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In the pantheon of American directors, Samuel Fuller seems to not get the recognition he deserves. I think his “Forty Guns” is one of Barbara Stanwyck’s best pictures. Growing up, Capitol Swell loved his “The Big Red One.” He pops up in cinema as an influence on the French Nouvelle Vague.

In a Fuller movie, you have either a gruff, but lovable sergeant or tough woman. The Naked Kiss is not a war film. In it, the main character played by Constance Towers is a former prostitute and of course with heart of gold. She gives up the street walking life running from her pimp whom she beats up in the pre-title sequence, and she finds a new life in small town America. All isn’t as it seems. She falls in with the town’s chief of police (Griff, you find one in every Fuller movie) for one last trick before going legit. She gets a job at the hospital helping disabled children. She falls in love with the town’s pretty boy who has a sordid secret. Things in small town America ain’t what they seem.

The movie is dramatic with a hint of noir. It’s shot in crisp black and white. In 1964. It’s another story written and directed by Fuller. And it’s surprisingly frank in depiction of things. Prostitution and abortion. Love and lust. The naked kiss signifies her senses for the dark. And there is a twist in the movie that makes it even darker. Yet, she wins the town over. And becomes a new woman.

I liked this a lot. Coming from only knowing Fuller as hard boiled, it is an interesting flick. The woman is both hard but sympathetic, loving but bad.

There is a touching scene with the disabled kids singing a song and she with her pretty voice joins in. It’s part of the ending twist, but it makes it all the more touching.

Fuller’s opening is a can’t miss. You’ll love it. And then the hair comes off and you love it even more. The end is satisfying enough, because our heroine becomes a winner. So is Sam Fuller.

4 of 5 stars.