The Naked Kiss


1h 33m 1964
The Naked Kiss

Brief Synopsis

After killing her pimp, a prostitute runs away to small-town America in a futile search for normality.

Film Details

Also Known As
The Iron Kiss
Genre
Drama
Crime
Classic Hollywood
Release Date
Jan 1964
Premiere Information
Chicago opening: 4 May 1964
Production Company
Leon Fromkess; Sam Firks
Distribution Company
Allied Artists
Country
United States

Technical Specs

Duration
1h 33m
Sound
Mono (Westrex Recording System)
Color
Black and White
Theatrical Aspect Ratio
1.85 : 1

Synopsis

Kelly, a prostitute, leaves town after a fight with her procurer and takes the money he owes her. She comes to the small town of Grantville, where her first customer is Griff, the police chief, who advises her to avoid arrest by going to work for Candy's bordello across the state line. Instead, Kelly remains in town and takes a job as nurse's aid at a hospital, where she soon establishes a close rapport with the children in her ward. Griff discovers that she is still in town, and although he does not believe that she desires to reform, he reluctantly agrees to give her a chance. Later she falls in love with Grant, a wealthy grandson of the town's founder. Meanwhile, Kelly completes her reformation by helping two associates. Buff, an innocent girl, decides to become a prostitute at Candy's after the madam gives her some cash, but Kelly changes Buff's mind, returns the money, and assaults Candy. When an unmarried nurse's aid becomes pregnant, Kelly borrows money from Grant so that the woman can leave town to have her baby rather than undergo an abortion. Kelly is gratified by Grant's indifference to her past, until she makes a surprise visit to his home and discovers him molesting a little girl. Shocked at the scene and hurt by Grant's pleas for understanding because they are both "abnormal," she kills him and surrenders herself to Griff. The police chief does not believe her story, and Kelly's position is weakened by both Candy and her former procurer, who testify that she is a blackmailer. Although the nurse's aid describes Kelly's help during her pregnancy, Griff believes that the money she got from Grant was extorted. Kelly then reveals her real reason for visiting Candy, and Buff finally corroborates her testimony. Uncertain, Griff locates the girl Grant molested, and Kelly is cleared. Vindicated, Kelly leaves Grantville, despite the townspeople's pleas and Griff's marriage proposal.

Film Details

Also Known As
The Iron Kiss
Genre
Drama
Crime
Classic Hollywood
Release Date
Jan 1964
Premiere Information
Chicago opening: 4 May 1964
Production Company
Leon Fromkess; Sam Firks
Distribution Company
Allied Artists
Country
United States

Technical Specs

Duration
1h 33m
Sound
Mono (Westrex Recording System)
Color
Black and White
Theatrical Aspect Ratio
1.85 : 1

Articles

The Naked Kiss - THE NAKED KISS - The Criterion Collection's Restored Edition of Sam Fuller's 1964 Film


Samuel Fuller was a maverick in Hollywood even before he left the studios and struck out in a series of independent, low-budget productions in the late 1950s. But with the freedom afforded him outside the studio system, combined with the challenges of working on smaller budgets and tighter schedules and his own tabloid journalist and pulp fiction instincts, Fuller's filmmaking became downright jagged and jarring and confrontational in films like Verboten!, Underworld U.S.A. and Shock Corridor. These were critical portraits of American hypocrisy and social injustice within lurid pulp stories and Fuller turned familiar genres--the war movie, the gangster film, the detective story--inside out with a mix of searing social commentary and startling cinematic devices that would be picked up by the directors of the French New Wave. The Naked Kiss is arguably the most aggressively defiant film of his career.

