The Killer Is Loose (1956)

The Killer Is Loose (1956) is a cat and mouse revenge killer on the run suburban family man cop film noir from the cul de sac end of the great mid century American noir cycle.

The Killer Is Loose (1956) is a film noir thriller with modern echoes, although the 1950s had already seen the death of modernism. We may well come back to that.

Yet the cinema has to be the ultimate of all modern artforms. The modern period, insofar as it relates to art, literature and most importantly of all, politics, can really be said to take place between 1880 and 1950.

It is curiously enough during this period also that cinema rises, develops, achieves its potential, and then enters the same decline as all else in post modern period.

Directed by Budd Boetticher, the 1956 American crime film, The Killer Is Loose, weaves a suspenseful tale of revenge, obsession, and the blurred lines between criminality and law enforcement. Set against the backdrop of suburban America, the film delves into the psyche of its antagonist, revealing the dark undercurrents that drive his actions.

The protagonist, Detective Sam Wagner, finds himself entangled in a cat-and-mouse game with the cunning killer, Leon Poole. Poole is one of the better psychos from the later film noir period, an overlooked destroyer of all things suburban, from his bank robbing days,m right up until his killer cross dresser fetish at the finale.

Daylight noir in The Killer Is Loose (1956)

As Poole’s obsession with revenge intensifies, the boundaries between right and wrong blur, leaving Wagner questioning his own morality. The film masterfully explores themes of justice, vengeance, and the fragility of the human mind.

Boetticher’s direction creates an atmosphere of tension, with shadowy visuals reminiscent of classic film noir. The haunting score underscores the psychological turmoil faced by both the hunter and the hunted. As the pursuit unfolds, viewers are left pondering the thin line that separates hero from villain.

In this gripping thriller, The Killer Is Loose, the past collides with the present, echoing timeless questions about the nature of evil, the cost of revenge, and the inexorable pull of fate. Through its nuanced characters and atmospheric storytelling, the film remains a testament to the enduring allure of noir cinema.

Love those streets of noir in The Killer Is Loose (1956)

The film opens with a daring bank robbery executed by men who display an eerie familiarity with the building. Lieutenant Sam Wagner (played by Joseph Cotten) leads the police investigation, uncovering the involvement of soft-spoken bank employee Leon Poole (Wendell Corey). Poole's complicity in the crime becomes evident, leading to a gunfight during which Sam accidentally kills Poole's wife. The tragedy sets the stage for Poole's twisted vendetta against Wagner.

Two years later, Poole escapes from prison, his mild demeanor masking a seething rage. He embarks on a chilling journey, leaving a trail of violence in his wake. His obsession with revenge consumes him, and he fixates on making Sam suffer by targeting his wife, Lila. As the tension escalates, Sam must confront the monster he inadvertently created.

Poole's transformation from a seemingly ordinary bank teller to a cold-blooded killer underscores the fragility of identity. In a world where appearances can deceive, the film questions how well we truly know those around us. Poole's ability to slip through roadblocks by removing his distinctive glasses—a symbol of his myopia—highlights the malleability of identity. In our digital age, where anonymity and deception thrive, this theme resonates more than ever.

Poole's thirst for revenge consumes him entirely. His descent into violence stems from feeling ridiculed and dismissed as a failure. The film portrays revenge as a destructive force, blinding individuals to reason and humanity. In today's society, where social media amplifies grievances and fuels vendettas, the cautionary tale of revenge remains relevant.

The Killer Is Loose unfolds in the seemingly tranquil suburbs, where white picket fences hide secrets and ordinary lives intersect with extraordinary violence. The film subverts the idyllic suburban facade, revealing the darkness lurking beneath. In contemporary times, suburban ennui and the quest for excitement often lead to unexpected horrors. The film's portrayal of suburban life as a breeding ground for crime and obsession remains eerily prescient.

Police surveillance in The Killer Is Loose (1956)

It's pure noir talk combined with the banality of evil, the perfect democratic suburban entrance to the post-thriller, post-noir, post-modern world

Detective Sam Wagner: Could've been worse, Poole.
Leon Poole: It was worse, remember? I remember.
Detective Chris Gillespie: Poole, we tried to explain.
Leon Poole: Someday, Wagner, I'm gonna settle with you for it. I'm certainly gonna settle with you for it.

