Container of (work): Killers (Motion picture : 1946) Container of (work): Killers (Motion picture : 1964)
Notes:
Title from container. The killers (1946): Burt Lancaster, Ava Gardner, Edmond O'Brien, Albert Dekker, Sam Levene, Vince Barnett, Virginia Christine, Jack Lambert, Charles D. Brown, Donald MacBride, Charles McGraw, William Conrad. The killers (1964): Lee Marvin, Angie Dickinson, John Cassavetes, Clu Gulager, Claude Akins, Norman Fell, Ronald Reagan. Originally released as motion pictures in 1946 and 1964. From the story by Ernest Hemingway. Special features: Stuart Kaminsky (interview from 2002 with writer Stuart M. Kaminsky); Source and adaptations: Hemingway's short story (audio recording from 2002 of actor Stacy Keach reading), Screen directors' playhouse (radio adaptation from 1949 of the 1946 film, starring Burt Lancaster and Shelley Winters), Andrei Tarkovsky's The killers (short film adaptation); Siodmak trailers: Son of Dracula (1943), Cobra woman (1944), The killers (1946), Cry of the city (1948), Criss cross (1949). Reflections with Clu Gulager (interview from 2002 with actor Clu Gulager filmed by his sons, John and Tom Gulager); Don Siegel on The killers (audio excerpt from Don Siegel's autobiography, A Siegel Film, read by actor and director Hampton Fancher); Trailer. Insert includes essays by novelist Jonathan Lethem and critic Geoffrey O'Brien.
Contents:
Ernest Hemingway's The killers (1964 : color ; 94 min.) / Universal presents ; Revue Productions ; screenplay by Gene L. Coon ; produced and directed by Donald Siegel. Ernest Hemingway's The killers (1964 : color ; 94 min.) / Universal presents ; Revue Productions ; screenplay by Gene L. Coon ; produced and directed by Donald Siegel.
Summary:
Ernest Hemingway's simple but gripping short tale "The Killers" is a model of economical storytelling. Two directors adapted it into unforgettably virile features: Robert Siodmak, in a 1946 film that helped define the noir style; and Don Siegel, in a brutal 1964 version that was intended for television but deemed too violent for home audiences and released theatrically instead. The first is poetic and shadowy, the second direct and harsh as daylight, but both get at the heart of Hemingway's existential classic.
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