T he theatrical trailer for The Killers is interesting as it positions two virtual unknowns as "the screens most exciting combination!" Hollywood must’ve known what they had on their hands with Burt Lancaster, who was starring in his first film. Ava Gardner, on the other hand, had played in a number of minor roles, but was more known for her marriage to then-megastar, Mickey Rooney. It’s not often an actor receives top billing in his first picture, let alone stand out as a bona fide movie star. I know there are others, but the two that immediately come to mind are Audrey Hepburn, who won an Oscar for Roman Holiday, and Jessica Lange, who seduced the world in the 1976 remake of King Kong. After their debut roles, they were instant movie stars. Lancaster’s portrayal of the likeable, down-on-his-luck, Swede was the launching pad for what was to become an incredible career that lasted six decades.

Now on to the film.

I’m beginning to realize that a captivating opening scene is a telltale sign of a great film. We’ve recently discussed the heart-pounding first moments of Kiss Me Deadly, which I also compared to the blood-pumping opening scene of Pulp Fiction. The Killers had a similar opening scene that grabs you from the start. Before the credits roll, the first shot shows the back of the two killers’ heads as they drive into the quiet town of Brentwood. The long shadows the killers cast as they walk down the lonely streets and up to the diner are eerie. It’s a nice build up and the B&W photography is effective. Before they even speak a word, you know these two mean business. And the following dialog doesn’t disappoint. William Conrad (later Cannon, as well as the narrating voice of Rocky & Bullwinkle) was excellent. His subtle threats to the diner manager and occupant were very strong and convincing.

My heart was pounding as Lancaster awaited the arrival of the killers. As they walked up the stairs, I was hoping he would get up and escape through the window. But I knew he wouldn’t after he commented to the gas station attendant who tried to warn him, "I did something really bad a long time ago." He knew he had it coming.

Throughout his career, Lancaster had a screen persona that basically said he wasn’t going to back down to anyone. Raised in the tough Upper West Side of Manhattan, Lancaster transcended that inner toughness on-screen. He was proud, mentally and physically strong, and if he made mistakes, he was going to face the consequences. This opening scene is very representative of that persona.

Some movies that rely on flashbacks can be disastrous. But director Robert Siodmak and editor Arthur Hilton did a excellent job telling the story. Both were nominated for an Oscar for direction and editing, respectively for The Killers. The flashbacks are effective, and critical to solving the film’s mystery.

Edmond O’Brien, who I’ve only seen in D.O.A. (great film noir classic) was good as a somewhat naïve investigative insurance agent. It was almost critical to the film that he wasn’t too strong of a character as he might have upstaged Lancaster. He’s probably in more scenes than Lancaster, but his stumbling, inexperience in hunting down ruthless killers represents make him vulnerable. I also thought he represented the audiences’ point of view. We’re only as smart as he is, and we learn along with him as he interviews people about their relationships with the Swede in search of the real killers. In some scenes, O’Brien also reminded me of a young, but not as slick, Humphrey Bogart.

Gardner, who I understand held the crown for Hollywood’s sexiest starlet between Rita Hayworth and Marilyn Monroe, was great. My only issue with her was that she wasn’t in enough scenes. I wanted to see more of her because when she’s on-screen, you can’t take you’re eyes off of her. And what a name – Kitty Collins – pure film noir.

Three quarters into the film, I started to get confused with the storyline. But by the end, I thought everything fell into place.

I thought the final scene in the Green Cat restaurant was choreographed very well. I liked the timing of when the killers lunged after O’Brien and he flipped the table over to protect himself. Then, as the killers begin shooting, the police chief ambushed them from behind.

Did you notice any familiar faces? Once I saw both Albert Dekker and Sam Levene, both of which were from Kiss Me Deadly, I laughed. They’re both great character actors.

I enjoyed this film from beginning to end. I thought Lancaster’s commanding presents made the film, but it was also Hilton’s editing and the strong story by Ernest Hemingway and an uncredited, John Huston, that gave the picture its punch. On a scale of 1-5, I give it a 4 1/2.