THE FILMS:

Ernest Hemingway's 1927 short story "The Killers" first appeared in Scribner's Magazine and became one of the writer's most recognized and re-printed works. Although it barely cracks 2,500 words, "The Killers" is a powerful piece ripe with satire, angst and the human condition. The story spawned several adaptations, including two fantastic feature films: a 1946 adaptation with Burt Lancaster and Ava Gardner, and a 1964 version with Lee Marvin and Angie Dickinson. Both are presented on the Criterion Collection's Blu-ray with extensive extras and fine technical presentations.

The Killers (1946) - directed by Robert Siodmak

This crackling, engrossing first film adaptation of "The Killers" ignited the careers of stars Lancaster and Gardner, and is rightfully revered as classic film noir. In the moody opener, hired killers Al (Charles McGraw) and Max (William Conrad) arrive at a New Jersey diner looking for the "Swede" (Lancaster), a once legendary boxer. A bystander manages to warn the Swede, who makes no attempt to flee and accepts his fate quietly as gunfire blares. A life-insurance investigator, Jim Reardon (Edmond O'Brien), is tasked with investigating the Swede's death, and The Killers gradually reveals the life events that brought the Swede to this end during a series of flashbacks.

The Swede, aka Pete Lund, is a successful boxer until a hand injury sidelines him. Adrift without a career, the Swede gets mixed up with gangster "Big Jim" Colfax (Albert Dekker) and the man's mistress, Kitty Collins (Gardner). There's a robbery, a payout, and much deception. Hemingway's short story is basically exhausted by the end of the prologue, but The Killers remains enthralling throughout. That the Swede seems to lie down and die without a fight is the film's initial, shocking revelation, and something that it explores for the next 90 minutes. Flashbacks are not unique to this noir, but The Killers is able to garner sympathy for an already deceased character.

This is a beautifully shot, black-and-white potboiler, with cinematography by Woody Bredell (The Inspector General). Director Robert Siodmak (The Dark Mirror) made a career directing noir thrillers, and he expertly guides his leads here. Lancaster is fantastic, eliciting sympathy, understanding and empathy from the audience. Gardner is as strong, and her Kitty Collins weaves a dangerous, seductive web around the Swede, which lends to his downfall. The mood Siodmak and his cast creates is perfect: smoky, mysterious, and tense, with bits of humor from Lancaster.

The flashback-heavy structure works well, and the audience discovers details of the crime alongside Reardon. The immediate antagonists are largely absent from the film's midsection, but they return in the shocking climax. Conrad and McGraw play the killers with few words and cold resolve, and this is nothing short of effective. The audience is ultimately left with a pit in its collective stomach. This is a sad story of missed opportunity and fateful decision, shot and acted with precision. ****1/2 (out of *****).

The Killers (1964) - directed by Don Siegel

This version of The Killers begins in a similar, if more brutal, fashion to its predecessor. Hired guns Charlie (Lee Marvin) and Lee (Clu Gulager) torture the principal at a school for the blind until she reveals the whereabouts of a teacher, Johnny North (John Cassavetes). Someone warns Johnny about the danger, but he simply replies, "It's OK, I know them." Charlie and Lee enter the classroom and shoot Johnny until dead. Here, it is the killers who are curious enough to find out why Johnny did not run away. They'd also like to profit from any ongoing scheme Johnny may have been running. Johnny's former associate, Earl (Claude Akins), details Johnny's time as a stock car driver and his relationship with seductress Sheila Farr (Angie Dickinson). The men begin to second-guess their work as they learn more about Johnny's life.

A key difference in this version is the hitmen are major characters instead of background threats. These are brutal, callous men who terrorize, maim and frighten others to get information. There's no beating around the bush, either, as Charlie and Lee will even hit a woman. The later The Killers is not as moody or suspenseful, but it is a worthy follow-up to the 1946 version. Originally shot as the first "TV movie" for NBC Network, The Killers saw a theatrical release after television suits judged it too violent for primetime. It is also notable for being Ronald Reagan's final film before turning to politics, and The Killers is the only film in which Reagan plays a villain.

That villain is Jack Browning, a gangster and sometime lover of Sheila Farr. Reagan's performance is not especially memorable here, though seeing him in this role is at least a curiosity. This film's plot is similar to the 1946 version, but the big heist here involves a mail truck with valuable cargo. There is much double-crossing and escaping death, and The Killers (1964) pushes the envelope of credibility a number of times with its immortal North, who must have been a cat in another life. Dickinson is tough and beautiful, and plays a colder, more damaged film fatale than Gardner. When things unspool, it's clear Farr is masterful at playing the game.

This is an uncomfortable love triangle, with Cassavetes, Dickinson and, to a lesser extent, Reagan sparring with words and gestures. There is some humor from Marvin and Gulager, whose characters end up sitting back and basking in the stories of chaos and deception. The pacing hits a few second-act speed bumps before the violent conclusion, but The Killers remains entertaining. This is a darker, uglier version of Hemingway's short story, but is an impressive offering from Siegel and company. **** (out of *****).

THE BLU-RAY:

PICTURE:

The Criterion Collection releases both versions of The Killers on a single Blu-ray, but I noticed no issues with compression artifacts. The Killers (1946) is presented with a 1.35:1/1080p/AVC-encoded transfer struck from a 35mm nitrate fine-grain master positive. There are some inherent source flaws and a few spots of softness, but otherwise this transfer looks great. Criterion wisely avoids any noise reduction or edge enhancement, and transfer is film-like, with natural grain and strong fine-object detail. Print defects are minimal, and skin tones are accurate in this black-and-white image. Contrast is good, black levels are strong, and texture is abundant.

The Killers (1964) receives a 1.34:1/1080p/AVC-encoded color transfer. This transfer was culled from a 35mm interpositive, and the results are good. Detail, depth and texture are usually strong, despite a couple of softer/weaker looking shots. The grain is generally film-like, and contrast is appropriate. Black levels are good, and color saturation has only minor flaws. There is minimal print damage.

SOUND:

Each film receives a LPCM mono mix. The 1946 film benefits from clear, hiss-free dialogue and a reasonably deep presentation of score and effects. I noticed no distortion, pops or cut-outs in the track. The 1964 film sounds similarly clear, and the racing sequences are quite impressive, even in mono. English SDH subtitles are included for both film.

PACKAGING AND EXTRAS:

This single-disc release is packed in a clear, thick Blu-ray case. The artwork is double-sided, and each film receives its own insert. Extras for the 1946 film include an Interview with Screenwriter Stuart Kaminsky (17:46/HD). Under "Source and Adaptations," viewers can enjoy Hemingway's Short Story Read by Stacey Keach (17:43/audio only); the Screen Director's Playhouse (29:41/audio only) on the film, with interviews by Burt Lancaster, Shelley Winters, Tony Barrett and William Conrad; and Andrei Tarkovsky's The Killers (20:38/HD), from Russian director Andrei Tarkovsky. You also get some text notes on that film and Sidomak Trailers (10:18 total/HD).

For the 1964 film, you get Reflections with Clu Gulager (18:46/HD); Don Siegel on The Killers (19:32/audio only); and the Trailer (2:23/HD).

FINAL THOUGHTS:

This is an impressive HD update to the Criterion Collection's DVD presentation of Ernest Hemingway's The Killers (1946 and 1964). Both films are excellent in their own right, with notable differences that make each an exciting experience. The A/V presentations and extras are impressive. Highly Recommended.

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William lives in Burlington, North Carolina, and looks forward to a Friday-afternoon matinee.