Fuller opens the film by literally battering the audience to attention: a furious woman (Constance Towers) assaults the camera head-on, with reverse shots revealing the man on the other end of the blows. She's a prostitute, he's her pimp and as her wig slips off, we get a startling image that explains her fury. Fuller knows how to begin a movie, to be sure, but he also immediately tells the audience exactly what kind of world our mad-as-hell heroine lives in. Two year later, Kelly (Towers) arrives in a small town with a luxurious head of blonde hair, a smart suit and a monogrammed suitcase: the wares of a traveling sales woman hawking California champagne, which local cop Griff (Anthony Eisely) see right through. She's a pro and he happily pays her fee and samples her wares before booting her out of town. But instead of heading across the river (where the local bordello, Candy's, is allowed to operate and apparently gets many of its referrals from Griff) she remakes herself as the angel of the children's ward of an orthopedic hospital, a tough-but-tender nurse who runs her ward like a pirate ship and mother hen to the young candy stripers struggling in the face of all the pain and suffering around them. Beloved by all (except Griff, who thinks she's just working an angle), Kelly wooed by the town millionaire Grant (Michael Dante), the generous, cultured scion of the town's founding father. Then she discovers his "secret" ("We're both abnormal," he smiles, attempting to equate her past with his sickness) and is arrested for murder.

Fuller was a proud American who showed his patriotism by exploring and criticizing the failures of American society in pulp movies with a vivid, visceral style and making his points with the cinematic equivalent of tabloid headlines. The Naked Kiss has been called a portrait of hypocrisy but it actually presents a culture where the moral lines are drawn in boundaries and the vice is simply segregated from the good people of this "upstanding" town. Griff, a tough-but-tender cop in his own way, sizes up new arrivals quickly, lends a helping hand to good kids facing hard times, sends the shady one their way and then heads over the river to Candy's place to sample her stable of Bonbons, as her girls are called. His suspicions of Kelly may have more to do with his own attraction to her and his prior claim to her. Meanwhile the town is so enthralled with Grant's good manners and charitable contributions to the town that any suggestion of criminal (let alone predatory) behavior on his part is beyond serious consideration.

Fuller directs the film like a tabloid melodrama rather than a crime thriller or a film noir, mixing familiar conventions (calendar pages blow away to mark time passing) with unconventional imagery. After Grant shows Kelly his home movies of Venice and his gondola journeys through the canals, they recline on his divan and drift away in their own fantasy, the divan a private gondola floating in a sea of black. Every time that Kelly sees a child or peeks into a baby carriage, the screen is filled with a close-up of her face in a grotesquely overacted smile: the headline type, so to speak, that communicates her maternal desires. And when Kelly walks in on Grant at the film's turning point, the discreet revelation of a little girl in his mansion, the disconnected close-ups and the dislocated cutting throws the scene so off-balance it's not quite clear what's actually going on but it's like the world is suddenly pulled out from under us. Towers is the film's weakness, delivering a stiff, confrontational performance with smarmy, unreal smiles and turning dialogue into dramatic speeches, but it's quite possible that she's giving Fuller the performance he wanted. She co-stared in his previous film, Shock Corridor, and Fuller promoted her to star billing and the central role for this film. He surely knew what he wanted but we can never warm to her because she's so removed and exaggerated, and at times she's so arch it's simply hard to take.

There's no attempt at Hollywood realism here. Cinematographer Stanley Cortez, who previously shot Welles' The Magnificent Ambersons and Charles Laughton's sole directorial feature The Night of the Hunter (as well as a number of low-budget exploitation films), he strips away detail and turns the camera into a microscope peering through the bland surfaces of small town America. There's no glamour here beyond the dreamy fantasy of being transported to the canals of Venice. It's all contrived and unreal, a weirdly disconnected small town that, aside from a few location shots, seems designed to look artificial. The dialogue is similarly exaggerated and unnatural and Fuller's use of music--Beethoven's "Moonlight Sonata" is the film's cue for romantic aspirations and Grant plays Beethoven's Fifth Symphony to celebrate his marriage (an ominous counterpoint for such a happy moment)--is prominent in the soundtrack, drawing attention to itself is ways similar to what Godard was doing in France at the time.

