Kiss Me Deadly

"I'll make a quick guess: You were out with a guy who thought “no” was a three-letter word."

"I should have thrown you off that cliff back there. I might still do it."

"Alright, you convinced me - I’m a real stinker."

"What’s in it for me?"

"Kiss me, Mike. I want you to kiss me. Kiss me. The liar's kiss that says 'I love you.' It means something else. You're good at giving such kisses. Kiss me."

"[to Hammer] Lie still. Why torment yourself? Who would you see? Someone you do not know, a stranger. What is it we are seeking? Diamonds, rubies, gold? Perhaps narcotics? How civilized this earth used to be. But as the world becomes more primitive, its treasures become more fabulous. Perhaps sentiment will succeed where greed failed. You will die, Mr. Hammer. But your friend, you can save her. Yes you can. The young lady you picked up on the highway. She wrote you a letter. In it were two words: 'Remember Me.' She asks you to remember. What is it you must remember? [he injects Hammer with a hypodermic needle full of sodium pentothal] And while you sleep, your subconscious will provide the answer. And you will cry out what it is that you must remember. Pleasant dreams, Mr. Hammer."

"Ralph Meeker - Mike Hammer"

"Albert Dekker - Dr. G.E. Soberin"

"Paul Stewart - Carl Evello"

"Juano Hernandez - Eddie Yeager"

"Wesley Addy - Lt. Pat Murphy"

"Marian Carr - Friday"

"Maxine Cooper - Velda"

"Cloris Leachman - Christina Bailey"

"Gaby Rodgers - Gabrielle (Lilly Carver)"

"Nick Dennis - Nick"

"Jack Lambert - Sugar Smallhouse"

"Jack Elam - Charlie Max"

"Jerry Zinneman - Sammy"

"Leigh Snowden - Cheesecake"

"Genres collide in the great Hollywood movies of the mid­fifties cold-war thaw. With the truce in Korea and the red scare on the wane, ambitious directors seemed freer to mix and match and even ponder the new situation. The western goes south in The Searchers; the cartoon merges with the musical in The Girl Can’t Help It. Science fiction becomes pop sociology in Invasion of the Body Snatchers. And noir veers into apocalyptic sci-fi in Robert Aldrich’s 1955 masterpiece Kiss Me Deadly, which, briefly described, tracks one of the sleaziest, stupidest, most bru­tal detectives in American movies through a nocturnal, inexplicably violent labyrinth to a white-hot vision of cosmic annihilation."

"Blood red kisses! White hot thrills! Mickey Spillane's latest H-bomb!"

"I don't care what you do to me, Mike - just do it fast!"