Now that its title has been changed from Bed of Fear (as it was called when I wrote about Stanley Kubrick’s last picture in Sight and Sound) to The Killing, one need really have no reservations at all. This shrewd, engrossing, complete-in-itself melodrama is the kind of film one had begun to think was no longer possible to make in Hollywood.
Kubrick's films have leaned toward a kind of reluctant misanthropy which reveals the capability for self-destruction as the linchpin of man's existential predicament.
The essay discusses the Stoic philosophy which characterizes Kubrick’s early noir films, specifically in the way the protagonist from The Killing ultimately surrenders to the police, in spite of his best efforts to evade the Law.
Sappiamo che Kubrick rifiuta un contratto della stessa casa [la United Artists] per produrre filmetti di seconda serie: non gli interessa arrivare in qualche modo a fare comunque del cinema. In parte, proprio la chiarezza con cui dal suo comportarsi si delinea l’esistenza di un progetto di cinema rende oscuro [...]