sol- Selected for an important contract killing due to his detached and unemotional approach towards murder, an arrogant young assassin questions his own skills after discovering that his next target is a woman in this slick thriller. Vince Edwards is excellent as the confident contract killer who simply sees murder as a great way to supplement his income. Along the lines of 'Strangers on a Train', he also professes that "the only type of safe killing is when a stranger kills a stranger" and the film has some fun comic relief moments as he often unsettles two goons sent to accompany him. Solid as Phillip Pine and Herschel Bernardi are as the goons though, their purpose is never clear and film veers close to being a comedy at times with the goons and his failed attempts to kill the woman from afar. Generally speaking though, this is an intense and riveting thriller. The film benefits from a catchy, taunting music score inspired by 'The Third Man' and Edwards has an undeniably fascinating character. Is he worried about killing her because he has more moral fibre than he would like to admit or is it genuinely harder to kill a woman? Whatever the case, this is a fascinating look into a dangerous mind.

blanche-2 Martin Scorsese claims this film was an influence on his work."Murder by Contract" is a low-budget film from 1958 starring Vince Edwards. Edwards, known to us baby boomers as Ben Casey, had a particular look and quality that for a time served him well. He looked and talked like a tough guy. Here he's a guy who wants to make a lot of money and knows he can, given the right opportunity. He becomes a hit man, considering himself smart and detached enough to carry out any hit.After a few hits, his boss assigns him to a biggie in LA. There he has two underlings attached to him. He drives one of them nuts, as he seems in no hurry to learn anything at all about the assignment, content to look at the sites. Finally he says he's ready for the details.One thing no one had told him -- his hit is a woman who in a matter of days has to testify against his boss. Her house is surrounded by police, and she's guarded inside the house as well.The tough guy shows some vulnerability. He can't do it, he says. Women are too unpredictable. He says he wants more money, double in fact.Interesting crime drama. I have to say, it might have been better with another actor with more of a range in the lead. I think a smoothness and maybe a charm was called for that Edwards lacked. Just my opinion. The story is a cut above the usual routine B movies, though, and worth checking out. Also, it was shot in seven days -- given the shooting schedule, it's remarkable.

Lechuguilla A brainy, philosophical hit man named Claude (Vince Edwards) does things his way. He's careful, patient, and plans meticulously. To him, killing is just a sideline, a way to pick up a few extra bucks. There's nothing personal about it; emotions are not needed.I guess you could call this film a character study of a criminal, in the crime drama genre. But the film's main problem is a character that doesn't make sense. Given that Claude has a regular paying job, his motivation for wanting the extra money is dubious at best. Further, he tells us over and over that emotions don't pay. But when it comes time for the main contract his own feelings interfere. And he keeps making little speeches to others in an angry tone of voice. Maybe he just doesn't know himself very well.In addition, I didn't care for his two criminal sidekicks: Marc and George. Their presence explains a lot of the plot; but a real hit man would not need them.This is a low budget b-movie. The B&W cinematography is acceptable but bland. Some outdoor scenes are made using rear screen projection. Production values are sparse, especially indoor sets. But that spare, simple guitar score by Perry Botkin is terrific. It may be a spin-off of the score from "The Third Man"; but it's still great, and works quite well with the story. Vince Edwards gives a fine performance as Claude. Other performances range from mediocre to poor.The script is the main problem here, and in particular the central character. "Murder By Contract" is a quiet film with little heavy-duty action or noise. Which makes that guitar score so effective and the best element of the film, along with the presence of Vince Edwards.

dougdoepke This seven day wonder holds up pretty well considering how much tougher crime films have become since the demise of Hollywood's Production Code. Claude (Edwards) is one self- assured tough cookie, a killer with a philosophical bent. All in all, he's a rare bird, a Zen artist practicing the rare art of assassination. He does things his way or not at all, a stylish loner among a crowd of inferiors. Plus, with a name like "Claude" he better be good. But now he's got to take out a nervous woman in a hillside house surrounded by cops, and that presents him with a real challenge. Worse, his two local contacts, Marc and George, aren't much help. In fact all Marc (Pine) can do is whine since he's never been exposed to a Zen master like Claude. So, it's quite a contest, the ultimate in contract killers versus the LAPD, 1950's style. My one gripe is with the unimaginative ending. Given Claude's unique character, something more ironical than a commonplace shootout is needed, drainpipe or not.Edwards is excellent as the assassin, an icy exterior on top of an icy interior. Too bad Pine overdoes his loudmouth skeptic bit; you just know he'll get his, and it can't be too soon. On the other hand, is Bernardi as George, just then coming off the Hollywood blacklist, and fine as Marc's quiet counterpart. But my money's on kittenish Kathie Browne—what a dish. Note how the Code makes her Claude's dinner companion, and God forbid, not his bed companion, even when she's clearly a part-time call girl.But there's one scene that has stayed with me over the years. The fastidious Claude gets served a dirty cup on his breakfast tray at a hotel. Being the perfectionist he is, he berates the luckless waiter who's served it. Now, catch Joe Mell as the Bassett-faced waiter. He stands there with a single, dullish expression unlike any other I've seen. It's a perfect contrast in intelligence that each plays to the hilt. Note too, how even Claude is finally moved by the waiter's dull wits, giving him a five-dollar tip!Anyway, the film's a B-movie sleeper if there ever was one. Lerner directs writer Simcoe's tight little screenplay with flair and efficiency. I love obscure little triumphs like this, especially when contrasted with Hollywood's many overblown epics that are too often a waste of film. But certainly not this little gem.