Word: kissing
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Dates: during 2000-2009
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...sexy, she cuddles up to Joe, who mutters, "I'm not worth it." "Oh yes you are," she whispers intensely. (But O'Keefe is right: he doesn't deserve to share a two-shot with the classy, sensual Hunt.) At the end Ann sees the light, and switches from kisses to the big kiss-off: "I may have romanticized you before, but now I know you. You're something from under a rock...
...Murrells Inlet, South Carolina. Spillane's anticommunist bent and good-vs.-evil plots in such yarns as My Gun Is Quick, One Lonely Night and I, the Jury resonated with weary postwar Americans. He also built a multimedia juggernaut: the hard-drinking, gleefully sadistic Hammer inspired film noir (Kiss Me, Deadly), made-for-TV movies and three TV series. The author, who got his start in comic books, bore similarities to his cavalier hero ("I don't give a hoot about ... reviews. What I want to read are royalty checks," he liked to say) but revealed a softer, subtler side...
...always thought that Saville would have the sense to do what was right," Spillane told Collins. "He never did." The result was four '50s big-screen adaptations: three cheap little dogs (I, the Jury, The Long Night and My Gun Is Quick) and one large, strange, rabid animal (Kiss Me Deadly...
...That leaves Kiss Me Deadly, a film not quite meriting its latter cult eminence. The movie so stresses its characters stereotypes (the comic Italians and wasted dames) and facile aural editorializing (braying trombones, in case you didn't catch the blatant ironies in the dialogue) that the exaggeration almost becomes a style, as it surely does in Spillane's writing. This was 1955, when director Robert Aldrich's consistent coarseness was brave and bracing in Hollywood, rather than routine...
...film of winding stairways and furtive descents into darkness (and a final cauterizing blast of light), Kiss Me Deadly does its coarsely artful best to lure viewers into the lurid. What movies can't do that fiction can is chain you to the power of first-person narrative. Spillane puts you inside the thick, teeming skull of some modern-medieval creature - part Galahad, part dragon - and locks you there. You may want out, but you also want to stay, if only to see how similar Mike Hammer's atavistic codes and instincts are to yours, and how swiftly and deftly...