I didn't like this one very much. They concentrated too much on the racing. The characters were pretty thin (or at least thinner than those in the 1946 version), and the plot much less interesting. It pales in comparison to the original.
Watchable, but nothing compared to The Killers (1946) with Burt Lancaster and Ava Gardner. At times the hitmen were unintentionally comical especially Lee Marvin's sidekick, Clu Gulager. Reagan did an impressive job as a criminal considering his previously white bread performances.
lee marvin at his coolest-- but the original is better-- and it's kind of a bummer that both movies give "an explanation" to a mystery that is the whole point of the short story.
Don Siegel's 1964 version of The Killers really leaves Hemingway behind to craft a remix of the 1946 film (script courtesy of Star Trek's Gene Coon). The scene in the diner is completely gone, and so the killers (Lee Marvin and Clu Gulager, who make great bullies) walk into their victim's place of employment and shoot him. Done. The man (John Cassavetes) stands there and takes it, though if the other characters didn't mention it constantly, I don't know that it would necessarily read that way. The twist on the original film's inventions is the removal, distortion or streamlining of 1946's Noir clichés, doing away with the insurance investigator, for example, and instead making the title characters do the work. Marvin's becomes obsessed with the moment and as things come to light, wouldn't mind retiring on the missing heist money. All the names are changed and though it's got a similar structure as the 1946 Killers, the plot points are different, and Siegel pushes it more into the action category, the Noir towards the lurid. Not sure I buy Angie Dickinson as a Femme Fatale - she seems genuinely loving - but the ambiguity is what makes it interesting. The heavies: Ronald Reagan (his last film) and Mr. Ropper, a weird combo that took me out of the movie whenever they were on screen. Both Henry Mancini and John Williams supplied music, but he look is 60s TV, with the old desert back roads and studio lots (I guess we moved off of Florida faster than it seemed). I was entertained, and they certainly didn't make the same movie Siodmak had, but they also didn't make Hemingway's story either! Given the film's DNA, I was expecting better.
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What if Ronald Reagan's character made his money "the hard way" by selling arms to Israel in order to funnel them into Iran?armyofshadows
I didn't like this one very much. They concentrated too much on the racing. The characters were pretty thin (or at least thinner than those in the 1946 version), and the plot much less interesting. It pales in comparison to the original.celinesthreedots
I enjoyed this, but...TCManiacs
Watchable, but nothing compared to The Killers (1946) with Burt Lancaster and Ava Gardner. At times the hitmen were unintentionally comical especially Lee Marvin's sidekick, Clu Gulager. Reagan did an impressive job as a criminal considering his previously white bread performances.ucuruju
lee marvin at his coolest-- but the original is better-- and it's kind of a bummer that both movies give "an explanation" to a mystery that is the whole point of the short story.benhere
https://www.publicdomaintube.com/the-killers-1964/kaculler
https://ok.ru/video/2682736609998Siskoid
Don Siegel's 1964 version of The Killers really leaves Hemingway behind to craft a remix of the 1946 film (script courtesy of Star Trek's Gene Coon). The scene in the diner is completely gone, and so the killers (Lee Marvin and Clu Gulager, who make great bullies) walk into their victim's place of employment and shoot him. Done. The man (John Cassavetes) stands there and takes it, though if the other characters didn't mention it constantly, I don't know that it would necessarily read that way. The twist on the original film's inventions is the removal, distortion or streamlining of 1946's Noir clichés, doing away with the insurance investigator, for example, and instead making the title characters do the work. Marvin's becomes obsessed with the moment and as things come to light, wouldn't mind retiring on the missing heist money. All the names are changed and though it's got a similar structure as the 1946 Killers, the plot points are different, and Siegel pushes it more into the action category, the Noir towards the lurid. Not sure I buy Angie Dickinson as a Femme Fatale - she seems genuinely loving - but the ambiguity is what makes it interesting. The heavies: Ronald Reagan (his last film) and Mr. Ropper, a weird combo that took me out of the movie whenever they were on screen. Both Henry Mancini and John Williams supplied music, but he look is 60s TV, with the old desert back roads and studio lots (I guess we moved off of Florida faster than it seemed). I was entertained, and they certainly didn't make the same movie Siodmak had, but they also didn't make Hemingway's story either! Given the film's DNA, I was expecting better.si_reid
I thought this was really really cool, slick, just brilliant, the style and presentation at times reminded me of Violent Saturday (1955)jrod944
a really well done remake.Limbesdautomne
Sweet can of worms in flashbacks celebrating merrily each character's death. Only minor figures survive.Read more in French on La Saveur des goûts amers.