An audacious mix of cynicism, sleaze, sentimental gooeyness and social commentary, The Naked Kiss is bizarre and at times an assault on the senses (the tone-deaf children's choir is a weird mix of cutesy sentiment and off-putting awkwardness) but there's nothing else like it. Fuller gives us an ugly, tawdry America hiding its guilt under a surface of normalcy.

Criterion released the film on DVD years ago, in its early days in the DVD market (the spine retains its #18 release number), in an edition with minimal supplements. It's been freshly remastered for its DVD rerelease and Blu-ray debut and it looks superb--clean and sharp, with a solid gray scale--and the mono soundtrack is clean and clear. The supplements are solid, mostly archival interviews, notably excerpts from a 1983 episode of The South Bank Show dedicated to Fuller and two archival interviews with Fuller from French TV (one from 1967 and the other from 1987). The images quality is true to the limitations of the era of broadcast TV. New to this edition is an excellent in-depth interview with actress Constance Towers conducted by Charles Dennis in 2007. She is forthcoming about her career and the film and discusses working with Fuller in detail, and is curiously much more engaging and warm in person than she is in the film. The disc is accompanied by a booklet with an original essay by critic Robert Polito and an excerpt from Fuller's autobiography A Third Face: My Tale of Writing, Fighting and Filmmaking that reaches back to his early days as a young New York reporter, where he regularly came into contact with prostitutes and befriended a few working girls, and how these relationships shaped his portrait of Kelly in The Naked Kiss. The new package features original line-art drawings by comic/graphic novel artist Daniel Clowes (of "Ghost World" fame).

For more information about The Naked Kiss, visit The Criterion Collection. To order The Naked Kiss, go to TCM Shopping.

by Sean Axmaker
The Naked Kiss - The Naked Kiss - The Criterion Collection's Restored Edition Of Sam Fuller's 1964 Film

The Naked Kiss - THE NAKED KISS - The Criterion Collection's Restored Edition of Sam Fuller's 1964 Film

