KLAATU YOU (8)
February 19, 2020
One in a weekly series of enthusiastic posts, contributed by HILOBROW friends and regulars, on the topic of our favorite pre-Star Wars science fiction movies.
KISS ME DEADLY | d. ROBERT ALDRICH | 1955
Kiss Me Deadly is, as far as I can tell, the first instance of sci-fi noir or hardboiled sci-fi that exists on film. (It precedes the other big contender for the title, La Jetée, by about seven years.) It’s one of those genre films that secretly takes place in another genre, and doesn’t inform the audience of this until a key moment in the plot. There are other films like this: From Dusk ’Til Dawn is a hardboiled crime movie that takes place in a horror film universe; Only Lovers Left Alive is a humbling meditation on marriage that also happens to be about vampires; John Wick is secretly an urban fantasy that owes as much to China Miéville as it does John Woo. Of course, these genre mashups are only of interest to the viewer. The characters in the film have no idea that they’re in a film, much less what genre it is. Mike Hammer has no idea what his target demo is, or what quadrant his story fits in, or how the international market might boost his gross.
But I would argue that without Kiss Me Deadly, the larger trend in genre mashups — particularly sci-fi noir and technoir — would not exist. That means no Blade Runner, no Neuromancer, no Altered Carbon, no Dark City, no Minority Report. (Hell, even one of my own novels wouldn’t exist without that precedent.) The grim and gritty sci-fi films of the ’70s and ’80s, like Soylent Green, A Boy and His Dog, and The Terminator all owe a little something to Mike Hammer and his relentless rampage in search of the truth behind one terrified girl’s heinous murder. Sure, they were adapted from other novels and stories, but those novels and stories were published in a landscape that Mickey Spillane (and other noir and hardboiled writers) made possible. His brutality made theirs publishable and marketable. And make no mistake: the brutality is the point.
There are other noir films that deal with how American men behaved after the war — In a Lonely Place twists the premise of its source material to become a story about the personal tragedy of untreated PTSD, and Shutter Island takes a long look at what that treatment might have looked like. But Kiss Me Deadly dares to join up the man hardened by the horrors of war and the people who create those horrors, the scientists and engineers of the war machine itself. As Matt Zoller Seitz said in essay on the film “In his typically backwards-ass and thus strikingly original way, Aldrich confirms the function and necessity of morality by showing us a Hobbesean universe without it.” Mike Hammer spends the entire film fighting and fucking his way through foe after foe, ruthless and undaunted, until he encounters the MacGuffin that started it all: the glowing suitcase that is really Pandora’s box, the “Great Whatsit” that unleashes destruction on a scale that even Hammer can scarcely contemplate. Depending on which ending you see (or believe), the suitcase is the only thing terrible enough to encompass and defeat Hammer’s violence.
KLAATU YOU: INTRODUCTION by Josh Glenn | Matthew De Abaitua on ZARDOZ | Miranda Mellis on METROPOLIS | Rob Wringham on THE INVISIBLE MAN | Michael Grasso on THE ANDROMEDA STRAIN | Gordon Dahlquist on 2001: A SPACE ODYSSEY | Erik Davis on DARK STAR | Carlo Rotella on THE OMEGA MAN | Madeline Ashby on KISS ME DEADLY | Adam McGovern on SILENT RUNNING | Michael Lewy on THIS ISLAND EARTH | Josh Glenn on WILD IN THE STREETS | Mimi Lipson on BARBARELLA vs. SINS OF THE FLESHAPOIDS | Vanessa Berry on THE FLY | Lynn Peril on ATTACK OF THE 50 FOOT WOMAN | Peggy Nelson on SOLARIS | Adrienne Crew on LOGAN’S RUN | Ramona Lyons on THE MAN WHO FELL TO EARTH | Kio Stark on THE STEPFORD WIVES | Dan Fox on FANTASTIC PLANET | Chris Lanier on IKARIE XB-1 | Devin McKinney on IDAHO TRANSFER | Mark Kingwell on THUNDERBIRDS ARE GO | Luc Sante on THE TENTH VICTIM | William Nericcio on DEATH RACE 2000 | Rob Walker on CAPRICORN ONE | Gary Panter on ANGRY RED PLANET | David Levine on THE STEPFORD WIVES | Karinne Keithley Syers on ALPHAVILLE | Carolyn Kellogg on IT CAME FROM OUTER SPACE | Sara Ryan on ESCAPE TO WITCH MOUNTAIN | Lisa Jane Persky on PLAN 9 FROM OUTER SPACE | Adam Harrison Levy on BENEATH THE PLANET OF THE APES | Gerald Peary on CREATURE FROM THE BLACK LAGOON | Susannah Breslin on A CLOCKWORK ORANGE | Seth on WAR OF THE WORLDS | James Hannaham on GOJIRA/GODZILLA | Lydia Millet on VILLAGE OF THE DAMNED | Matthew Daniel on FANTASTIC VOYAGE | Shawn Wolfe on ROLLERBALL | Erin M. Routson on WESTWORLD | Marc Weidenbaum on COLOSSUS: THE FORBIN PROJECT | Neil LaBute on 20,000 LEAGUES UNDER THE SEA | Vicente Lozano on DAY OF THE DOLPHIN | Alison Fensterstock on ROCKY HORROR PICTURE SHOW | J.C. Gabel on INVASION OF THE BODY SNATCHERS | Chelsey Johnson on THE BLOB | Heather Kapplow on SPACE IS THE PLACE | Wayne Chambliss on THEM! and PHASE IV | Katya Apekina on A BOY AND HIS DOG | Tom Roston on SLAUGHTERHOUSE-FIVE | Anthony Miller on THE DAY THE EARTH STOOD STILL | Seth Mnookin on NUDE ON THE MOON.
