Roger Corman may have been best known for cheaply made B-movies, but he had an importance in cinema that can't be overstated as he helped to kickstart many careers and find domestic distribution for international titles. Every now and again, whether by accident or on purpose, he even made an unexpectedly great movie, and in all honesty this is surely one of them. It's not that 'Machine-Gun Kelly' is particularly remarkable, or essential, but it's a sharp and flavorful crime flick with outstanding, invigorating music (thank you, Gerald Fried), strong acting (particularly from Susan Cabot and newcomer Charles Bronson), and high production values. I wouldn't go so far as to say it's a total must-see, but this is a really good time and well done overall, and definitely worth checking out!
Far from the Corman norm of a screenplay hastily cobbled together and a fly-by-night filming schedule, we can readily see how much care and hard work went into this piece. The image and sound are crystal clear, and the editing and cinematography reflect intelligence and judiciousness that even some more well-known major studio releases don't always boast. Gratifyingly, the same very much goes for Corman's direction - precise, calculated, and mindful, exercising restraint at the appropriate moments and maintaining hearty tension in the orchestration of scenes generally, and in his guidance of the cast specifically. The acting is marked with forceful yet nuanced personality, a severity matching the articulate shrewdness the characters are granted by the writing. And 'Machine-Gun Kelly' is certainly a fine credit as well to scribe R. Wright Campbell, for the characters are as vibrant and striking as the scene writing, the dialogue is decidedly keen, and the story at large is actively engaging and compelling. This is a genuinely good picture!
The stunts and effects are excellent, helping to bolster the excitement that the writing, direction, and acting frankly already facilitate all on their own. I repeat that Fried's score is an absolute blast, a zestful panoply of jazz chords that is the first highlight to greet us in these 80-odd minutes and a consistent strength. While the feature has big moments of violence, owing to the character writing and the acting that realizes it - above all the dynamics between the titular gangster and iron-willed Flo - those quieter scenes throughout the length are pretty much just as grabbing and absorbing. No, it's not as if the whole film is exactly as fetching from start to finish; in the latter half the saga becomes a tad more plainly dramatic, and the energy dies down in some measure. There's a little bit of lag, truthfully. Still, for whatever weaknesses we may cite, much more than not the movie is entertaining and satisfying, and broadly far better than we tend to assume of Corman given his reputation.
One way or another this isn't something one needs to go out of their way to see, but the key is that it blends in well among contemporary fare from more reputed studios and filmmakers. It feels weird to say that as a compliment, but I mean it, and at its best 'Machine-Gun Kelly' is altogether terrific. With some fantastic work from everyone involved this is a flick that holds up very well, and I'd have no qualms in recommending it to just about anyone.
Far from the Corman norm of a screenplay hastily cobbled together and a fly-by-night filming schedule, we can readily see how much care and hard work went into this piece. The image and sound are crystal clear, and the editing and cinematography reflect intelligence and judiciousness that even some more well-known major studio releases don't always boast. Gratifyingly, the same very much goes for Corman's direction - precise, calculated, and mindful, exercising restraint at the appropriate moments and maintaining hearty tension in the orchestration of scenes generally, and in his guidance of the cast specifically. The acting is marked with forceful yet nuanced personality, a severity matching the articulate shrewdness the characters are granted by the writing. And 'Machine-Gun Kelly' is certainly a fine credit as well to scribe R. Wright Campbell, for the characters are as vibrant and striking as the scene writing, the dialogue is decidedly keen, and the story at large is actively engaging and compelling. This is a genuinely good picture!
The stunts and effects are excellent, helping to bolster the excitement that the writing, direction, and acting frankly already facilitate all on their own. I repeat that Fried's score is an absolute blast, a zestful panoply of jazz chords that is the first highlight to greet us in these 80-odd minutes and a consistent strength. While the feature has big moments of violence, owing to the character writing and the acting that realizes it - above all the dynamics between the titular gangster and iron-willed Flo - those quieter scenes throughout the length are pretty much just as grabbing and absorbing. No, it's not as if the whole film is exactly as fetching from start to finish; in the latter half the saga becomes a tad more plainly dramatic, and the energy dies down in some measure. There's a little bit of lag, truthfully. Still, for whatever weaknesses we may cite, much more than not the movie is entertaining and satisfying, and broadly far better than we tend to assume of Corman given his reputation.
One way or another this isn't something one needs to go out of their way to see, but the key is that it blends in well among contemporary fare from more reputed studios and filmmakers. It feels weird to say that as a compliment, but I mean it, and at its best 'Machine-Gun Kelly' is altogether terrific. With some fantastic work from everyone involved this is a flick that holds up very well, and I'd have no qualms in recommending it to just about anyone.