Samuel Fuller was a maverick in Hollywood even before he left the studios and struck out in a series of independent, low-budget productions in the late 1950s. But with the freedom afforded him outside the studio system, combined with the challenges of working on smaller budgets and tighter schedules and his own tabloid journalist and pulp fiction instincts, Fuller's filmmaking became downright jagged and jarring and confrontational in films like Verboten!, Underworld U.S.A. and Shock Corridor. These were critical portraits of American hypocrisy and social injustice within lurid pulp stories and Fuller turned familiar genres--the war movie, the gangster film, the detective story--inside out with a mix of searing social commentary and startling cinematic devices that would be picked up by the directors of the French New Wave. The Naked Kiss is arguably the most aggressively defiant film of his career. Fuller opens the film by literally battering the audience to attention: a furious woman (Constance Towers) assaults the camera head-on, with reverse shots revealing the man on the other end of the blows. She's a prostitute, he's her pimp and as her wig slips off, we get a startling image that explains her fury. Fuller knows how to begin a movie, to be sure, but he also immediately tells the audience exactly what kind of world our mad-as-hell heroine lives in. Two year later, Kelly (Towers) arrives in a small town with a luxurious head of blonde hair, a smart suit and a monogrammed suitcase: the wares of a traveling sales woman hawking California champagne, which local cop Griff (Anthony Eisely) see right through. She's a pro and he happily pays her fee and samples her wares before booting her out of town. But instead of heading across the river (where the local bordello, Candy's, is allowed to operate and apparently gets many of its referrals from Griff) she remakes herself as the angel of the children's ward of an orthopedic hospital, a tough-but-tender nurse who runs her ward like a pirate ship and mother hen to the young candy stripers struggling in the face of all the pain and suffering around them. Beloved by all (except Griff, who thinks she's just working an angle), Kelly wooed by the town millionaire Grant (Michael Dante), the generous, cultured scion of the town's founding father. Then she discovers his "secret" ("We're both abnormal," he smiles, attempting to equate her past with his sickness) and is arrested for murder. Fuller was a proud American who showed his patriotism by exploring and criticizing the failures of American society in pulp movies with a vivid, visceral style and making his points with the cinematic equivalent of tabloid headlines. The Naked Kiss has been called a portrait of hypocrisy but it actually presents a culture where the moral lines are drawn in boundaries and the vice is simply segregated from the good people of this "upstanding" town. Griff, a tough-but-tender cop in his own way, sizes up new arrivals quickly, lends a helping hand to good kids facing hard times, sends the shady one their way and then heads over the river to Candy's place to sample her stable of Bonbons, as her girls are called. His suspicions of Kelly may have more to do with his own attraction to her and his prior claim to her. Meanwhile the town is so enthralled with Grant's good manners and charitable contributions to the town that any suggestion of criminal (let alone predatory) behavior on his part is beyond serious consideration. Fuller directs the film like a tabloid melodrama rather than a crime thriller or a film noir, mixing familiar conventions (calendar pages blow away to mark time passing) with unconventional imagery. After Grant shows Kelly his home movies of Venice and his gondola journeys through the canals, they recline on his divan and drift away in their own fantasy, the divan a private gondola floating in a sea of black. Every time that Kelly sees a child or peeks into a baby carriage, the screen is filled with a close-up of her face in a grotesquely overacted smile: the headline type, so to speak, that communicates her maternal desires. And when Kelly walks in on Grant at the film's turning point, the discreet revelation of a little girl in his mansion, the disconnected close-ups and the dislocated cutting throws the scene so off-balance it's not quite clear what's actually going on but it's like the world is suddenly pulled out from under us. Towers is the film's weakness, delivering a stiff, confrontational performance with smarmy, unreal smiles and turning dialogue into dramatic speeches, but it's quite possible that she's giving Fuller the performance he wanted. She co-stared in his previous film, Shock Corridor, and Fuller promoted her to star billing and the central role for this film. He surely knew what he wanted but we can never warm to her because she's so removed and exaggerated, and at times she's so arch it's simply hard to take. There's no attempt at Hollywood realism here. Cinematographer Stanley Cortez, who previously shot Welles' The Magnificent Ambersons and Charles Laughton's sole directorial feature The Night of the Hunter (as well as a number of low-budget exploitation films), he strips away detail and turns the camera into a microscope peering through the bland surfaces of small town America. There's no glamour here beyond the dreamy fantasy of being transported to the canals of Venice. It's all contrived and unreal, a weirdly disconnected small town that, aside from a few location shots, seems designed to look artificial. The dialogue is similarly exaggerated and unnatural and Fuller's use of music--Beethoven's "Moonlight Sonata" is the film's cue for romantic aspirations and Grant plays Beethoven's Fifth Symphony to celebrate his marriage (an ominous counterpoint for such a happy moment)--is prominent in the soundtrack, drawing attention to itself is ways similar to what Godard was doing in France at the time. An audacious mix of cynicism, sleaze, sentimental gooeyness and social commentary, The Naked Kiss is bizarre and at times an assault on the senses (the tone-deaf children's choir is a weird mix of cutesy sentiment and off-putting awkwardness) but there's nothing else like it. Fuller gives us an ugly, tawdry America hiding its guilt under a surface of normalcy. Criterion released the film on DVD years ago, in its early days in the DVD market (the spine retains its #18 release number), in an edition with minimal supplements. It's been freshly remastered for its DVD rerelease and Blu-ray debut and it looks superb--clean and sharp, with a solid gray scale--and the mono soundtrack is clean and clear. The supplements are solid, mostly archival interviews, notably excerpts from a 1983 episode of The South Bank Show dedicated to Fuller and two archival interviews with Fuller from French TV (one from 1967 and the other from 1987). The images quality is true to the limitations of the era of broadcast TV. New to this edition is an excellent in-depth interview with actress Constance Towers conducted by Charles Dennis in 2007. She is forthcoming about her career and the film and discusses working with Fuller in detail, and is curiously much more engaging and warm in person than she is in the film. The disc is accompanied by a booklet with an original essay by critic Robert Polito and an excerpt from Fuller's autobiography A Third Face: My Tale of Writing, Fighting and Filmmaking that reaches back to his early days as a young New York reporter, where he regularly came into contact with prostitutes and befriended a few working girls, and how these relationships shaped his portrait of Kelly in The Naked Kiss. The new package features original line-art drawings by comic/graphic novel artist Daniel Clowes (of "Ghost World" fame). For more information about The Naked Kiss, visit The Criterion Collection. To order The Naked Kiss, go to TCM Shopping. by Sean Axmaker

