It’s difficult to eliminate someone who can't be relied upon. Murder by Contract was directed by Irving Lerner and written by Ben Simcoe. The film stars Vince Edwards, Philip Pine, Michael Granger, Caprice Toriel, and Herschel Bernardi. Perry Botkin composed the music, and Lucien Ballard handled the cinematography. Claude (Edwards) one day decides he’s tired of a typical existence and regular wages. He resolves to become a hit man, and after performing several detached killings, he gains the trust of the enigmatic Mr. Brink. This leads to a “big hit” in Los Angeles, where he is tasked with eliminating the key witness in an upcoming trial. Things proceed smoothly until he discovers that his target is a woman; Claude’s previous composure gives way to irritability and annoyance. Thanks to its inclusion on the Columbia Pictures Film Noir Classics DVD set, and with Martin Scorsese citing it as a significant influence on his work, Murder by Contract is finally receiving the recognition it warrants. It's an unusual, even quirky film that incorporates noir elements, resembling many late 1950s noirs lacking the traditional visual style. The lighter feel of these 1950s crime movies often comes from their characters—particularly the central figure—and Murder by Contract is a prime example of this. He doesn’t like guns! For most of its runtime, the film exudes a sense of coolness. Claude proves to be a calm and methodical protagonist; his dialogue is intelligent and sophisticated, and he seems fully aware of the world around him. Terms such as existentialism and spare—a descriptor Scorsese frequently uses—are often associated with Lerner’s (City of Fear) movie. These words highlight how well Lerner and Ballard did, creating a picture of unique quality in just seven days and on a minimal budget, maximizing impact through concise scenes and sequences. Perry Botkin's score also contributes to the film's oddness; primarily electric guitar-based, it’s a blend of The Third Man and Zorba the Greek, unsettling yet subtly adding to a feeling of unease within a story about a hit man. I don’t like pigs! The final third is where the movie truly comes alive, both visually and psychologically. Once Claude arrives in Los Angeles and meets up with Mr. Brink's men, Marc (Pine) & George (Bernardi), who are overseeing him while he carries out the hit, things change considerably. Marc and George are simultaneously fascinated and irritated by Claude’s calmness, accompanying him as he takes in the sights, relaxes, and generally enjoys himself. However, when it is revealed that the target is a woman, Claude's demeanor shifts; he becomes unstable, demanding double the money or refusing to do the job. It's then that we realize there are repressed emotions lurking beneath his initially icy exterior. We recall his outburst over finding lipstick on a cup and his annoyance at the party girl sent to his room for company—again, lipstick is the issue. There are emotional scars, which are further exposed during the finale as Claude desperately tries to complete the job, leading to a classic film noir conclusion because of his repressions. A terrific little “B” noir, skillfully made and acted, with touches of originality and clever characterizations. 8.5/10

Source on TMDB