Murder by Contract (1958)

Murder by Contract Is regarded by Martin Scorsese as the film that has influenced him the most, and It's clear to see why. It's a cool, stylish noir, that was ahead of It's time, and It's clear to see It's Influence on films like L'assassino, Taxi Driver to name but a few.Vince Edwards has a magnetic screen presence In this film as he plays an Ice cool, calculating hit-man named Claude. Who's trying to break Into the hit-man business, rather then spending the next 20+ years working a regular job to buy a house. Claude Is methodical and precise In his business, never allowing for emotion to get In his way. He never uses a gun or knife, as he never does anything Illegal that can get him caught. He's meticulous In planning out every murder, which makes It Intriguing to see him go about organising his hits. Things soon become complicated when he discovers that his next target Is a woman, despite assuming she was a man. The contract Is made even more challenging as she has round the clock Police protection.Murder by Contract Is directed by Irving Lerner, and It has a fantastic stylish tone, It reminded me In a-lot of ways to Branded to Kill. He also does an efficient job of keeping the plot rolling without It every really lagging, except towards the end of the second act, when It plods along for about 10-15 minutes. Whilst It did have a couple of dull moments, and an ill thought out plot twist towards the end. It builds towards an effective, If minimalist climax that fits perfectly with the tone of the film.It's a shame this film has become slightly forgotten as It's clearly had a-lot of Influence on Cinema, this Is a film that's ripe for being re- discovered by a new generation of film lovers.

A B-movie and something of a small classic comparable to Melville's "Le Samourai" which it may have influenced. Vince Edwards in his pre-Ben Casey days is the young man who actually wants to be a contract killer and the movie is about his somewhat clinical initiation into the job. Superbly written by Ben Simcoe, brilliantly photographed in black and white by Lucien Ballard and with a terrific yet simple score by Perry Botkin this movie comes close to perfection. It was directed by Irving Lerner who up to then hadn't really done anything of note, (perhaps he was just waiting for the right material). Edwards is superb as the almost overly confident killer who comes undone when he has to kill a woman. It's a very simple picture, in which almost all the killings are kept off-screen concentrating instead on the killer's psychology and how he goes about his work. Never a commercial success it has now build up a considerable cult following.

A brainy, philosophical hit man named Claude (Vince Edwards) does things his way. He's careful, patient, and plans meticulously. To him, killing is just a sideline, a way to pick up a few extra bucks. There's nothing personal about it; emotions are not needed.I guess you could call this film a character study of a criminal, in the crime drama genre. But the film's main problem is a character that doesn't make sense. Given that Claude has a regular paying job, his motivation for wanting the extra money is dubious at best. Further, he tells us over and over that emotions don't pay. But when it comes time for the main contract his own feelings interfere. And he keeps making little speeches to others in an angry tone of voice. Maybe he just doesn't know himself very well.In addition, I didn't care for his two criminal sidekicks: Marc and George. Their presence explains a lot of the plot; but a real hit man would not need them.This is a low budget b-movie. The B&W cinematography is acceptable but bland. Some outdoor scenes are made using rear screen projection. Production values are sparse, especially indoor sets. But that spare, simple guitar score by Perry Botkin is terrific. It may be a spin-off of the score from "The Third Man"; but it's still great, and works quite well with the story. Vince Edwards gives a fine performance as Claude. Other performances range from mediocre to poor.The script is the main problem here, and in particular the central character. "Murder By Contract" is a quiet film with little heavy-duty action or noise. Which makes that guitar score so effective and the best element of the film, along with the presence of Vince Edwards.

While watching this I was trying to imagine what TV crime series might have been popular in 1958, because that's basically what this is -- a lesser episode of "M Squad" or "Highway Patrol" or something.Getting the story, such as it is, out of the way -- Ben Casey, I mean Vince Edwards, appears in a hoodlum's apartment and asks for a job as a contract killer. Edwards is really cool. "Why do you keep calling me 'sir'?", asks the hoodlum. "Because I respect you." Later, after Edwards proves himself by offing a couple of people, that respect doesn't stop him from knifing to death the guy who hired him, on the orders of someone higher up.Edwards is so good at what he does that Mr. Big sends him out to Los Angeles to take out the ex wife of a crime figure before the ex can squeal on him. Edwards is met by two men who are to squire him around and make sure he gets the job done -- Herschel Bernardi and Phillip Pine.But the contract killer is in no hurry. He's entirely sure of himself. He shows no emotion at any time except for an occasional sullen outburst against a sloppy waiter. He fishes and sees the sights, all the while "planning," though what he is planning is anybody's guess since he doesn't know who or where the target is.We've seen these professional, emotionless hired killers before. Allan Ladd in "This Gun For Hire." Lee Marvin in "The Killers." The kinds of self-possessed guys who might once have admitted to themselves that they'd been wrong -- but just to see wha6t it felt like. They never make a mistake until the end, when they must be killed.Edwards' character, though, is inconsistent. When he finds out (finally!) that the target is a woman he actually shows signs of distress. Because he doesn't want to kill a woman? No. It's because they're unpredictable, so for this job he demands double his fee. But at the climax, something prevents him from strangling the spiteful ex wife when he has the chance. Does his conscience REALLY stop him? Was he lying when he gave his earlier reason? There are some things man was never meant to know.He's inconsistent, too, in that for all his methodical "planning" and self confidence, he bungles the job -- twice. The first time he explodes a TV set in her living room but she escapes unharmed. How did he ever manage to plant an explosive device in a house surrounded by dozens of armed cops and FBI men? There are some things man etc.I don't want to go on too long about this because its not worth much attention, but let me mention one scene as emblematic of the film's failure of imagination and execution.Edwards visits the ex's ex maid to find out the target's daily habits. The elderly and sloppy maid is drunk. Now, this is a commonly encountered situation. Investigator has to pry information out of a wary alcoholic informant. See, oh, "Murder My Sweet," "Farewell My Lovely," "Malice", and "Coogan's Bluff" offhand. This kind of encounter gives the writer, the director, and the performers a chance to show some wit and class in delineating character. Not here. The scene is lighted with a high key and photographed flatly as on an old black-and-white television screen. The actress overacts. Edwards doesn't act at all.By the end, I didn't care who killed whom. I didn't care if the ex wife got it in the neck or not. It isn't simply that she was abrasive, nasty to everyone around her. In a similar arrangement, Marie Windsor mistreated everyone in "The Narrow Margin," yet I cared about her. It's that here the casting, like the acting, is almost inhuman. The only character I thought had more depth than a Petri plate was the whore that Edwards has sent up to his room.The music! I can't NOT mention the music. A lone guitar with an obstinate ostinato. It's cheaper to have one instrument even if it plays a simple tune that is ripped off from "The Third Man" and even if the tune, repeated repeatedly, is enough to prompt you to clean your ears with carbolic acid afterward.There are a few outdoor scenes, often with rear projection. Almost everything takes place on indoor sets with uninspired dressings. Nothing speaks of "place." Well -- Los Angeles can be like that, but even so, this film goes too far.That guitar! That TUNE! I can't get it out of my head! The voices are telling me to turn it off, but how??? Oh, sure, easy for THEM to say! Edwards might be able to do it -- the same way he inserted the explosives into the TV set in that fortress of a house. But we mere humans?