The Naked Kiss


Director Sam Fuller once stated, during a cameo appearance in Jean-Luc Godard's Pierrot le Fou (1965), that "a film is like a battleground -love....hate...action...violence...death...in one word - emotion!" This simple philosophy couldn't be better illustrated than Fuller's astonishing opening sequence to The Naked Kiss (1964), which begins in the middle of a violent fight between a prostitute and her pimp and culminates with the pimp being beaten unconscious after he pulls off the woman's wig, revealing her bald head. It's a shocking image but is just the beginning of a 90-minute attack on middle-class morality and hypocrisy, which must have confused and disturbed audiences who first saw this hyperactive melodrama distributed on double bills or in theatres that specialized in B-movie fare. Anyone expecting sexual titillation was in for a surprise.

As the narrative of The Naked Kiss unfolds, Kelly (Constance Towers), the bewigged prostitute of the opening sequences, relocates to a small town in the Midwest and reinvents herself as a nurse who works with crippled children. Her excellent work at the hospital does not go unnoticed, especially by Grant (Michael Dante), a millionaire philanthropist, and soon the two are involved in a serious romance. When a discussion of marriage finally arises, Kelly decides to be completely honest and reveal her sordid past to Grant. Surprisingly, he accepts her without any recriminations and they seal their engagement plans with a kiss. Kelly senses something terribly wrong when their lips meet but she chooses to ignore it. Instead, she focuses on her upcoming wedding but is eventually confronted with the horrible truth about Grant - he's a child molester!

Like most of Fuller's independent productions, The Naked Kiss was shot quickly and cheaply with the director exercising total control over the creative process, from the writing to the performances. For the dynamic opening scene, Fuller revealed that, "the camera was strapped to the actors, to their chests. And the girl hits the camera lens. And then it's strapped to her and she's beating the pimp. And then she's staring straight into the camera again, putting on her lipstick, the camera's the mirror. It's very direct...I open with a straight cut, no dissolve, no fade-in. I want to grab you." Constance Towers, interviewed by Lee Server in Sam Fuller: Film is a Battleground, also remarked on the opening adding, "When you watch that you really feel like you are the person being beaten up. Actually, the person who got beat up for real in that film was Virginia Grey. And it was a terrible thing because I loved her so much - such a wonderful actress and a wonderful human being. And in the scene where I hit her with my purse, Sammy said, "Really hit her now." And Virginia said, "Yes, really hit me." And, well, I did. And I guess I was still green, I didn't realize that when she said "really hit me" she meant in a stage way, not full force. And I really whacked her. So what you see in the film is an honest reaction on her part. And poor Virginia didn't tell me for a long time afterward that she went around with a jaw that ached so badly after that."

In an interview with biographer Lee Server, Fuller commented on what inspired him to make The Naked Kiss: "What interested me was the type of mentality found in many small towns in the United States. And the type of people they look up to and the people they look down at. And I have one of those local heroes who's the son of the mayor or the bank president and he's rich and a war hero, and they don't know that the sonofabitch is a child molester. The man they all look up to is the lowest of the low. And the one they despise, the hooker, is above him. They're hypocrites. And I have a speech in there at the end where she tells them what they are, she rubs it in so they know it. And the theatre owners wanted this speech out. They said, "You don't need that speech." I said, "I think I do." They said, "We're not going to be able to go all out for this picture with that speech in there. People aren't going to want to hear this speech, because it's about them."

