In the early moments of KISS THE BLOOD OFF MY HANDS, cultural misfit Bill Saunders (Burt Lancaster) digs his own grave during an aimless night when he slugs a London pub proprietor and kills him dead. In truth it is somewhat more complicated than that; the fallen man most likely did not die from the punch, but when his skull hit a fixture on the way to the bar room floor. Bill was upset to be sure, but he did not want to kill the man. No matter, as the stranger in town he is compelled to make a getaway attempt. He escapes by breaking into the always beautiful and innocent Joan Fontaine's, (top-billed) apartment. This completely random act, the moment of fate that propels so many crime stories into noir territory, always has major consequences for both parties. Bill desperately needs a place of respite, though he has done nothing to deserve one so far. Jane is a strait-laced nurse whose significant other (presumably) was killed during WWII. A lovely young woman, she likely could set her sights higher than a fugitive with a 6th-grade education. But when granted a clear opportunity to hand Bill to the Coppers , she keeps his forced presence in her apartment to herself. With that, an unlikely but engaging romance story is set in motion.
Later, despite misgivings about his violent nature, Jane becomes involved with Bill, who resolves to reform. In Noir fashion Melodrama ensues . Make no mistake this noir turns dark and brooding with a fantastic turn from Fontaine and Lancaster . 8/10.
The brooding black-and-white cinematography lends impressive atmosphere to this film noir, filmed primarily on Universal sound stages with some location work added to the mix. The emphasis on foggy waterfront streets evokes a fatalistic environment.
The film touches on the topic of men facing post-war psychological challenges, but here it's mostly an excuse for the protagonist to lose his temper in which Lancaster really shines. Few actors contributed to the film noir movement with the same aggression as Burt Lancaster. Out of the gate, nine of his first ten acting credits were in the noir category: THE KILLERS (1946), BRUTE FORCE (1947), DESERT FURY (1947), I WALK ALONE (1947), ALL MY SONS (1948), SORRY, WRONG NUMBER (1948), KISS THE BLOOD OFF MY HANDS, CRISS CROSS (1949) and ROPE OF SAND (1949). Later he would star in the celebrated noir straggler SWEET SMELL OF SUCCESS (1957).
Lancaster performed as a circus acrobat in the 1930s. After serving in World War II, the 32-year-old Lancaster landed a role in a Broadway play and drew the attention of a Hollywood agent.
Later, despite misgivings about his violent nature, Jane becomes involved with Bill, who resolves to reform. In Noir fashion Melodrama ensues . Make no mistake this noir turns dark and brooding with a fantastic turn from Fontaine and Lancaster . 8/10.
The brooding black-and-white cinematography lends impressive atmosphere to this film noir, filmed primarily on Universal sound stages with some location work added to the mix. The emphasis on foggy waterfront streets evokes a fatalistic environment.
The film touches on the topic of men facing post-war psychological challenges, but here it's mostly an excuse for the protagonist to lose his temper in which Lancaster really shines. Few actors contributed to the film noir movement with the same aggression as Burt Lancaster. Out of the gate, nine of his first ten acting credits were in the noir category: THE KILLERS (1946), BRUTE FORCE (1947), DESERT FURY (1947), I WALK ALONE (1947), ALL MY SONS (1948), SORRY, WRONG NUMBER (1948), KISS THE BLOOD OFF MY HANDS, CRISS CROSS (1949) and ROPE OF SAND (1949). Later he would star in the celebrated noir straggler SWEET SMELL OF SUCCESS (1957).
Lancaster performed as a circus acrobat in the 1930s. After serving in World War II, the 32-year-old Lancaster landed a role in a Broadway play and drew the attention of a Hollywood agent.