Adapted By: A.I Bezzerides
From A Book By: Mickey Spillane
I have not had the pleasure of reading any of Mickey Spillane's work so I have no idea if Mike Hammer is taken to monologue in his literary interpretation, but I do know that Robert Aldrich's Mike Hammer does. But not through words, he monologues through his actions.
His actions dictate a complete awareness (one of the few things "awareness" can be applied to in his life) and utilization of, even indulgence in sexual depravity. And more thematically predominate, increasing investment in an economy of violence, a sadistic pleasure taken in his stock. And regarding this economy, we observe that violence organically develops as a result of living, and violence is ultimately how an individual moves forward. There is a much stronger theme present though.
Ambiguity, a defining factor of Film Noir, born from a psychological scarring of a filmmaker's mind. A moral ambiguity, as discussed earlier. There is a visual ambiguity, Hammer's eerily pristine apartment, or a girl left alone, striking an oddly seductive pose. And finally, a partial narrative ambiguity, obsessed with "The Big Wutzit", his "investigation" slowly killing him, his end goal? What should be and still partially remains, destruction. however, this loose image of destruction takes partial concrete form, eventually, the audience knows what "The Big Wutzit" is, just shy of not being told straight out. This sacrifices the completeness of it's narrative ambiguity but shapes a entirely separate, but still as potent, theme, the ultimate award for the atrocities he endures? Complete Annihilation.
"Kiss Me Deadly" is pulp Noir, it arrives quite late, when Sam Spade tropes began to overtake the intelligence and complexity of the original French-classified Noirs. How fitting, the film itself, a dying breed. It's claim to relevancy and life? A play on purpose, updating from a World War ambiguity, to a Cold War ambiguity.
Scorsese said concerning bit-part players "...that can kill ya' if you don't get the right person"
"Getting the right person" is certainly exemplified throughout the film, including this excellent sequence
between Ralph Meeker's Mike Hammer (right) and bit-part player Strother Martin (left)
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