Ernest Hemingway’s gripping short story “The Killers” has fascinated readers and filmmakers for generations. In 1964, Don Siegel—initially slated to direct the 1946 version—took it on, creating the first-ever made-for-TV feature, which would prove too violent for American audiences in the wake of JFK’s assassination. —The Criterion Collection
Donald Siegel (October 26, 1912 – April 20, 1991) was an influential American film director and producer. His name appeared in the credits of his films as both Don Siegel and Donald Siegel.
Born in Chicago, he graduated from Jesus College, Cambridge in England, and found work in Warner Bros. film library, rising to become head of the Montage Department, where he directed thousands of montages, including the opening montage for Casablanca. In 1945 two shorts he directed, Hitler Lives? and A Star in the Night, won Academy Awards, which launched his career as a feature director.
He directed whatever material came his way, often transcending the limitations of budget and script to produce interesting and adept works. He directed two episodes of The Twilight Zone, “The Self-Improvement of Salvadore Ross” and “Uncle Simon”. He worked with Elvis Presley and Dolores del Río in Flaming Star (1960), and with Steve McQueen in Hell… read more
I am not a fan of Don Siegel formally, Dirty Harry, Alcatraz or other things. But in some way, I was very confident that this film was different. I have always being loved Lee Marvin's movies. Furthermore there is Cassavetes on it. Special story which is up to something like before. You should see it. I know noone is likeable in the movie but God damn you Reagan.
Siegel's minimalistic style perfectly suits every crime tale he touches. This version rivals Robert Siodmak's previous by being something completely different, having more of a pulp-ish, b-movie sensitivity, au courant with a more nihilistic, violent, and mysogynistic time it was made. Memorable parts played by everyone, especially the badass Lee Marvin, and Angie Dickinson is to die for.
Narrativas em flashbacks são constantes em filmes noir. PACTO DE SANGUE (DOUBLE INDEMNITY) e CREPÚSCULO DOS DEUSES (SUNSET BOULEVARD), ambos de Billy Wilder, e CURVA DO DESTINO (DETOUR) de Edgar G… read review