|
gptkbp:instance_of
|
gptkb:novel
gptkb:film
|
|
gptkbp:adaptation
|
gptkb:film
film noir
cult classic status
|
|
gptkbp:audience
|
Mixed reviews upon release.
Re-evaluated in later years.
|
|
gptkbp:author
|
gptkb:Mickey_Spillane
|
|
gptkbp:based_on
|
gptkb:The_Drowning_Pool
The D. A. Draws a Circle
|
|
gptkbp:box_office
|
$2.5 million
successful
Distributed by 20th Century Fox.
|
|
gptkbp:budget
|
$1 million
|
|
gptkbp:censorship
|
Controversial for its themes.
|
|
gptkbp:character
|
gptkb:The_Girl
gptkb:Lt._Pat_Chambers
gptkb:Mike_Hammer
gptkb:Velda
Dr. G. E. Soberin
Dr. G. A. M. M. M.
|
|
gptkbp:character_development
|
Mike Hammer's personality
Mike Hammer's character is complex.
|
|
gptkbp:character_traits
|
gptkb:intelligence
gptkb:moral_ambiguity
bravery
detective skills
hard-boiled demeanor
|
|
gptkbp:cinematography
|
gptkb:Ernest_Laszlo
high contrast
Innovative use of angles.
Noted for its innovative techniques.
High contrast lighting.
Ernest Laszlo.
Noted for its innovative camera work.
|
|
gptkbp:color
|
Black and white
black and white
|
|
gptkbp:conflict
|
gptkb:murder_mystery
|
|
gptkbp:costume_design
|
Jean Louis
|
|
gptkbp:country
|
gptkb:United_States
|
|
gptkbp:cover_artist
|
gptkb:unknown
|
|
gptkbp:critical_analysis
|
examined for social commentary
|
|
gptkbp:critical_reception
|
cult classic
Cult classic
Mixed reviews upon release.
popular among readers
|
|
gptkbp:criticism
|
Critiqued for its violence.
|
|
gptkbp:cultural_impact
|
influenced film noir
influenced filmmakers
Influenced later films and media.
Influenced the genre of neo-noir.
|
|
gptkbp:cultural_references
|
referenced in other media
|
|
gptkbp:cultural_significance
|
Reflects 1950s American society.
|
|
gptkbp:design
|
gptkb:William_Glasgow
|
|
gptkbp:director
|
gptkb:Quentin_Tarantino
gptkb:Robert_Aldrich
|
|
gptkbp:distributor
|
gptkb:20th_Century_Fox
|
|
gptkbp:edited_by
|
gptkb:Michael_Luciano
|
|
gptkbp:editing
|
gptkb:Michael_Luciano
|
|
gptkbp:editor
|
gptkb:Michael_Luciano
|
|
gptkbp:famous_quote
|
" The end of the world is just the beginning."
|
|
gptkbp:film
|
Ambiguous ending.
Produced by Robert Aldrich Productions.
|
|
gptkbp:film_awards
|
gptkb:Best_Actor
gptkb:Best_Cinematography
gptkb:Best_Director
gptkb:Best_Editing
gptkb:None
nominated for awards
Nominated for several awards.
Best Film Noir
|
|
gptkbp:film_editing
|
gptkb:Michael_Luciano
gptkb:Academy_Award_nomination
Adapted from a novel.
|
|
gptkbp:film_festival
|
gptkb:Cannes_Film_Festival
Regularly screened at film festivals.
|
|
gptkbp:film_length
|
106 minutes
|
|
gptkbp:film_score
|
jazz elements
Miklós Rózsa's score.
|
|
gptkbp:film_series
|
gptkb:None
|
|
gptkbp:film_technique
|
gptkb:Chinatown
gptkb:L._A._Confidential
gptkb:The_Long_Goodbye
gptkb:The_Big_Lebowski
hard-boiled
Significant in film history.
Influenced the portrayal of detectives.
Use of shadows and lighting.
Use of shadows and light.
Characterized by its bleak outlook.
Hard-boiled detective.
Impact on the genre is significant.
Influenced the neo-noir genre.
Influenced filmmakers like Quentin Tarantino.
|
|
gptkbp:filming_location
|
gptkb:Los_Angeles
|
|
gptkbp:filmography
|
Complex characters.
Examined for its narrative structure.
Analyzed for its feminist themes.
Examined for its critique of 1950s America.
|
|
gptkbp:followed_by
|
gptkb:My_Gun_Is_Quick
|
|
gptkbp:genre
|
gptkb:Franz_Waxman
gptkb:detective_fiction
film noir
|
|
gptkbp:has_cameo
|
gptkb:Wesley_Addy
gptkb:Jack_Elam
gptkb:John_Marley
gptkb:Tommy_Cook
gptkb:Paul_Stewart
Features several cameos.
|
|
gptkbp:home_media_release
|
gptkb:DVD
gptkb:Blu-ray
DVD and Blu-ray
DVD and Blu-ray.