Unfortunately, the opinions of the theatre owners proved to be prophetic. The Naked Kiss was not a commercial success but even if it had received more support from the theatre owners or a major promotional campaign, it wouldn't have appealed to mainstream moviegoers. For one thing, the film is relentlessly bleak in its view of small town social mores. The idiosyncratic direction, unconventional cinematography by Stanley Cortez and the often challenging subject matter were also a turnoff for movie audiences who prefer non-threatening entertainments over in-your-face morality plays. Today, The Naked Kiss is ranked among Fuller's best work but at the time of its release, it heralded the end of Fuller's most creative period in film. With the exception of his later war epic, The Big Red One (1980), his subsequent work was continually compromised by meager funding and studio interference; Shark!, the film that followed The Naked Kiss, was taken away from him, reedited without his supervision, and released in 1970, two years after its original completion date, thus setting a pattern that plagued Fuller the rest of his career.

Producer: Sam Firks, Leon Fromkess, Samuel Fuller
Director: Samuel Fuller
Screenplay: Samuel Fuller
Art Direction: Eugene Lourie
Cinematography: Stanley Cortez
Costume Design: Einar H. Bourman
Film Editing: Jerome Thoms
Original Music: Paul Dunlap
Cast: Constance Towers (Kelly), Anthony Eisley (Griff), Michael Dante (Grant), Virginia Grey (Candy), Patsy Kelly (Mac), Betty Bronson (Miss Josephine), Walter Mathews (Mike).
BW-90m.

