The Influences - The Killing

The Killing is a 1956 crime movie directed by Stanley Kubrick. The movie's style, tone and characters likely influenced Tarantino's Reservoir Dogs , Pulp Fiction and Jackie Brown.

The Killing tells the story of Johnny Clay, a recently freed criminal, who orchestrates a plan to rob a local horse track of potential millions. He recruits five other men to help him pull off the job. However, one of the men tells his wife of the plan - which leads to another scheme and an eventual explosive ending, which sees everything go up in smoke.

I had heard of The Killing before and in a confused old man sense, I may have watched this movie long ago. I have hazy memories of certain parts and I know I went on a Sterling Hayden kick after seeing Dr. Strangelove for the first time forever ago. Anyway, back then I certainly didn't have the attention span, patience or appreciation for actually being able to watch a classic movie like I do now. So in practically all respects, watching The Killing was a new experience for me. In related news, dementia will be a smooth transition.

Anyway, it's clear that this movie was an inspiration for Tarantino (and probably dozens of other writer/directors). The characters in Reservoir Dogs borrow their toughness and quirkiness from The Killing, along with some classic dialogue exchanges and a violent shootout towards the movie's climax. A younger Tarantino could have also been influenced by the way Kubrick plays with the narrative structure and puts an emphasis on time during the movie's second half. Along with Reservoir Dogs, Pulp Fiction, Jackie Brown and The Hateful Eight all employ similar linear storytelling traits.

The movie starts with Sterling Hayden's Johnny Clay meeting up with Fay, his girlfriend. Hayden instantly commands the screen - it's clear this is his story. He doesn't allow Fay much intimate space and her only real dialogue points to her low self-esteem. She claims she isn't smart or pretty and seems to only exist through Clay's orbit. A similar relationship is shown with Marvin, the oldest of the criminal group, who initially appears to serve as a father figure. However, his actions are similar to Fay in that he appears in awe of Johnny's presence.

We quickly see a striking contrast in George, a sad sack betting clerk and his wife Sherry, who is straight out of 1930's femme fatale central casting. George is a fascinating character. He's hopelessly devoted to Sherry, yet completely unconvinced of his own worth as a husband and man. He follows Sherry through their apartment, absorbing her disappointment in him and their current state of unrealized dreams. Sherry is unfulfilled, bored and likely depressed. The shrill George is no match for Sherry, as she cuts through him - her words exacting a sort of revenge for the life she now finds herself living. Yet, Sherry can easily turn the switch and lure George back to her with a few soft, false words. She is extraordinarily manipulative and easily gets George to admit his secrets to her.

George's eyes drive the scene. He wants so badly to prove to Sherry that he's capable of delivering to her the material things she desires. Yet, the only way he can prove his worth to her is to leak details of the scheme. It's a tortuous moment for George, as the success of the heist hinges on secrecy. But George's inadequacy as a provider won't allow it. He's been waiting a long time to prove his value to someone he likely knows doesn't love or even respect him anymore. His eyes are begging for Sherry to learn his secret. It's a scene that can feel baked in old Hollywood luster but it's a brilliant swirl of manipulation and it drives the rest of Kubrick's story.

Naturally, the scheming Sherry shows up outside of Clay's meeting and George quickly reveals that he told her of the plan. After toying with George, Sherry is now confronted by Clay - whose confidence, toughness and ambition are the exact opposite of her earlier match. Sherry's familiar tactics are useless on Clay and it's clear that she's not in control of this situation. It's a brutally efficient scene and perhaps a reminder that we're no longer in a lush, old Hollywood movie.

The rest of Clay's crew consist of Mike, the race track bartender and Randy, a crooked policeman - along with two hired hands in Maurice and Nikki. Mike and Randy are more stock characters. Randy is a crooked cop who, while important to the heist, doesn't have many prominent scenes. Mike is pretty straightforward, but does have some interesting scenes with his wife - who appears to be suffering from a chronic illness. Maurice is a fun character. He's a Russian bear of a man who hangs around a local chess club and serves as the hired muscle in Clay's scheme. Maurice gets two of the movie's more memorable scenes. The first sees him verbally spar with Clay - the dialogue here is wonderfully tight.

I may be reaching, but I can see parts of Reservoir Dogs' Joe Cabot here.

Maurice's other scene is probably the funnest and likely most out of character in the entire movie. Can you guess the actor's background?

However, the most fascinating character in The Killing is Nikki, Clay's hired gun. We first encounter Nikki at his fledgling farm as Clay recruits him to shoot one of the horses running in the day's seventh race. Nikki first appears laconic, almost wobbly in a dream-like, junkie sense. He's presumably a poor farmer who Clay can easily manipulate. Nikki holds and strokes a puppy while listening to Clay's proposal, which is a deal he basically has to take. However, something shifts towards the end of this scene. Nikki's demeanor flashes a warning of instability - his voice rises through clenched daggers of teeth. He invades Clay's space. Something is emerging here and it's both unknown and dangerous.

