Notes

1. Raymond Borde and Étienne Chaumeton, Panorama du Film Noir Américain (Paris: Les Éditions de Minuit, 1983), p. 277. [Return to Text]

2. See reprint above, p. 61 [Return]

3. Borde and Chaumeton, p. 277. [Return]

4. Robert Justman, Kiss Me Deadly Shooting Schedule, November 23, 1954, p. 5. [Return]

5. A.I. Bezzerides, Kiss Me Deadly screenplay, p. 130. Bezzerides wrote: [Return]

305 BEACH - VELDA AND MIKE

Velda helps Mike and they run through the darkness which is stabbed by sharp flickers of light. Now, as they COME CLOSER TO CAMERA, there is a tremendous explosion. Light gushes fiercely upon them. and they stop, turn. 306 ON BEACH COTTAGE

It is a boiling ball of fire.

307 ON BEACH - VELDA AND MIKE
As he holds her, to protect her from the sight. Debris from the shattered house falls hissing into the sea behind them.

FADE OUT:

T H E E N D

1st A.D. Robert Justman refers to these two scenes as "Der Tag." In the actual film, through an optical effect the title, "The End," emerges and is brought forward out of the bright white flames engulfing the house (scene 306) and remains superimposed over Velda and Mike in the final shot (scene 307).

6. Jack Shadouin, Dreams and Dead Ends, The American Gangster/Crime Film (Cambridge, Massachusetts: MIT Press, 1977), pp. 349-350. [Return]

7. J.P. Telotte, Voices in the Dark, The Narrative Patterns of Film Noir (Chicago: University of Illinois Press, 1989), p. 213. [Return]

8. Robin Wood, "Creativity and Evaluation: two film noirs of the '50's," CineAction!, No. 20/21 (November, 1990), p. 20. [Return]

9. Edward Gallefent, "Kiss Me Deadly" in The Book of Film Noir (New York: Continuum, 1993), p. 246. [Return]

10. Edwin T. Arnold and Eugene L Miller, The Films and Career of Robert Aldrich (Knoxville, Tennessee: University of Tennessee Press, 1986), p. 246. [Return]

11. Wood, p. 19. [Return]

12. Andrew Sarris, The American Cinema (New York: E.P. Dutton, 1968), p. 85. [Return]

13. Raymond Borde, "Un Cinéaste Non-conformiste: Robert Aldrich." Le Temps Moderne (May, 1956), p. 1684. [Return]

14. Sarris, p. 84. [Return]

15. Borde, p. 1688. [Return]

16. Shadouin, p. 273 and in Note 13, p. 350. [Return]

17. In fact, the outline of nine elements of style originally produced with Janey Place was designed around examples found in World for Ransom. Kiss Me Deadly was substituted at the request of Film Comment. [Return]

18. Mike Davis, City of Quartz (New York: Vintage, 1992), p. 37. [Return]

19. R. Barton Palmer, Hollywood's Dark Cinema, The American Film Noir (New York: Twayne, 1994), p. 95/p. 96. [Return]

20. Ibid., p. 104. [Return]

21. Aldrich's reply to attacks by the Legion of Decency and other appeared as "Sex and Violence Justified" in America, No. 92 (May, 1955). [Return]

22. Gallafent, p. 242. [Return]

23. Robert Lang, "Looking for the `Great Whatzit': [sic] Kiss Me Deadly and Film Noir" Cinema Journal, Vol. 27, No. 3 (Spring, 1988), p. 33. [Return]

24. Carol Flinn, "Sound, Woman, and the Bomb," Wide Angle, Vol. 8, Nos. 3/4, 1986, p. 116. [Return]

25. Ibid., p. 122. [Return]