CARBONA YOUR ENTHUSIASM (2020): “Sex Bomb” | “Going Underground” | “Soft South Africans” | “Typical Girls” | “Human Fly” & 20 other Seventies (1974–1983) punk singles. KLAATU YOU (2020 weekly): ZARDOZ | METROPOLIS | DARK STAR | SINS OF THE FLESHAPOIDS | SOLARIS | & dozens of other pre-STAR WARS sci-fi movies. CONVOY YOUR ENTHUSIASM (2019): THE TAKING OF PELHAM ONE TWO THREE | ROLLERBALL | BLACK SUNDAY | SORCERER | STRAIGHT TIME | & 20 other Seventies (1974–1983) action movies. SERIOCOMIC (2019 weekly): LITTLE LULU | VIZ | MARSUPILAMI | ERNIE POOK’S COMEEK | HELLBOY | & dozens of other comics. TUBE YOUR ENTHUSIASM (2018): LOONEY TUNES | THREE STOOGES | THE AVENGERS | ROCKY & BULLWINKLE | THE TWILIGHT ZONE | & 20 other Fifties (1954–1963) TV shows. WOWEE ZOWEE (2018 weekly): UNISEX | UNDER THE PINK | DUMMY | AMOR PROHIBIDO | HIPS AND MAKERS | & dozens of other Nineties (1994–2003) albums. KLUTE YOUR ENTHUSIASM (2017): THE KILLERS | BANDE À PART (BAND OF OUTSIDERS) | ALPHAVILLE | HARPER | BLOW-UP | & 20 other Sixties (1964–1973) neo-noir movies. #SQUADGOALS (2017 weekly): THE WILD BUNCH | BOWIE’S BAND | THE BLOOMSBURY GROUP | THE HONG KONG CAVALIERS | VI ÄR BÄST! & dozens of other squads. GROK MY ENTHUSIASM (2016 weekly): THE THEORY AND PRACTICE OF LUNCH | WEEKEND | MILLION YEAR PICNIC | LA BARONNE EMILE D’ERLANGER | THE SURVIVAL SAMPLER | & dozens more one-off enthusiasms. QUIRK YOUR ENTHUSIASM (2016): “Tainted Love” | “Metal” | “Frankie Teardrop” | “Savoir Faire” | “Broken English” | & 20 other Seventies (1974–1983) new wave singles. CROM YOUR ENTHUSIASM (2015): DARKER THAN YOU THINK | THE SWORD IN THE STONE | OUT OF THE SILENT PLANET | THIEVES’ HOUSE | QUEEN OF THE BLACK COAST | & 20 other Thirties (1934–1943) fantasy novels. KERN YOUR ENTHUSIASM (2014): ALDINE ITALIC | DATA 70 | TORONTO SUBWAY | JOHNSTON’S “HAMLET” | TODD KLONE | & 20 other typefaces. HERC YOUR ENTHUSIASM (2013): “Spoonin’ Rap” | “Rapper’s Delight” | “Rappin’ Blow” | “The Incredible Fulk” | “The Adventures of Super Rhyme” | & 20 other Seventies (1974–1983) hip-hop songs. KIRK YOUR ENTHUSIASM (2012): Justice or vengeance? | Kirk teaches his drill thrall to kiss | “KHAAAAAN!” | “No kill I” | Kirk browbeats NOMAD | & 20 other Captain Kirk scenes. KIRB YOUR ENTHUSIASM (2011): THE ETERNALS | BLACK MAGIC | DEMON | OMAC | CAPTAIN AMERICA | & 20 other Jack Kirby panels.