Joseph Cotten does his best although I think he prefers a subtler script that that of
The Killer Is Loose (1956)

Sam Wagner, the dedicated lieutenant, grapples with the blurred boundaries between his duty and personal life. His decision to use himself as bait to catch Poole blurs the line between protector and prey. In a world where law enforcement faces scrutiny, the film's exploration of the psychological toll on officers resonates. Sam's internal conflict mirrors the ethical dilemmas faced by modern-day police officers.

Poole's unassuming appearance—soft-spoken, bespectacled—contrasts sharply with his violent actions. His banality underscores the film's exploration of evil lurking in plain sight. In contemporary discussions about terrorism, hate crimes, and mass shootings, the film's portrayal of an unremarkable man turned killer serves as a chilling reminder that evil often wears an everyday face.

Wendell Corey in The Killer Is Loose (1956)

The Killer Is Loose remains a gem of sorts in the film noir style, because for the fan, and the cognoscenti, and the true and daily noireau, there is always something.

So yes to the suspenseful storytelling and also for its timeless themes. But the van bumping madness and street ambience, and suburban paranoia are all cool and good to fly in The Killer Is Loose (1956). As we navigate an increasingly complex world, the film's exploration of identity, revenge, and the thin line between good and evil continues to resonate. Whether through the lens of a 1950s crime thriller or the prism of our contemporary reality, this film reminds us that darkness can lurk anywhere—even behind the neighbor's white picket fence.

The Killer is Loose, a 1956 B film helmed by Budd Boetticher, proves to be quite engaging. Wendell Corey portrays Leon Poole, an employee at a bank that becomes the target of a robbery. When the police suspect him of being the inside man, they attempt to arrest him at his home. Refusing to cooperate, Poole fires shots through the door, leading to a tragic outcome where Detective Wagner (Joseph Cotten) mistakenly kills Poole's wife in the darkness of their home. Poole is subsequently sentenced, vowing revenge against Wagner for his wife's death.

Television hunts for the criminal in The Killer Is Loose (1956)

Wendell Corey delivers a chilling performance in the titular role, showcasing his versatility and talent. Much credit is due to the costume and prop department, particularly for the glasses that Corey's character wears. They contribute to his unsettling portrayal, creating an aura of blandness that belies the underlying menace he exudes.

The amazing straplines that this late film noir, and early post-noir period suburban thriller ships with are as exciting as ever for a 1956 cinema lobby:

The Story of a Cop Who Used His Wife as Bait for a Killer!
The Shock Is TERRIFIC! The Suspense Is UNBEARABLE! The Climax Is ELECTRIFYING!
He was no ordinary killer... She was no ordinary victim... This is no ordinary motion picture!

Joseph Cotten in The Killer Is Loose (1956)

However, Joseph Cotten and Rhonda Fleming's casting as a cop and pregnant wife respectively feels somewhat unconvincing. Fleming's costumes, while visually striking, seem ill-fitted for her character's condition. Nevertheless, both actors deliver solid performances, adding depth to their roles despite the occasional lack of believability.

John Larch and Dee J. Thompson portray a couple caught in the killer's path, embodying characters that are intentionally difficult to sympathize with. Their performances align perfectly with the script's depiction of unsavory individuals, contributing to the film's overall sense of dread and unease.

Overall, the ensemble cast excels in bringing this frightening film noir to life, each actor contributing to the palpable tension and atmosphere of menace that permeates the narrative.

Wendell Corey, alone on the streets of film noir, in The Killer Is Loose (1956)

Firstly, it's important to acknowledge the exceptional role played by Wendell Corey in this film. Often relegated to supporting roles, Corey's portrayal is instrumental in elevating what would otherwise be a lackluster film. His performance serves as a crucial anchor, without which the movie would struggle to garner even a modest rating.

Television in action in The Killer Is Loose (1956)

However, despite Corey's standout performance, the rest of the film falls short in several key aspects. One glaring issue is the reliance on characters who behave in an unbelievably foolish manner. Major plot points hinge on the assumption that these characters are inexplicably dim-witted, a frustrating trope that detracts from the overall credibility of the narrative.

For instance, despite being aware of the imminent threat posed by a deranged killer, the authorities provide woefully inadequate protection for the intended target, Joseph Cotten's wife. Their flawed plan lacks basic measures, such as employing a skilled marksman or positioning security personnel effectively. Furthermore, the marked woman's inexplicable decision to abandon her hiding place and venture into perilous territory defies logic and strains credulity.

Even though the killer that is loose is not that smart, it turns out that it never takes much to fool America anyway.

"He's Outsmarted All Of You, And He'll Do It Again!"...

While Andrew Sarris underscored its significance in his list of Budd Boetticher's films in The American Cinema, The Killer is Loose remains relatively overlooked in critical discussions.

