This video essay was written by Scott Christianson, author of “Condemned: Inside the Sing Sing Death House.” It includes rare photos, clippings, and documents from Martha Beck and Ray Fernandez’s trial and incarceration. The Honeymoon Killers went on to achieve cult status as well as critical recognition, and was named by François Truffaut as his "favorite American film." That shot ends with a sharp transition, presumably by Kastle, who soon took command of the film, to Martha’s foot, kicking a child’s wagon from her path. One of the most widely noted of the visual conceits they devised resulted from Kastle’s idea for surprise blackouts when Martha and Ray turn off the lights in their respective rooms. My biggest problem is that there are two victims whose fates are never depicted. The idea began with TV producer Warren Steibel (Firing Line), who remembered the extensive newspaper coverage accorded the “Lonely Hearts” killers.
All acting aspires to truth, but only rarely does it attain the kind of uncooked vérité seen here. She is cute, innocent, insouciant, always calling her friend on the phone for advice and support. The movie was written by Leonard Kastle (whose previous background was exclusively in opera) and eventually also directed by Kastle after Martin Scorsese was fired a few days into production (allegedly for taking too long to shoot and using whip pans, which confused the …
Of course, Martha and Ray aren’t among the most saintly. Rarely has schizophrenia been closer to the surface of American cinema than in the transitional period of 1968–71. Two cult classics deliver jolts to the system in a double feature at New York City’s beloved Film Forum.
Usually the widows are merely fleeced: with sophisticated repartee, as in Trouble in Paradise (1932), or crass giggles, as in Bedtime Story (1964), or amusing pathos, as in Paper Moon (1973).
Beyond the Valley of the Dolls (The Criterion Collection), Three Colors: Blue, White, Red (Criterion Collection), The Awful Truth (The Criterion Collection), Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb (The Criterion Collection) [Blu-ray]. Reviewed in the United States on March 6, 2011. Over the years "The Honeymoon Killers" has claimed it's rightful place as a true crime classic that still packs a nightmarish punch. Subverting the archetypes and redemptive tropes of the western, Henry King’s melancholy tale of violence peers into the soul of a legendary gunslinger. Consider the matchless grotesquerie of the first “Lonely Hearts” captive, Doris (Ann Harris), pitifully middle-aged and naked in her bath, bellowing “America” and waving her sponge with patriotic fervor—while the groom and his accomplice rifle her belongings. Directed by Charles Chaplin • 1947 • United States Starring Charles Chaplin, Mady Correll. Of course, Martha and Ray aren’t among the most saintly. It sets its sights on loving and lying, and its cri de coeur occurs when the insanely jealous Martha finds Ray canoodling with a mark and bawls, “You promised!”. Directed by Don Siegel • 1964 • United States Starring Lee Marvin, John Cassavetes, Angie Dickinson Ernest Hemingway’s gripping short story “The Killers” has fascinated readers and filmmakers for generations.
Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. Nor does anyone dispute that it was under Kastle’s direction that the picture’s astonishingly unvarnished lead performances developed. Coupled with a homely, overweight nurse who poses as his sister, he takes their money and disposes of them, via the girlfriend in most cases ("If you love me, you'll do it"). Based on a shocking true story and shot in documentary-style black and white by the confident and inspired Leonard Kastle, in what would be his only foray into filmmaking, The Honeymoon Killers is a stark portrayal of the desperate lengths to which a lonely heart will go to find true love.
It’s a minor miracle that a filmmaker with no previous experience could bring all the pieces together, from the performances to the realistically bare set design to a score made up entirely of excerpts from Mahler, which punctuate the film with gloomy alarums. Great performances all around, especially from Shirley Stoller as the female lead ; the whole thing unfolds in a realistic quasi-documentary style, is sometimes humorous, sometimes horrible, particularly when illustrating the banality of evil, but it also easily, despite their ghastly deeds, elicits sympathy for killers, insofar as in the end the viewer is convinced of their true love. The Honeymoon Killers doesn’t give a damn about crime, punishment, or rehabilitation. Reviewed in the United Kingdom on December 6, 2015. Still gotta give Lobianco and Stoler credit for working well under the pressure and contraints of a one-take/low budget project.
Other shots stay in the mind because they are terrifying, none more so than the sequence ending with the murder of Delphine Downing (Kip McArdle) and her little girl, Rainelle (Mary Breen): the ruthlessly close focus on the mother’s drugged eyes, the off-camera scream after Martha takes the daughter to the cellar, the camera panning back as Ray cringes at the ghastly sounds. Stoler said that Scorsese filmed the two setups for the opening hospital scene, something Kastle disputed.
