United States
1964
91 minutes
Black and White
1.66:1
English
18
The setup is pure pulp: A former prostitute relocates to a buttoned-down suburb, determined to fit into mainstream society. But in the strange, hallucinatory territory of writer/director/producer Sam Fuller, perverse secrets simmer beneath a seemingly wholesome facade. Criterion is proud to present The Naked Kiss.
| Kelly | Constance Towers |
| Griff | Anthony Eisley |
| Grant | Michael Dante |
| Candy | Virginia Grey |
| Mac | Patsy Kelly |
| Buff | Marie Devereux |
| Dusty | Karen Conrad |
| Kip | Gerald Michenaud |
| Bunny | Betty Robinson |
| Redhead | Breena Howard |
| Marshmallow | Sally Mills |
| Hatrack | Edy Williams |
| Miss Josephine | Betty Bronson |
| Officer Sam | Neyle Morrow |
| Director | Samuel Fuller |
| Written, produced, and directed by | Samuel Fuller |
| Costume design | Einar H. Bourman |
| Editing | Jerome Thoms |
| Cinematography | Stanley Cortez |
| Music | Paul Dunlap |
| Art director | Eugene Lourie |
“Why Sam Fuller?” a new essay by Tag Gallagher, in the latest issue of Senses of Cinema, asks. Aficionados might wonder, why even ask? But perhaps they forget that the two-fisted termite art of this . . .
It is a good time to belong to the cult of Fuller. Those of us who consider ourselves members never forget our moment of induction. Some enlisted when his films first hit the screen—lucky enough to catch The Steel Helmet in a shabby downtown theater, or Forty Guns at . . .
A beautiful woman is mysteriously beating the bejesus out of a drunk when he suddenly pulls at her hair and it comes off. The now totally bald woman continues smacking him around with her shoe until he falls to the ground. Soon, she stops hitting him and starts going through his wallet. He’s . . .
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