Criterion | 1964 | 90 mins. | NR
Given the nature of his films, director Samuel Fuller was a magnet for controversy and varying opinions about his work. When I was first introduced to his work, almost twenty years ago during a college film course, I thought The Naked Kiss was one of the best movies I’d ever seen. In contrast, a fellow classmate said it was one of the worst he’d ever seen, declaring it sleazy, tacky and a waste of his time. Years later, I’m no longer sure The Naked Kiss is one of the best movies I’ve ever seen, but it would definitely make it into the top 100. As for my classmate, I have a feeling Mr. Fuller might have chuckled at his indignance.
The opening minutes tell us more about our main character than many movies do in their entirety. We hear the strains of a trumpet as a woman (Constance Towers) proceeds to smack a nameless man (Monte Mansfield) around with her purse. “I’m through, Kelly. Please,” he whimpers, in between shots of her with her dress half on and half off. Finally her wig falls from her head, only adding fuel to her fire and enabling her to finish the fight. He lays there moaning, nearly motionless, as she removes $75 from his wallet, money he owes her.
Before leaving, she stops at the mirror, fixes her wig and freshens her make-up, just long enough for credits to roll. As the man struggles to his feet, a desk calendar tell us its July 4, 1963; Independence Day. This is one tough woman, who knows how to take care of herself.
Arriving in Grantville, she decides to change occupations by nursing physically challenged children rather than the libidinous needs of healthy, grown men. It’s to the credit of Ms. Towers that the change of heart feels like something Kelly has been working on doing for years beforehand. After all, if the transition wasn’t believable, the film would fall flat. Towers is a strong actress—she can be a convincing prostitute at the beginning. And then morph into the kind of loving nurse’s aide everyone feels they can trust.
Despite the community’s love for her, the local sheriff, Griff (Anthony Eisley), refuses to let up, not believing that a prostitute can change her spots so easily. Their volatile relationship burns beneath the surface, and reveals the seamy side of suburbia. Not only does he want to run her out of town, but he’s looking to make a profit by having Kelly work a brothel just on the other side of the state line. Things become more difficult when she falls in love with wealthy philanthropist J.L. Grant (Michael Dante). However, this chance at redemption only exposes an even darker secret lurking in the small town.
The Naked Kiss is the kind of film only Samuel Fuller could make. It has everything one would expect from his pictures: a sense of daring, with equal doses vulgarity and overstatement. Despite it all, Fuller manages to make a fairly strong statement about society and social morays.
As we’ve come to expect from Criterion, the transfer looks great. The contrasts of cinematographer Stanley Cortez’s shots are formidable, and the framing (now 1.75:1 compared to the first disc’s 1.66:1) is. The sound is also a noticeable improvement, with the monaural strains of “Mommy Dear” sounding almost perfect.
We get the following special features:
Constance Towers (28:48): In this 2007 interview conducted by film historian and filmmaker Charles Dennis, the star of The Naked Kiss reminisces about working on the film. Towers discusses working with Sam Fuller, playing the character of Kelly (and not shaving her head for the role) and much more.
The South Bank Show: “Sam Fuller” (31:05): Originally airing in 1983, this segment serves as an overview of the director. Always lively (and chomping on a cigar), Fuller offers an informative and fast-paced look into his life and career.
Cinéastes de notre temps (23:31): This 1967 episode of the French television series is another excellent look into the mind of Fuller, who dishes out notes on his life and career. Some of the specific subjects at hand are: journalism, war, women, racism, and violence, all themes throughout the director’s career.
Cinéma cinémas (12:50): This segment from the French television series, originally aired in 1987, offers another interview with Fuller. This time, Fuller uses photographs as an aid to his storytelling.
Theatrical trailer
24-page booklet with an essay titled “Fractured Fairy Tales” by critic and poet Robert Polito and excerpts from Fuller’s autobiography.
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