Very interesting interview with first-time and substitute director Kastle who talks about the making of the movie and elucidates the reason original director Martin Scorcese [TAXI DRIVER, 1976] left the set. Instead, you will be treated to a display of irate humor and voyeuristic mischief as two sociopaths and their deluded victims live and die by the axiom “He (or she) who cons last cons best.”, Based closely on the yearlong bilk-and-murder spree of Martha Beck and Raymond Fernandez, the Maggie and Jiggs of serial killers, this is one angry film, derisive of its characters and audience.
本作は、アメリカの'４０年代後半に「ロンリー・ハーツ・キラー」として知られた実在の殺人カップルを題材にした映画『ハネムーン・キラーズ』（'７０）で、フランソワ・トリュフォーが「最も愛するアメリカ映画」、マルグリッド・デュラスも「私の知る限り、最も美しい愛の物語のひとつ」と絶賛し、ギャスパー・ノエは「『カルネ』の構想の元になった」とリスペクトを表明している。. Doris, at least, is spared her life, though the film spares her nothing else.
Yet in the seedy moral tableau of The Honeymoon Killers, we are encouraged to roll our eyes in solidarity with them—that is, until Martha raises the hammer or, drawing on her nursing background, helpfully offers a tourniquet, by which time we (like Janet) are begging for a mercy that the filmmakers (like Martha and Ray) have no intention of providing.
From the audience’s perspective, choosing a movie was like joining a political party: Paint Your Wagon or The Wild Bunch, Love Story or Midnight Cowboy, The Green Berets or Five Easy Pieces? Nor does anyone dispute that it was under Kastle’s direction that the picture’s astonishingly unvarnished lead performances developed.
We do care about their victims. Kastle credited Wood for the film’s semi-newsreel look; between the naturalistic gray light and the director’s claustrophobic interiors, the picture resembles the approach of such late-sixties documentaries as the Maysleses and Charlotte Zwerin’s Salesman and Frederick Wiseman’s Titicut Follies. Here you will find no glitz, sex appeal, fiddle music, or Aesopian moral about the dehumanization of violence. The Honeymoon Killers, in black and white, first caught my attention when I noticed it on cable. Yet the pair felt that Scorsese was wasting their time and money on irrelevant shots, and in the stormy environment that developed, he was dismissed after ten days.
Other shots stay in the mind because they are terrifying, none more so than the sequence ending with the murder of Delphine Downing (Kip McArdle) and her little girl, Rainelle (Mary Breen): the ruthlessly close focus on the mother’s drugged eyes, the off-camera scream after Martha takes the daughter to the cellar, the camera panning back as Ray cringes at the ghastly sounds. It is a brilliant, low budget true crime story. A digital restoration of the film was released on DVD by The Criterion Collection in 2003, and again in 2015 with a new digital transfer. The idea began with TV producer Warren Steibel (Firing Line), who remembered the extensive newspaper coverage accorded the “Lonely Hearts” killers.
Martin Scorsese’s World Cinema Project No.
This essay is a revised version of one that appeared in the Criterion Collection’s 2003 DVD edition of The Honeymoon Killers. But that’s the way it is in this particular territory. Reviewed in the United States on February 18, 2017. This 2014 program features interviews with THE HONEYMOON KILLERS actors Tony Lo Bianco and Marilyn Chris and editor Stan Warnow. Kastle, then a thirty- nine-year-old composer, was known for his opera about the Mormons, Deseret, which had debuted on NBC in 1961; he later wrote The Pariahs, an opera about the sinking of the whale ship Essex. In fact, I had a very old VHS copy of it which was much better than this DVD. He wrote an appreciation of Allen Baron’s film Blast of Silence in Sean Phillips’s comic book Criminal (Phillips did the a. From the audience’s perspective, choosing a movie was like joining a political party: Paint Your Wagon or The Wild Bunch, Love Story or Midnight Cowboy, The Green Berets or Five Easy Pieces? Cult curio that, by the end, you will probably dislike and not want to watch again anytime soon. Rarely has schizophrenia been closer to the surface of American cinema than in the transitional period of 1968–71. Much of the humor is visual, notably Ray’s pretend seduction of Martha’s mom, his ass wriggling across the screen, or Martha—played by Shirley Stoler with a wily mixture of infinite hurt and infinite disdain—eating.
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