Shot in a grainy grey and white helps to give the film an amateurish and at the same time realistic feel, particularly as it's based on true events. With standout performances from Lo Bianco and Stoler, this is a forgotten gem.
The Honeymoon Killers (1970)
Tomatometer
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Reviews Counted: 18
Fresh: 17
Rotten:1
Average Rating: 8.1/10
Runtime: 1 hr 48 mins
Genre: Horror/Suspense
Synopsis: In this stark film based on the true-life Lonely Hearts murders of the late 1940s, handsome gigolo Ray Fernandez cons lonely women out of money with the promise of marriage. When he meets lonely... In this stark film based on the true-life Lonely Hearts murders of the late 1940s, handsome gigolo Ray Fernandez cons lonely women out of money with the promise of marriage. When he meets lonely nurse Martha Beck, the two find themselves actually falling in love. Posing as brother and sister, the duo cross the country swindling needy women and, when necessary, killing them. As their passions become more inflamed, their crime spree grows bloodier. A stark film featuring truly unique characters and fine performances, THE HONEYMOON KILLERS was originally to have been directed by Martin Scorsese, who was replaced. [More]
Starring: Tony Lo Bianco, Shirley Stoler, Mary Jane Higby, Doris Roberts
Starring: Tony Lo Bianco, Shirley Stoler, Mary Jane Higby, Doris Roberts, Kip McArdle, Marilyn Chris, Dortha Duckworth, Barbara Cason
Director: Leonard Kastle
Director: Leonard Kastle
Screenwriter: Leonard Kastle
Producer: Warren Steibel
Composer: Gustav Mahler
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Reviews for The Honeymoon Killers
The filmmakers have refused to romanticize the brutality of the criminals at the heart of the film.
A pulp classic ranking near the top of its particular post-Hays Code, pre-MPAA moment.
Small in scale and realistic in style, this gritty picture, about a couple who murder lonelyhearts women, is charged with piercing intelligence and amazing intensity.
It is one of the best and, curiously, most beautiful American movies in recent years.
Delivered in sobering and dramatic black and white, it’s quite possibly one of the most honest and compelling ‘bio-pics’ ever conceived.
Such a wild and sad piece of cinema that the knowledge that it’s based on truth seems incidental.
t's hard to see whether director Kastle has attempted a semi-documentary or a schlock-horror number. The film has elements of both and often slides into kitsch.
Ray and Martha are violent for their desperation, their fiction the more vilified of the late 60’s, early 70’s crime couples.
Leonard Kastle brings a spare dignity and genuine depth of characterization to his exploitation subject.
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