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I always idea Robert Wagner deserved a better film career than he got, as he’s an marvelous actor and did a number of movies, including All the Resplendent Young Cannibals (1960), and The Longest Day (1962), before transitioning to television in the gradual 60’s working on shows like It Takes A Thief and his signature role as Jonathan Hart of the Hart to Hart series. Remember, help in the day it was looked as a major step down to go from films to television, a similar, contemporary comparison being that of working in theatrical releases and then finding yourself in express to video market hell (Lou Diamond Phillips) or voice-overs for video games (Ray Liotta) . Work is work, I drawl, and A Kiss Before Dying (1956) is certainly one of Wagner’s finer film roles, in my notion.

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Based on a fresh by Ira Levin (Rosemary’s Baby, The Stepford Wives), A Kiss Before Dying was directed by Gerd Oswald, one of the more prominent directors in the early days of television, working on such shows as Rawhide, Bonanza, The Outer Limits, The Fugitive, and Star Go, to name a few. The film stars, as I mentioned before, a very young Robert Wagner, Joanne Woodward, her next being The Three Faces of Eve (1957), Mary Astor (The Maltese Falcon), Jeffrey Hunter (The Searchers), George Macready (The Broad Clock), and Virginia Leith, who saw her career bottom out six years later in the seminal sci-fi schlocker The Brain That Wouldn’t Die (1962) . Also appearing is Robert Quarry, who would later enact a cult-like following for his starring role in Count Yorga, Vampire (1970) and its’ follow up, The Return of Count Yorga (1971) .

The film opens on a young couple in a microscopic room, the woman weeping softly on the bed, and the man looking as if to console her. The woman’s name is Dorothy Kingship (Woodward), and the man is Bud Corliss (Wagner) . As the scene presented itself, I took a wild stab in my mind as to what was going on, and I was factual…the girl has learned she’s pregnant, and now she’s broken the news to her boyfriend. Bud seems to offer his reassurances that he’ll do good by her, and she accepts them, but to the viewer his words (and actions) seemed to be tinged by a injurious quality, one someone who is blinded by appreciate may not search for. We later salvage out Dorothy comes from money, and her father (Macready), a stern man, would view poorly on her condition, cutting off any financial relieve. We later learn Bud’s not so considerable in cherish with Dorothy, but the wealth her family could provide, and now that the milk from his potential cash cow has soured, due to Dorothy’s condition, he must accept a plot to extricate himself from this set (can you say destroy? ), and does so, with a large deal of meticulous, planning. Soon Dorothy’s sister, Ellen, who’s not convinced the evidence around her sister’s death is as obvious chop as the police would maintain (they plan it suicide), looks into the matter herself, uncovering the well hidden tracks of a chilly, ruthless killer, one who’s aware of her every disappear, and won’t let anything stand between him and what he believes is rightfully his…

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I really enjoyed this film…the inequity between Robert Wagner’s boyish, all-American worthy looks and his characters’ frigid, relentless malevolent drive in achieving his goals was really creepy. He was incandescent, charming, always seemed to know the correct thing to say, and incredibly focused on the details, wary of leaving anything that might lead attend to himself. His willingness to do whatever he has to in maintaining his deception is beyond what many could even inaugurate to fathom, even managing to retain his hold mother in the sad (which is no easy task, for any of you out there with a mother should be able to attest) . Rarely have I seen such an horrible, rotten-to-the-core being hidden by such a pretty and entertaining façade, except maybe in the Omen films (especially the last one with Sam Neill) . Everyone else did reasonably well, although I felt casting Macready as the father seemed a bit too positive, and Hunter’s character, as the tutor/junior police investigator, seemed more of a site method rather than a character. Oswald does a astonishing job directing, and while the epic is monotonous entertaining at first, it worked well to allow us to really glimpse Wagner’s character, the depths of his impish villainy, and also to region up Woodward’s character for a spectacularly horrid demise (don’t peruse the trailer prior to watching the film, as it will spoil this) . Ahhh, but even the most meticulous of plans can near unraveled, especially those based on deception, and soon Bud finds clear loose threads may be his undoing. The ending was theatrically sensational, although I’ve read that some felt it was a cramped too over-the-top, ill-befitting the subtle nature of the memoir, but I concept it was aptly appropriate given the diabolical nature of Wagner’s character. One thing that kind of puzzled me is based on Wagner’s character’s nature for meticulousness, I conception it unusual that he should flub his initial, carefully crafted efforts by getting Dorothy pregnant. I know sex ed wasn’t focused on as worthy in the 50’s as it may be now, but seeing as how Bud’s cousin worked in a pharmacy, I would have plan obtaining prophylactics wouldn’t have been that mammoth of a deal…oh well…

The widescreen report on this DVD looks very favorable, although there was a outlandish event during a few of the outside shots resulting in a unusual, yet brief `shimmer’ finish (you’ll know it when you gawk it) . I view the audio decent, but a puny too soft for my tastes, as I had to turn up the volume. The only special feature available is an annoying, talky trailer (avoid before watching the film) .

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“A Kiss Before Dying” is an outstanding thriller with Hitchcock-level suspense courtesy of Gerd Oswald, a director remarkable better known for his TV work on “The Outer Limits” and “Star Whisk.” Robert Wagner is pleasant as a sociopathic killer who carries out the perfect crime but is done in by his hold ambition and cleverness. The whole thing could have become ridiculous very easily, owing to distinct gaps in narrative logic, but the dead-serious tone, the fleet pacing and editing, and the high artistry of all interested execute this a classic, if unusually lovely, share of film noir.
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