However, it's truly a hidden gem—a cinematic revelation akin to envisioning Cape Fear with Wally Cox in Robert Mitchum's role, after a manner of squinting and speaking quietly, because the similarity is slim . . . a slimilarity perhaps.

Milk at gunpoint in The Killer Is Loose (1956)

Wendell Corey, typically cast as rigid bureaucrats and law enforcement officers, delivers the performance of a lifetime as a meek clerk turned criminal, who descends into madness after his incarceration. What sets Corey's portrayal apart is his unsettling calmness—even in moments of extreme tension—reminiscent of Norman Bates in Psycho.

This eerie composure adds layers of complexity, especially when Corey's character dons a dress as part of a disguise. While seemingly practical, this choice introduces an undercurrent of sexual ambiguity and perversion, elevating the film to levels of psychosexual intensity comparable to the works of Samuel Fuller.

Wendell Corey in The Killer Is Loose (1956)

Moreover, Budd Boetticher's direction masterfully navigates the film's climax, particularly in scenes involving communication via walkie-talkies—a technique that Brian De Palma would later explore in films like Blow Out and Snake Eyes.

In essence, The Killer is Loose stands as a testament to Corey's exceptional performance, and re-tells the story of how poor American cops are at detection and capture, and that this should be a lesson for all, to feel less safe on those noir streets than you might otherwise. And in your suburban home, also!

Boetticher's adept direction, and its ability to delve into themes of madness, obsession, and the murky depths of the human psyche—a true revelation deserving of greater recognition in the annals of cinema history.

Streets of film noir in The Killer Is Loose (1956)

Adding to the frustration are some fairly clichéd characters and contrived situations, including a minor character who faints in response to a traumatic event—an occurrence seldom witnessed in reality without underlying medical causes. These shortcomings undermine the film's realism, a critical element for any noir production. And yet the also add to the fantastical dream elements also essential to any noir storytelling.

Panic in suburbia — Joseph Cotten in The Killer Is Loose (1956)

The most exasperating aspect is the stark contrast between Wendell Corey's well-developed character and the film's overall deficiencies. While Corey delivers a compelling performance, the lackluster execution of the plot squanders the potential of his character and the underlying premise. A remake of the film could offer redemption, provided it addresses these issues and eliminates the presence of brainless characters that detract from the narrative's credibility.

Wendell Corey in lady garb in The Killer Is Loose (1956)

Joseph Cotten's trajectory in Hollywood is puzzling, as he transitioned to B movies in the '50s following his involvement in several notable films in the '40s. Nonetheless, he delivers a commendable performance in this film, alongside the captivating Rhonda Fleming, who portrays his wife. Wendell Corey shines as Poole, portraying a disturbed character with a stoic demeanor, whose world crumbles upon losing his wife, the only source of happiness in his life.

The Killer Is Loose (1956)

FILM NOIR AND MODERNITY: Modernity began as a revolt against the bourgeoisie in France, and focalised lucidity, irony, speculation, scepticism, intellectual curiosity and an enhanced awareness of living in a tragic age.

The crucial generation of modernity was in the 1880s, with modernity diagnosable as an event in 1880 at least, but coined as a term by the Goncourts in 1858. The intellectual climate of the years between 1880 and 1900 birthed cinema and with it wit and black humour, as well as supernatural tales and the end of the bourgeois epoch.

The years 1900 to 1914 witnessed a ferment in the arts, and in fantasy and cosmopolitan sophistication, while the essence of the 1920s was release from strain, enthusiasm for experiment, and the intellectual mannerists of novel writing. The slump of 1929 spilled the liberation of the 1920s into the increasing apprehension of the 1930s, and the rise of crime.

The thirties, the disastrous decade, the influence of surrealism excites the expressionist era, and the exhaustion of politics leading to fascisms, or other popular fronts, the modern impetus far from exhausted (Cyril Connelly) and the spread of the gangster novel.

The 40s is a blaze of nostalgia for something now lost and that burned brightly pervious to the World War, followed by total war, recrimination, exhaustion in Europe, and a vitalised America, and the birth of the CIA, which force leads us out of noir into a world of paranoia that is real, so real that noir is not funny anymore, it is serious.

The enlargement of noir sensibility in tandem with the erosion of a still strong censorship culture, brings such earnest to public life and commitment to the new destructive powers of science and the new global force of American military might, that modernity dies in the arms of film noir, never to be reborn, creating a new vision for art, bereft of morality . . .