The Naked Kiss

A part of this view­ing list: Criterion Collection Spine #18: Samuel Fuller’s The Naked Kiss.
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Sam Fuller is wide­ly re­gard­ed as a very mas­cu­line film­mak­er; his works as­so­ci­at­ed with vi­o­lence, bravado, ex­ploita­tion, prim­i­tive­ness and vul­gar­i­ty. And while those as­so­ci­a­tions are cor­rect, the mas­cu­line la­bel is mis­placed. A film like The Naked Kiss il­lus­trates Fuller’s claim to fo­cus on undi­lut­ed emo­tion, em­phat­i­cal­ly un­gen­dered. The char­ac­ter Kelly is cen­tral to the sto­ry in this film, and she es­sen­tial­ly plays the role of the ar­che­typ­al fe­male. Maybe in Wicca [some­thing I’m on­ly tan­gen­tial­ly fa­mil­iar with] she would be the em­bod­i­ment of the Goddess. Another way to look at it would be to com­bine all of the defin­ing char­ac­ter­is­tics of Greek god­dess­es in­to her form. She’s by turns wan­ton, venge­ful, moth­er­ly, sis­ter­ly, house­wife­ly. She is every­thing that any­one has ever thought about a wom­an. This type of em­bod­i­ment trans­lates eas­i­ly in­to a char­ac­ter­i­za­tion of Kelly as pow­er. She is what the film is about, and her un­con­scious in­abil­i­ty to be pi­geon­holed by oth­er char­ac­ters is in­dica­tive of the “moral tract” that Michael Dare men­tions in his Criterion es­say.
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Despite this read­ing, the film has mo­ments of weak­ness in its por­tray­al of Kelly. Her pros­ti­tu­tion is equat­ed as a sex­u­al per­ver­sion ak­in to pe­dophil­ia. It is ob­vi­ous that Kelly isn’t a sex­u­al de­viant, but there is a brief mo­ment that gives the film its name when she says she can tell when a man is a per­vert by the way his kiss tastes. A naked kiss, pros­ti­tutes call it. This sort of six­th sense is noth­ing but hokey. Even in the 1960s I sus­pect. Despite and be­cause of Kelly’s mul­ti­fac­eted char­ac­ter­i­za­tion, she’s the least ac­ces­si­ble char­ac­ter in the film. Illimitable. It helps that the set­ting and oth­er char­ac­ters are so pure­ly one-di­men­sion­al. Grantville could be Leave it to Beaver’s Mayfield, ex­cept it is even more idyl­lic.
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Of course, the lurid plot is ex­act­ly right for ex­ploita­tion cin­e­ma: pros­ti­tutes, pe­dophiles, small town America. Dateline could learn a lot from Sam Fuller. Kelly, though a hook­er with a heart of gold, has an ex­treme­ly vi­o­lent streak that ap­pears when she must de­fend virtue and jus­tice; an odd trait for a pros­ti­tute, but ful­ly in keep­ing with the com­plex and im­per­fect char­ac­ters that are trade­marks of a Fuller film. There is a scene where she shoves mon­ey in­to the mouth of a cathouse madam, and the fact that the madam looks like Kelly might in 15 years is star­tling. The fram­ing of each shot through­out the film is as tight and claus­tro­pho­bic as pos­si­ble, not un­til the end do we get a sense of free­dom and re­lease, as Kelly leaves town to make her way else­where. The Naked Kiss isn’t Fuller’s best film, but it is cer­tain­ly a stand­out in com­par­ison to his oth­er works and the schol­ar­ship that has been done in re­la­tion to his defin­ing au­teur char­ac­ter­is­tics. If you’re a fan of any­thing Fuller though, you’ll en­joy this film.
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Criterion Essay by Michael Dare.
Criterion Contraption re­view.
San Francisco Gate ar­ti­cle.
Dan Schneider es­say.
YouTube Clips: Clip 1, Clip 2, Clip 3.

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