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
Kiss Me, Deadly
|
|
gptkbp:influenced
|
gptkb:Pulp_Fiction
gptkb:The_Big_Lebowski
|
|
gptkbp:influenced_artists
|
influential in crime fiction
inspired many crime writers
|
|
gptkbp:influenced_by
|
gptkb:The_Maltese_Falcon
hardboiled fiction
|
|
gptkbp:inspiration
|
gptkb:The_Cold_War
real-life events
The Cold War era.
The novel by Mickey Spillane.
|
|
gptkbp:is_set_in
|
gptkb:William_A._Horning
|
|
gptkbp:isbn
|
978-0-312-42780-0
|
|
gptkbp:language
|
English
|
|
gptkbp:language_spoken
|
Known for its sharp dialogue.
Sharp and witty dialogue.
|
|
gptkbp:legacy
|
Considered a classic of the genre.
Influenced the portrayal of detectives.
A touchstone for film studies.
influenced future detective novels
|
|
gptkbp:main_actor
|
gptkb:Maxine_Cooper
gptkb:Ralph_Meeker
|
|
gptkbp:main_character
|
gptkb:Mike_Hammer
|
|
gptkbp:makeup_artist
|
gptkb:Ben_Nye
|
|
gptkbp:music_by
|
gptkb:Miklós_Rózsa
|
|
gptkbp:narrative
|
Non-linear narrative.
|
|
gptkbp:narrative_style
|
first-person
|
|
gptkbp:notable_film
|
Has a cult following.
The film's ending is famously ambiguous.
|
|
gptkbp:notable_quote
|
" The end of the world is just the beginning."
|
|
gptkbp:notable_scene
|
The ending with the mysterious box.
|
|
gptkbp:notable_themes
|
gptkb:betrayal
gptkb:mystery
gptkb:corruption
violence
nuclear paranoia
|
|
gptkbp:page_count
|
approximately 200
|
|
gptkbp:plot
|
detective story
A private investigator uncovers a dangerous secret.
|
|
gptkbp:predecessor
|
gptkb:I,_the_Jury
|
|
gptkbp:premiere
|
gptkb:Cannes_Film_Festival
|
|
gptkbp:protagonist
|
gptkb:Detective
|
|
gptkbp:published
|
gptkb:1952
|
|
gptkbp:publisher
|
gptkb:E._P._Dutton
|
|
gptkbp:quote
|
Famous for its memorable lines.
|
|
gptkbp:reader_demographic
|
adult audience
|
|
gptkbp:release_country
|
gptkb:United_States
|
|
gptkbp:release_date
|
gptkb:1955
April 1955
|
|
gptkbp:release_format
|
Theatrical
theatrical
|
|
gptkbp:release_year
|
gptkb:1955
April 1955
|
|
gptkbp:remake
|
gptkb:None
gptkb:Kiss_Me,_Deadly_(1990)
|
|
gptkbp:restoration
|
Restored for modern audiences.
Restored by the UCLA Film & Television Archive.
Preserved by the Academy Film Archive.
Restored in 2008.
|
|
gptkbp:runtime
|
106 minutes
|
|
gptkbp:screenplay
|
gptkb:A._I._Bezzerides
|
|
gptkbp:screenplay_by
|
gptkb:A._I._Bezzerides
|
|
gptkbp:series
|
gptkb:Mike_Hammer
|
|
gptkbp:setting
|
gptkb:Los_Angeles
gptkb:New_York_City
|
|
gptkbp:soundtrack
|
gptkb:Miklós_Rózsa
|
|
gptkbp:starring
|
gptkb:Cloris_Leachman
gptkb:Wesley_Addy
gptkb:Maxine_Cooper
gptkb:Ralph_Meeker
gptkb:Paul_Stewart
|
|
gptkbp:style
|
gptkb:pulp_fiction
|
|
gptkbp:symbolism
|
Symbolism of the 'great whatsit'.
The suitcase as a symbol.
The mysterious box symbolizes destruction.
|
|
gptkbp:theme
|
Corruption and betrayal.
|
|
gptkbp:themes
|
Critique of American values.
Explores existential dread.
Themes of paranoia.
Explores themes of greed and corruption.
Paranoia and betrayal.
|
|
gptkbp:writer
|
A. I. Bezzerides.
|
|
gptkbp:writing_style
|
fast-paced
gritty
dialogue-driven
suspenseful
|
|
gptkbp:year
|
post-World War II
|
|
gptkbp:bfsParent
|
gptkb:Mickey_Spillane
gptkb:Mike_Hammer
|
|
gptkbp:bfsLayer
|
5
|