You ever watch a movie that feels like it’s trying so hard to be cool it almost trips over its own feet? That’s basically A Lovely Way to Die. Released in 1968, this flick is a weird, colorful, and occasionally confusing time capsule. It’s got Kirk Douglas at his most "Kirk Douglas-y," a jazz-soul soundtrack that slaps, and a plot that feels like a fever dream of a private eye novel.
If you’ve never heard of it, don't feel bad. It sat in the Universal vault for decades without a proper home video release. But lately, film nerds have been digging it up. Why? Because it’s a fascinating bridge between the polite detective stories of the 50s and the gritty, "I-don’t-care-about-the-rules" anti-heroes of the 70s. Honestly, without Kirk Douglas playing Jim Schuyler here, we might not have gotten Dirty Harry or Bullitt in quite the same way.
What is A Lovely Way to Die actually about?
The story kicks off with Jim Schuyler (Douglas), a New York cop who basically gets "promoted to citizen" because he likes punching suspects a little too much. His captain mentions that half of his 112 arrests ended up in the hospital. Talk about a HR nightmare.
Instead of brooding, Schuyler immediately links up with a smooth-talking Southern lawyer named Tennessee Fredericks, played by the legendary Eli Wallach. Wallach is leaning into the ham here. He’s got this thick, molasses-dripping accent and spends most of the movie talking in parables. It’s great.
Fredericks hires Schuyler to be a bodyguard for Rena Westabrook (Sylva Koscina). Rena is a gorgeous socialite accused of offing her wealthy husband in their swimming pool. She claims she was with her lover at the time, but the lover is a total creep, and the witness who can back her up keeps ending up dead.
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Schuyler moves into her massive mansion—which, by the way, is peak 60s luxury—and starts "investigating." This mostly involves him eating with the help, dodging professional hitmen, and trying to ignore the fact that he’s falling for the woman he’s supposed to be protecting. It’s a classic neo-noir setup, but with a sun-drenched, technicolor aesthetic that feels more like a Bond film than a smoky detective office.
Why this movie matters (and why it failed)
When A Lovely Way to Die hit theaters in July 1968, critics weren't exactly kind. Vincent Canby of The New York Times famously wrote that there was so little of interest in the movie that he spent his time noticing how Kirk Douglas's chin dimple was starting to look like a "surgical mistake." Ouch.
But looking back, the movie was doing something kind of radical. It was trying to be three things at once:
- A hard-boiled detective thriller.
- A screwball romantic comedy.
- A "Swinging Sixties" style piece.
It’s that mix that makes it so watchable today. Director David Lowell Rich came from a TV background, and you can tell. He uses these flashy freeze-frames and "with it" editing tricks that make the film feel like a high-budget pilot for a show that never happened.
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The Ali MacGraw Factor
One of the coolest trivia bits about this movie is the cast. It features the film debut of Ali MacGraw. She’s only in a tiny walk-on role as a girl named Melody at the racetrack, but you can’t miss her. It’s wild to see her right before she became a massive star in Goodbye, Columbus and Love Story.
The supporting cast is also a "who’s who" of future stars. You’ve got Ralph Waite (the dad from The Waltons) playing a gardener, and blink-and-you'll-miss-them appearances by Doris Roberts and Richard S. Castellano.
The Problem with the Romance
Okay, let’s be real for a second. There is one part of the movie that hasn't aged great. Kirk Douglas was 51 when he filmed this. Sylva Koscina was in her early 30s. In the 60s, that was standard Hollywood math, but some of the love scenes feel a bit... off.
There’s a scene where Schuyler follows Rena up the stairs after she’s clearly told him goodnight three times. He’s so confident he’s going to get lucky that he basically walks into a door she slams in his face. It’s played for laughs, but it highlights the "macho" energy that Douglas brought to the role. He’s playing Schuyler as a guy who is 20 years younger than he actually is. It’s slightly ridiculous, but Douglas has so much charisma you almost let him get away with it.
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The Sound of the 60s
We have to talk about the music. The score by Kenyon Hopkins is incredible. It’s this groovy, brass-heavy jazz that keeps the energy up even when the plot starts to sag.
The title song, performed by Jackie Wilson, is a legitimate soul banger. It’s the kind of track that makes you want to wear a slim-fit suit and drive a convertible through Manhattan at midnight. In fact, that song has lived a longer life than the movie itself, often appearing on "Northern Soul" playlists and rarities collections.
How to watch it and what to look for
If you decide to track down A Lovely Way to Die (it’s currently available on Blu-ray via Kino Lorber and occasionally pops up on YouTube or TCM), keep an eye out for these specific things:
- The Opening Credits: It’s a montage of freeze-frames that feels more like a movie trailer than an intro. It’s super weird and sets the "experimental" tone immediately.
- The Courtroom Scenes: Eli Wallach is having the time of his life. Watch how he uses his hands and his voice to manipulate the jury. It’s a masterclass in "acting like an actor."
- The Mansion Stunts: There are some genuinely impressive fights and chases around the Westabrook estate. For a movie that’s mostly a talky mystery, the action hits hard when it finally arrives.
Actionable Takeaways for Movie Buffs
- Don't expect a tight plot. The mystery is honestly pretty hard to follow. Just enjoy the vibes, the decor, and the chemistry between Douglas and Wallach.
- Watch it as a "Dirty Harry" prequel. If you’re a fan of 70s crime cinema, look at how Douglas handles the opening brawl. It’s the DNA of the modern action hero being formed in real-time.
- Check out the soundtrack. Even if you don't watch the movie, find the Jackie Wilson track "A Lovely Way to Die." It’s an absolute gem of late-60s soul.
Ultimately, this isn't a "perfect" movie. It’s messy, it’s dated, and it’s a little too long. But it’s also undeniably fun. It represents a moment in Hollywood where the old guard was trying to figure out how to be "cool" again. And seeing Kirk Douglas try to be cool is always worth the price of admission.
To get the most out of the experience, try to find the Kino Lorber Blu-ray edition. It includes a commentary track by film historians Howard S. Berger and Steve Mitchell that explains exactly why this "forgotten" movie is actually a secret masterpiece of the genre.