KISS ME [atypically] DEADLY (1955)

This one-hundred-six-minute cult classic based on Mickey Spillane's salacious book of the same name is hardly obscure or unknown in the Twenty-First Century. What is definitively unknown are my opinions about some strangeness or implausibilities in this late-blooming film noir produced and directed by Robert Aldrich for Parklane Pictures and distributed by United Artists. I take note of numerous atypical elements which set this film apart from earlier film noirs. Years of hindsight have solidified this film's cult status and emblazoned Ralph Meeker in the Hollywood history books. The measured score was composed by the versatile Frank De Vol, a four-time Oscar nominee with thirty-six comedy acting roles in his future—mostly in television. 

This film's atypical opening involves quirky Cloris Leachman frantically running— appearing to be barefoot—in the middle of a road at night. Meeker, aka Mike Hammer, nearly runs her down with his Jaguar XK120. The captivating opening screenplay by A. I. Bezzerides may give the impression you just parachuted in. As one would expect, she is exhausted. Questionably strange, however, is that she continues to heave and moan miles later as his passenger. It would seem the director would have stepped in to suggest something else for Leachman at this point. It is unnecessarily extended or at least annoying. On a more positive note, first-time viewers were probably eager to know what happens next in this slow-burn journey which ends outrageously like a science-fiction horror film.

Not many Los Angeles private detectives have the wherewithal to be choosy about the car they drive. And it usually is not a Jaguar. Atypical. His home is built around a cutting-edge reel-to-reel answering machine embedded in his wall. Atypical. He employs an invaluable secretary slash undercover manipulator, Maxine Cooper. The report by the Kefauver Commission, in strongly-worded comments, said this film was not fit for families to view. The initial intimate embrace between the two leads may have made a few mid-century patrons uncomfortable, with the scene [perhaps] comprising one of the commission's middle paragraphs. Another paragraph may have addressed the atypical Gaby Rodgers—the most quirky female in the film as Leachman's roommate—Quirky 2.0. She too is barefoot in her opening scenes with a vocal delivery indicating she may be under some sort of influence. Rodgers' short blonde hair seems to fit the era's formula of a sociopath—the bleached hair of psychos like Raymond Burr, Skip Homeier or Corey Allen comes to mind.

Adding to the lead cast are supporting roles for Wesley Addy, whose condescending, sarcastic delivery is always spot-on—here as a police lieutenant who knows how to keep a secret—and perennial bad guys Jack Elam and Jack Lambert. The two Jacks earn respect after Meeker's—assumed martial arts—effortless off-screen debilitation of Lambert. Atypical. As if Meeker has supernatural powers. Elam is visibly shaken by what he witnessed. Their mob boss, Paul Stewart has a brief screen appearance but will not go unnoticed. The deviously smiling gangster and Meeker never resolve their trust issues. But with no hard feelings, Stewart leaves a new Corvette—atypical to spotlight this car during the era—curbside outside his home. He only sprung for two accessories—bombs wired to double Meeker's chances of exploding. The mustachioed Nick Dennis plays the experienced Italian auto mechanic frequented by Meeker, with an enduring phrase, “Va-Va-Voom,” when referring to fast cars or beautiful girls. After “disarming” the Corvette—saving Dennis's life—it becomes Meeker's new ride of choice. I think the sound department may have taken liberties with the Corvette's exhaust note. The studio cameras attached to Meeker's cars add realism to the film. No cheap studio prop cars in this one. Cinematographer, Ernest Laszlo, should be noted for his lighting, and his Los Angeles location shooting may be interesting to those who grew up or still live there. He and Aldrich seemed to have had an understanding and would work together frequently.

Rodgers is reunited with her superior, Albert Dekker, who warns her to never open “The Box.” It sets up the bazaar and chilling twist that utilizes a horrifying sound effect like mankind's screams from hell when she opens the box. Most atypical. Meeker and Cooper escape the beach house's “atomic” fireball—sans a mushroom cloud—capping an implausible ending as they reach safety in the shore's knee-deep water. Mid-century moviegoers—tossed between bewilderment and fright—may not have been able to describe the film to a friend except to say they had not seen anything quite like the disturbing ending.

Note: The mystery box so tempting to Rodgers contained an atom that has excess nuclear energy of highly unstable Radionuclide. Its degree of harm would depend on the nature and extent of the radiation produced and the amount and nature of exposure. However, with suitable properties, Radionuclide is today used in nuclear medicine for both diagnosis and treatment. The film eludes to it only as atomic, equating it to the atomic bombs that ended World War II.