The Explanation
(for those who require one)

And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness."
-- Nick Tosches, Where Dead Voices Gather

Signs and Meaning in Cinema #11


Signs: The Naked Kiss
(Samuel Fuller; 1964)

3 comments :

Vanwall said...

Personally, I prefer the signs and maenings of the opening scene in this one, where the bald hooker is beating her pimp with a high-heeled shoe.

anodyne Brownie said...

thanks for that Vanwall:
that scene could go on a loop with the hooker getting the Drano in the limo, and that 70's Long Goodbye scene with the Coke bottle smash-in-the-face, with "People who love people' as a sound-track.

and Sam Fuller was A Man.

Vanwall said...

This film prolly took the honors for disturbing on so many levels, for not just 1964, but for up to that point, and beyond for a number years, and especially, if for nothing more than including Betty Bronson in a film about so much evil.