After an opening to rival the original film noir The Killers (1946), though nowhere near as atmospheric, Don Siegel’s The Killers asserts itself as a real rough and tumble operation with surprisingly frank violence. However, it might be expected from such a veteran action director on his way to making Dirty Harry (1971) with Clint Eastwood.
With hitmen (Lee Marvin and Clu Galagher) as the motors for the story, they help maintain a similar flashback structure to the original film taken from Hemingway’s short story, except this time their inquiries are a little more forceful than anything the insurance investigator managed in Robert Siodmak’s film.
Furthermore, to fit better with the cultural moment boxing is traded out for race car driving as our fateful hero in this instance is Johhny North (John Cassavetes) a tragic figure who got caught up in love and wounded in the same instance.
Still, Cassavetes even before he was a director of great repute, he made for a quality acting force because the intensity always seems to burn in his eyes and it serves him well here yet again.
He and his mechanic partner (Claude Akins) are intent on winning a big pile at the racetrack but Johnny gets caught up in a romance with an alluring beauty named Sheila Farr (Angie Dickinson) who can’t get enough of him. But she also happens to be pretty closely connected to an unscrupulous “businessman” who conveniently pays the bills for her. If Johnny knew any better he would get out of there as fast as he could but she’s a knockout who seems to want him and he wants to believe in her sincerity.
Ronald Reagan takes on the uncharacteristically grimy role as the corrupt Jack Browning which interestingly enough would be the actor’s last Hollywood role before switching his sights on politics first as governor of California and then down the road aways as the president of the United States.
Like his predecessor so many years before, The Swede (Burt Lancaster), Johnny (Cassavetes) gets played for a bit of a stooge and as embittered as he is after a faltering racing career, he inserts himself into Jack Browning’s (Reagan) get-rich-quick bank job which is bound to spin out of control. Adding insult to injury Sheila is right there searing through him like she always used to. The imminent results speak for themselves concerning hitmen, dames, and everyone else who could possibly be caught up in the dirty business.
There are isolated moments where the drama gets laid down a little thick and yet for a film that was initially supposed to be a TV movie, this effort really is an enjoyable neo-noir despite being starkly different than its predecessor. In fact, that allows it to stand on its own two feet and even if it’s not nearly as good, Siegel’s film is still quite thrilling. Thankfully this one lives up to its name and it goes out as deadly as it came in which usually bodes well for a crime picture.
Part of that goes down to the acting talent because it feels like there’s no real throwaway role and everyone has something to keep them busy. Lee Marvin has top billing and he takes up a post that feels like it just might be the precursor to the enigmatic crime spree of Point Blank (1967). His performance along with Clu Gulager’s are undoubtedly the coolest bar none and yet they aren’t even in the majority of it.
That privilege goes to Cassavetes and Dickinson who light up the screen and play their character types impeccably. The same might be said for Claude Akins or Norman Fell. The only odd spot is Reagan but then again maybe that might only be my bias since I’m so used to seeing him be presidential.