Director: Samuel Fuller
Writer: Samuel Fuller
Stars: Constance Towers, Anthony Eisley, Michael Dante and Virginia Grey
One of the most consistently overlooked filmmakers in American movie history is Sam Fuller. I first learned about him on a British TV show called Moviedrome, presented by Alex Cox, the director of cult films like Repo Man and Sid and Nancy. Cox programmed two of Fuller’s films in a double bill: a western called Run of the Arrow and a war picture called Verboten! Both were low budget, although there were many actors that I recognised. What struck me then was what strikes me now whenever I see another Sam Fuller film, namely that he does a lot with a little and that lot includes things that we aren’t conditioned to expect from American movies. His most controversial pictures came later, like this one, as well as its predecessor, Shock Corridor, also starring Constance Towers, and White Dog, but he stretched taboos early and often in ways that don’t always seem controversial today. For instance, he often wrote films about marginalised characters, such as thieves or prostitutes, and films that featured multicultural casts.
I’d seen The Naked Kiss before and, when I started to look for a good choice to remember the career of Virginia Grey on what would have been her one hundredth birthday, it came quickly to mind. Any opportunity to watch a Sam Fuller picture is a good one and I was keen on taking a second run through this one to see what I’d missed a decade and change ago. One thing I discovered was that Grey isn’t in it anywhere near as much as I remembered her being, but the scenes that she does have are memorable and superbly performed with a great deal of power. She’s easily the best actor in the movie, even if she’s billed fourth after Towers in the lead and Anthony Eisley and Michael Dante in support. She plays a madam called Candy, who runs a cathouse called Candy à la Carte with a selection of Bon Bon Girls. How her part interacts with the film as a whole mirrors its moral progression and the film has no point unless it progresses morally and we notice that.