm, and undeterred determination; Anthony Eisley as Griff, the gruff, tough cop with a tender heart underneath; and the townsfolk of varying characters, nice and not-so-nice to downright sleazy, crooked ones, male or female, and a number of child performances for that matter. Yet with all this, there is a blossoming healthy, full of goodwill story about handicapped youngsters, being encouraged to stand up and be happy in spite of their weaknesses.

The opening segment (before the title/credits roll) is in itself an emphatic revelation. Kelly truly wants to turn over a new leaf, and she readily shares and helps others without guile. She is no loser. She's our heroine of the story. Tearjerker? Certainly can be. Thriller suspense, too? Definitely. Will she be innocently proclaimed? Will the witness precious be found? We would root for her, our Kelly. She is so 'gung ho' and downright nice to everyone (but she can also stand up tough against the 'bad' ones). Fuller's script runs its own natural course with surprises and satisfying plot twists never lacking.

This may not be for everyone (NFE). But if you can take high drama with wide human emotional range, appreciate energetic 'filmic' storytelling with intrigue, you'll enjoy this movie immensely. A Sam Fuller film doesn't disappoint but deserves applause practically guaranteed. His films are no fuss, straightforward and bold, frank and colorful in dialog, and there's the element of raw sophistication (sounds oxymoron, but life is full of contradictions). "The Naked Kiss" is available on DVD, Criterion Collection, widescreen, 91 minutes (just the right length).

This noir film dealt openly with topics that generally weren't dealt with at all (e.g., pedophilia) or only peripherally (e.g., prostitution, procuring)in 1964. It is the only film noir I know of in which a woman is the lead. Rather than being an adjunct or adversary to the hero, Kelly carries the film from beginning to end, and the twists and turns of the plot will surprise throughout. What mars it somewhat is some bad acting in the smaller roles.

How fascinating an artist is Samuel Fuller? So fascinating that the responses on IMDb for this film range from "brilliant, devastating masterpiece" to "pulpy, campy fun" to "Ed Wood-like crap." Of course, being Fuller, this film is ALL those things. There are sequences that are amazing as anything. There are moments of just brilliant insight and meaning -- creepy and poignant in their nightmarish beauty. And then there are just plan crappy B movie moments that are unintentionally funny. Bad acting and annoying preachy moralizing. It's a hodgepodge. But it is also a totally unique experience to watch. Noir. Melodrama. Crap. Art. This is pure Fuller! Gotta love it!!!!! A must see for people who love their aesthetics with a kick.

Naked Kiss, The (1964)

*** (out of 4)

Sam Fuller's hardhitting melodrama about a prostitute (Constance Towers) who decides to go straight after she does one last job. Now, living in a small town, she begins working with crippled children and appears to have her life in order but soon twisted events leads to her past coming out in the open. This is an incredibly beautiful film to look at as the cinematography is top notch and the B&W scenery looks great. This is a pretty strong film from start to finish even though it begins to drag some in the middle. The film doesn't pull any punches and contains some pretty strong dialogue but I guess we should expect this from the director. The dialogue and its strong tone certainly set it apart from other films from its era. The cast does very good work for the most part and that includes Towers who is very strong in her role. I'm not sure I'd call it a great performance but the way she uses her eyes and facial gestures to tell what she's feeling is very well done and makes this character quite memorable. Anthony Eisley is also excellent as a local police Captain who is one of the biggest hypocrites in the town.