Extremely striking is the escape scene in the beginning of Kiss of Death (1947) after Nick and his partners attempt to flee the crime scene.  Calmly they enter an elevator on the 24th floor where they robbed an upscale jewelry store.  However, the calm is a pretend cool, as the visuals of the scene suggest apprehension and panic in their faces while the elevator slowly descends.  The elevator induces a profound claustrophobic atmosphere with the large crowd entering and exiting the tight space.  In addition, the repeated stops on almost every floor on the downward journey augments the suspense, as the audience anticipates the long arm of the law to enter the elevator at any time.  The descent also possesses strong symbolic value in regards to film noir, as it sends a signal of looming tragedy.

The combination of the escape scene and the opening narration leaves the viewer sympathetic towards criminal Nick, even as he refuses to cooperate with the police in order to have his sentence reduced. His refusal to cooperate with the police rests within the criminal code by which he lives, as nobody snitches on anyone.  Warmly he welcomes the prison sentence, as he has been told that people will take care of his family. However, in jail he finds out that something wrong has happen to his family, and promises has not been kept.  This leaves Nick with no other option than to break the code of silence by approaching the Assistant District Attorney DeAngelo (Brian Donlevy) and offering him information on his old buddies.

A collision between Nick’s old lifestyle and the new changed way is not an easy transition.  It is difficult on many different levels, but the circumstances do not offer him any luxury with multiple choices.  He also realizes that an old acquaintance Tommy Udo (Richard Widmark) has climbed high in the criminal hierarchy though his ruthlessness that displays neither guilt nor compassion.  Richard Widmark’s brilliant performance seems to be a crossing between the Joker and Hannibal Lecter, and it helps to enhance the suspense in the film.  Through his connections Nick reunites with Tommy with the intention of entrapping him on the behalf of the law.  However, Nick is also conscious about the possible dangers that Tommy might pose, if the law does not succeed in convicting him.

Nick’s situation portrays a sad story of social biases and the society’s unforgiving approach to criminality without regard to the circumstances.  The film also presents a sense of meaninglessness in regards to criminal law when it cannot provide safety to the innocent.  In addition, the film allows the audience to reflect on how truly blind the law is in regards to who requires safety and who gets it, as it touches on the shadow of the American legal system.

Kiss of Death provides a thoughtful cinematic experience in the true spirit of film noir.  Richard Widmark’s performance improves the quality of the film, as he brings out a truly sinister character that has no intention of doing good.  The contrast between Tommy and Nick, the changed man that Victor Mature plays, offers an honest and dark perspective on the imbalance of social injustice and the legal system’s blindness.

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USA

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