by Jeff Stafford

The Naked Kiss

Director Sam Fuller once stated, during a cameo appearance in Jean-Luc Godard's Pierrot le Fou (1965), that "a film is like a battleground -love....hate...action...violence...death...in one word - emotion!" This simple philosophy couldn't be better illustrated than Fuller's astonishing opening sequence to The Naked Kiss (1964), which begins in the middle of a violent fight between a prostitute and her pimp and culminates with the pimp being beaten unconscious after he pulls off the woman's wig, revealing her bald head. It's a shocking image but is just the beginning of a 90-minute attack on middle-class morality and hypocrisy, which must have confused and disturbed audiences who first saw this hyperactive melodrama distributed on double bills or in theatres that specialized in B-movie fare. Anyone expecting sexual titillation was in for a surprise. As the narrative of The Naked Kiss unfolds, Kelly (Constance Towers), the bewigged prostitute of the opening sequences, relocates to a small town in the Midwest and reinvents herself as a nurse who works with crippled children. Her excellent work at the hospital does not go unnoticed, especially by Grant (Michael Dante), a millionaire philanthropist, and soon the two are involved in a serious romance. When a discussion of marriage finally arises, Kelly decides to be completely honest and reveal her sordid past to Grant. Surprisingly, he accepts her without any recriminations and they seal their engagement plans with a kiss. Kelly senses something terribly wrong when their lips meet but she chooses to ignore it. Instead, she focuses on her upcoming wedding but is eventually confronted with the horrible truth about Grant - he's a child molester! Like most of Fuller's independent productions, The Naked Kiss was shot quickly and cheaply with the director exercising total control over the creative process, from the writing to the performances. For the dynamic opening scene, Fuller revealed that, "the camera was strapped to the actors, to their chests. And the girl hits the camera lens. And then it's strapped to her and she's beating the pimp. And then she's staring straight into the camera again, putting on her lipstick, the camera's the mirror. It's very direct...I open with a straight cut, no dissolve, no fade-in. I want to grab you." Constance Towers, interviewed by Lee Server in Sam Fuller: Film is a Battleground, also remarked on the opening adding, "When you watch that you really feel like you are the person being beaten up. Actually, the person who got beat up for real in that film was Virginia Grey. And it was a terrible thing because I loved her so much - such a wonderful actress and a wonderful human being. And in the scene where I hit her with my purse, Sammy said, "Really hit her now." And Virginia said, "Yes, really hit me." And, well, I did. And I guess I was still green, I didn't realize that when she said "really hit me" she meant in a stage way, not full force. And I really whacked her. So what you see in the film is an honest reaction on her part. And poor Virginia didn't tell me for a long time afterward that she went around with a jaw that ached so badly after that." In an interview with biographer Lee Server, Fuller commented on what inspired him to make The Naked Kiss: "What interested me was the type of mentality found in many small towns in the United States. And the type of people they look up to and the people they look down at. And I have one of those local heroes who's the son of the mayor or the bank president and he's rich and a war hero, and they don't know that the sonofabitch is a child molester. The man they all look up to is the lowest of the low. And the one they despise, the hooker, is above him. They're hypocrites. And I have a speech in there at the end where she tells them what they are, she rubs it in so they know it. And the theatre owners wanted this speech out. They said, "You don't need that speech." I said, "I think I do." They said, "We're not going to be able to go all out for this picture with that speech in there. People aren't going to want to hear this speech, because it's about them." Unfortunately, the opinions of the theatre owners proved to be prophetic. The Naked Kiss was not a commercial success but even if it had received more support from the theatre owners or a major promotional campaign, it wouldn't have appealed to mainstream moviegoers. For one thing, the film is relentlessly bleak in its view of small town social mores. The idiosyncratic direction, unconventional cinematography by Stanley Cortez and the often challenging subject matter were also a turnoff for movie audiences who prefer non-threatening entertainments over in-your-face morality plays. Today, The Naked Kiss is ranked among Fuller's best work but at the time of its release, it heralded the end of Fuller's most creative period in film. With the exception of his later war epic, The Big Red One (1980), his subsequent work was continually compromised by meager funding and studio interference; Shark!, the film that followed The Naked Kiss, was taken away from him, reedited without his supervision, and released in 1970, two years after its original completion date, thus setting a pattern that plagued Fuller the rest of his career. Producer: Sam Firks, Leon Fromkess, Samuel Fuller Director: Samuel Fuller Screenplay: Samuel Fuller Art Direction: Eugene Lourie Cinematography: Stanley Cortez Costume Design: Einar H. Bourman Film Editing: Jerome Thoms Original Music: Paul Dunlap Cast: Constance Towers (Kelly), Anthony Eisley (Griff), Michael Dante (Grant), Virginia Grey (Candy), Patsy Kelly (Mac), Betty Bronson (Miss Josephine), Walter Mathews (Mike). BW-90m. by Jeff Stafford

Quotes

Trivia

When Kelly arrives in Grantville, a movie marquee displays the title of the film Shock Corridor (1963), Samuel Fuller's previous film.

Notes

The working title of this film is The Iron Kiss.

Miscellaneous Notes

Released in United States January 2001 (Shown at Sundance Film Festival (Sundance Collection) in Park City, Utah January 18-28, 2001.)

Released in United States 1998

Released in United States August 8, 1991

Released in United States Fall October 28, 1964

Released in United States January 2001

Released in United States June 1998

Shown at Avignon/New York Film Festival (Fuller Tribute) in New York City (French Institute) April 24 - May 3, 1998.

Shown at French-American Film Workshop in Avignon, France June 24-28, 1998.

The dream sequence was shot in 16mm.

Released in United States 1998 (Shown at Avignon/New York Film Festival (Fuller Tribute) in New York City (French Institute) April 24 - May 3, 1998.)

Released in United States June 1998 (Shown at French-American Film Workshop in Avignon, France June 24-28, 1998.)

Released in United States August 8, 1991 (Shown in New York City (Film Forum: Sam Fuller Retrospective) August 8, 1991.)

Released in United States Fall October 28, 1964