Killer’s Kiss (1955)

Last updated:
April 18, 2025

Stanley Kubrick’s Killer’s Kiss is a lean, noir-drenched thriller that marked an early turning point in his legendary career. Though just over an hour long, the film packs in intense mood, shadowy visuals, and a gritty slice of 1950s New York life. It’s not just a noir—it’s a glimpse into the style and sensibilities of a filmmaker on the verge of greatness.

Detailed Summary

Introduction: A Boxer at the End of His Rope

The story follows Davey Gordon, a washed-up prizefighter nearing the end of his career. He’s lonely, defeated, and stuck in a rut, living in a modest apartment in New York City. His mundane existence gets a jolt when he notices his neighbor, Gloria Price, a dance hall girl with her own problems.

The Window Incident and First Encounter

One night, Davey hears Gloria screaming and sees her being assaulted by her boss, Vincent Rapallo. He rushes to her aid, and from there, their bond quickly develops. This pivotal moment kickstarts the film’s central drama, placing Davey on a collision course with the dangerous Rapallo.

Love, Escape, and Trouble

Davey and Gloria confide in each other about their troubled pasts. Davey talks about his failures in the ring, while Gloria reveals her painful family history. They decide to leave the city together and start anew. But of course, this is noir, and happy endings don’t come easy.

When Davey goes to collect his winnings from a previous fight, Rapallo’s goons knock him out and kidnap Gloria, suspecting she’s run off with something valuable.

The Chase and Confrontation

The latter half of the film involves a cat-and-mouse chase through the city. Davey fights off goons in a gritty alley brawl, gets arrested briefly, and eventually confronts Rapallo in a dramatic showdown in a mannequin warehouse. Yes, mannequins—Kubrick was already experimenting with surreal imagery and symbolic settings.

Davey ultimately kills Rapallo in a vicious fight, saving Gloria in the process.

Movie Ending

After the dust settles, Davey and Gloria are both physically and emotionally drained. At a train station, they part ways, unsure if they’ll see each other again. But the film ends on a surprisingly optimistic note—Davey turns around and sees Gloria waiting for him, hinting at a possible future together.

The ending balances noir fatalism with a flicker of hope—rare for the genre, and an early indication of Kubrick’s instinct to defy convention.

Are There Post-Credits Scenes?

No, Killer’s Kiss does not have a post-credits scene. It predates the modern trend of mid- or post-credits teases, wrapping its story up fully by the final frame.

Type of Movie

This is a film noir with elements of crime drama and romantic thriller. It embraces the aesthetics of noir—high-contrast lighting, urban decay, doomed romance—but with an art-house sensibility that hints at Kubrick’s future work.

Cast

Frank Silvera as Vincent Rapallo
Jamie Smith as Davey Gordon
Irene Kane as Gloria Price
Jerry Jarrett as Albert, the manager

Note: Irene Kane later reinvented herself as journalist and author Chris Chase.

Film Music and Composer

The music was composed by Gerald Fried, a frequent collaborator of Kubrick in his early films. The score mixes jazzy noir motifs with dramatic cues, enhancing the moodiness and tension of the urban setting.

Filming Locations

Killer’s Kiss was shot almost entirely on location in New York City, utilizing real streets, rooftops, subway stations, and alleys. This gives the film an unpolished, raw aesthetic that distinguishes it from studio-bound contemporaries. The urban realism became one of its defining traits.

Notable locations include:

Times Square, featured in multiple scenes.
Penn Station, used for the emotional final moments.
Mannequin warehouse, used for the surreal fight scene finale.

Awards and Nominations

The film didn’t receive major awards or nominations at the time of its release. It was made on a shoestring budget and received mixed reviews initially, but later gained recognition for its visual style and directorial ambition, especially in light of Kubrick’s later career.

Behind the Scenes Insights

Kubrick financed the film himself, using money earned from his work as a photographer at Look magazine.
He not only directed but also shot and edited the film.
Budget constraints forced Kubrick to use friends and amateurs in key production roles.
The sound was dubbed later due to technical limitations during on-location shoots.
Kubrick shot without permits for many outdoor scenes, which gives the film a guerrilla-style energy.

Inspirations and References

Heavily inspired by Italian neorealism and classic American film noir.
The structure resembles boxing noir films like The Set-Up (1949).
Kubrick’s photographic background informed the film’s strong visual composition.

Alternate Endings and Deleted Scenes

There are no widely known alternate endings. However, early versions of the screenplay reportedly had a more cynical ending, consistent with noir traditions—where Davey and Gloria don’t reunite. Kubrick opted for the more hopeful finish during editing.

Book Adaptations and Differences

Killer’s Kiss is not based on a book. It was an original story by Howard O. Sackler, with Kubrick rewriting parts of it. Because of that, there are no direct book-to-film differences.

Memorable Scenes and Quotes

Key Scenes

Davey watching Gloria through the window—intimate and suspenseful.
The flashback to Gloria’s childhood trauma.
The rooftop escape from Rapallo’s thugs.
The bizarre mannequin warehouse fight.
The train station reunion.

Iconic Quotes

“It’s all in the reflexes.” — Davey
“You don’t understand. I never had a choice.” — Gloria
“You think you’re tough? You don’t know tough.” — Rapallo

Easter Eggs and Hidden Details

The mannequins in the final scene symbolize the artificial, dehumanized world both characters are trying to escape.
A boxing poster in Davey’s room reads “Gordon vs. Kubrick”—a little inside joke.
The film’s brief dream sequence with Gloria dancing is a visual nod to Kubrick’s later use of surrealism.

Trivia

Shot for about $75,000—low even by 1950s standards.
Originally titled Kiss Me, Kill Me.
The film helped secure financing for Kubrick’s next feature, The Killing (1956).
Irene Kane didn’t pursue further acting, choosing instead a career in journalism.
Kubrick was just 26 years old when he directed the film.

Why Watch?

Watch Killer’s Kiss to see the early DNA of a master director Stanley Kubrick. It’s short, gritty, visually compelling, and filled with hints of what Kubrick would later refine. If you’re a fan of noir or 1950s New York street photography, this is a must-watch. It’s raw Kubrick—unfiltered, experimental, and fascinating.

Director’s Other Movies

Recommended Films for Fans

The Killing (1956) – Kubrick’s proper breakout noir
Touch of Evil (1958) – Orson Welles’ shadow-drenched masterpiece
The Set-Up (1949) – A boxing noir classic
On the Waterfront (1954) – Brando in peak form
Night and the City (1950) – Another noir gem set in the gritty urban underbelly