The Killing

In the final phase of noir, films often replaced the concealing shadows of low-key lighting and expressionism with a bright spotlight on the cruelty and violence, placing evil right out in the open as in Stanley Kubrick’s The Killing, in which Johnny Clay (Sterling Hayden) leads a racetrack heist planned in meticulous detail except for one particular suitcase. Just out of prison and looking to establish financial security, Johnny assembles a core team comprising racetrack employees (Elisha Cook, Jr., Joe Sawyer) and outside criminal specialists (Timothy Carey, Ted de Corsia, Jay C. Flippen, Kola Kwariani) to enact a complex robbery scheme involving donning rubber masks, starting fights in the racetrack bar, and shooting a horse. Against all odds, the men are successful, even if the success has a short shelf-life. Thompson’s screenplay wonderfully contrasts the two women of the film: Johnny’s fiancée Fay (Coleen Gray), whose screen time is minimal, is insecure, doting, and worshipful (“You know I’ll go along with anything you say…I’m no good for anyone else, I’m not pretty and I’m not very smart”), while George Peatty (Cook) is married to the selfish, deceitful, and emotionally abusive Sherry (Marie Windsor), who’s having an extramarital affair and will be largely responsible for several bloody deaths (“You’ve got a great big dollar sign where most women have a heart,” the savvy Johnny informs her). With her searing performance and brilliant delivery of acidic lines, Windsor walks off with the movie, but the entire cast is exceptional, as is Fried’s casual, jazzy score, which thumbs softly and even sexily through the first half and screeches brass once the heist is in full swing.