Bonus Episode: The Screening Room – The Killing
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In this bonus episode of Hollywoodland, host Zeth Lundy delivers a deep dive into Stanley Kubrick's 1956 noir heist film, The Killing, exploring its enduring legacy, innovative narrative structure, and the creative tensions that shaped its production. Lundy positions the film as a masterclass in cinematic economy and tension, highlighting how Kubrick—despite limited budget and studio interference—crafted a tightly wound, non-linear thriller that prefigures later works like Pulp Fiction. He examines the film’s themes of betrayal, greed, and psychological complexity, particularly through the toxic marriage of George and Sherry Petey, and draws connections to Kubrick’s lifelong fascination with fidelity, fantasy, and control. The episode also features a creative mixtape segment, where Lundy curates a playlist of songs that capture the film’s noir energy, from George Jones’ 'The Race Is On' to Velvet Underground’s 'Femme Fatale'. The episode concludes with promotional plugs for related podcasts and a call for audience engagement on favorite car chase scenes.
The Killing is a tightly structured, non-linear heist film that pioneered narrative techniques later popularized by Pulp Fiction and other modern thrillers.
Kubrick’s early career struggles and creative battles with United Artists reveal how constraints can fuel artistic innovation and authenticity.
The film’s exploration of betrayal, greed, and dysfunctional relationships—especially the manipulative femme fatale Sherry—reflects deeper psychological themes that recur throughout Kubrick’s work.
Despite its modest budget and initial commercial underperformance, The Killing is now regarded as one of the greatest heist films ever made.
The mixtape segment demonstrates how music can amplify the mood and themes of a film, with songs like 'The Race Is On' and 'Femme Fatale' capturing the film’s noir essence.
Introduction and Season Promos
Zeth Lundy introduces The Screening Room and promotes related podcasts including Family Secrets, The Psychology of Your 20s, and Dear Chelsea, highlighting themes of identity, mental health, and personal transformation.
The Context of 1956 and Kubrick's Early Career
Lundy sets the stage by describing the cinematic landscape of 1956—dominated by epic films like The Ten Commandments and Giant—and contrasts it with Kubrick’s low-budget, black-and-white The Killing, emphasizing its underdog status and artistic ambition.
The Making of The Killing: Vision, Control, and Conflict
Lundy details Kubrick’s struggle to assert creative control during production, including his clash with cinematographer Lucian Ballard, studio resistance to the nonlinear narrative, and the controversial credit dispute with Jim Thompson.
Themes and Narrative Innovation
“The best laid plans are undermined by greed, suspicion, ineptitude, and good old-fashioned double crossing.”
The Mixtape: Music Inspired by The Killing
“The race is on, Johnny Clay, and you have lost.”
“There was more film art in his early The Killing than there is in Barry Lyndon.”
“It's money that I love. They say that money can't buy love in this world, but it'll get you a half pound of cocaine and a 19-year-old girl and a great big lawn limousine on a hot September night.”
“The best laid plans are undermined by greed, suspicion, ineptitude, and good old-fashioned double crossing.”
Host
the killing
media
stanley kubrick
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zeth lundy
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sterling hayden
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jim thompson
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timothy carey
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dani shapiro
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chelsea handler
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alicia cook jr.
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united artists
organization
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