Nikki's longest scene occurs later during the heist. He has an encounter with a racetrack policeman, who is resistant to letting him park closer to the track. Nikki fashions a story about suffering a war injury that has affected his legs. The story allows the policeman - also the victim of a war injury - to relent and eventually he empathizes with Nikki and gives him entry to the lot. He then repeatedly comes to Nikki's car bringing him a racing program and then a lucky horseshoe. He has bought into Nikki's weirdly soft charm and seems to identify with him. As Nikki's moment in the heist comes closer, he dispatches the policeman by calling him the N-word. With one word, Nikki turns the scene ice cold.

Another secondary character with a Tarantino-esque, bad ass name makes a brief, but lasting impression on the story. Val Cannon has been seeing Sherry on the side and now is part of her scheme to basically rob the robbers. There's not much to the character - he's basically being used by Sherry to get to whatever money George and the others can grab. However, Val has the perfect look for the role - he's a convincing street guy and could easily fit into a Tarantino universe with Mr. White and Mr. Blonde.

The supporting characters make The Killing an intriguing story. There is some serious depth associated with some - George and Sherry feature layers of dramatic weightiness, Nikki is purely fascinating and Maurice is brawny and cartoonish. Yet, Sterling Hayden's Johnny Clay is the movie's workhorse. This is his heist and his movie. He's in nearly every scene and commands them all. Hayden physically towers above all the other characters and his rapid and stern delivery propels the story. There is never a point in the movie where Johnny Clay appears overwhelmed or outsmarted - everything is clockwork, his movements, directives and language have a precise purpose. He has orchestrated every detail of the heist, positioned all the players and ultimately pulls it off.

All of which makes the movie's ending remarkable. Something entirely random defeats Johnny Clay and he can barely summon the strength to speak. It's a tremendous scene.

THE BEST - George and Sherry Weren't Meant to Be

Poor George. You just knew he wasn't going to win.

However, the end to George and Sherry's love - something that was likely never mutual and/or had fizzled out years prior - is still tragic. George is physically dying but more significantly to him, knows that Sherry has betrayed him. Emotionally, he's empty. Yet in the end, we don't fully know why George pulls a trigger on Sherry. Are his actions based on vengeance or assuming he passes, can he not bear the thought of her with another man?

THE BEST Part 2 - That Shootout Scene

This scene hits you out of nowhere. Although other movies have been cited as the inspiration for Reservoir Dogs' ending, you know this was lodged somewhere in Tarantino's encyclopedic brain.

THE BEST EVER - Nikki

I nearly broke one of my rules of this project while watching The Killing.

I almost broke out my phone and Googled Timothy Carey. He is a fascinating actor and I predict a deep dive into his work coming soon.

In the meantime, have fun with some of his takes on acting:

THE WORST - Johnny Clay Doesn't Know Anything About Checked Baggage

Johnny Clay dreams up and orchestrates a very precise heist that involves several moving parts. Everything goes according to plan and Clay makes off with a ton of money. No one is hurt outside of a few police officers taking some falls and punches. Even more remarkable, Johnny later finds himself in a position where he doesn't have to share any of his money.

Yet with all of these details carefully planned out, Johnny messes up at the very end by going for "the biggest suitcase", then demanding to carry it on the airplane. While the purse dog acts as Johnny's ultimate undoing, his lack of detail after pulling off the heist leads to his downfall.

THE WORST - Part 2 - Maurice "Gets His Shit In"

The story's edgy realism takes an odd, but entertaining turn when Maurice does his part in the heist by causing a distraction. After attacking Mike the Bartender, Maurice fights off a series of police officers with an ever increasing series of 1940's era wrestling moves.

THE WORST EVER - Marvin Wants to Run Away with Johnny

The movie's strangest scene occurs when Johnny meets with Marvin before the big day's events begin. Johnny is appreciative of Marvin's contributions to the heist, but Marvin is longing for more. He delivers a dreamy, meandering vision that sees Marvin and Johnny far removed from their current worlds and together in some ideal different one - and possibly without Fay. It's an odd scene - a sort of fever dream from Marvin, which probably requires a ton of analysis. Just who exactly is Marvin? And what is he to Clay?

THE FOX FORCE FIVE RATING - 4/5

There are a couple slow moments to be found but overall The Killing is a well-told, precise robbery movie that boasts some standout scenes. The acting is terrific throughout and Timothy Carey's Nikki steals the show.

PREQUELS and SEQUELS

1. Marvin and Clay - I'm not sure I want to see this, but I have to know what occurred between these two in the past. Is Marvin some mysterious benefactor, a would-be father figure or just someone Clay is conning?

2. What in the World Did Fay Do for Five Years? On second thought, there's probably not much here. She doesn't seem to exist without Clay.

3. Sherry and Val: On the Road - I can picture them pulling small jobs, then riding out their highs in seedy jazz clubs all over Kerouac's America.

4. Nikki Goes AWOL - Assuming he was actually there, I can see Nikki's war service going one of two ways: he either abandons his unit or they all try to shoot him.