Holiday Affair (1949)

All I want for Christmas is you, Robert Mitchum!

Intro.
I have a long list of favorite holiday movies, as I'm sure most people do.  But near the top of my list is one that I've never confessed to liking - Holiday Affair.  I was talking in my last post about the corny nature of some Christmas films, and this one is no exception.  I've never told anyone it's one of my absolute favorites mainly because I like to think of it as a sort of Christmas secret, maybe even a guilty pleasure.  Sure it's corny and a bit silly, but still delightful.  And really, how could I say no to a Mitchum romantic Christmas comedy?

Overview
Connie Ennis (Janet Leigh) is a war widow and mother who works as a comparison shopper.  She purchases a train for her job from amiable sales clerk Steve Mason (Robert Mitchum) and takes it home overnight instead of straight to her office.  Her six year old son Timmy (Gordon Gebert) peeks at it and is overjoyed, but his hope is shattered the next day when the package is returned.  Unfortunately, Steve has figured out Connie's job, but lets her go without contacting the store detective.  He then loses his job, but manages to take Connie to lunch.  Steve is the most unusual person Connie's met; he's a generous, kind, free spirit who wants to build sailboats in California.  He helps her finish her shopping and carries some of her packages home, but they get separated.  Back home, Connie trims the Christmas tree with Timmy and her boyfriend Carl (Wendell Corey) but is interrupted when Steve finally finds her apartment and turns up with her packages.  She has a lot of explaining to do, especially when Timmy takes a real shining to Steve that he hasn't taken to Carl in the two years Carl's been around.  It doesn't help any that come Christmas morning, Steve sends an electric train to Timmy.  What it comes down to is that the two men both propose to Connie and she must choose if she wants to take a chance on real love or take shelter in a life with a man she just likes a lot.  But can Timmy adjust to the changes in his life and can Connie let go of the memory of her late husband and let herself be loved again? 

Highlights
Another TCM back story: So Robert Mitchum hit a bit of a low point in 1948 when he was arrested and served a prison term for marijuana charges.  When he got out, studios didn't really know what to do with him, leading to several unconventional roles for him.  Howard Hughes saw to put him in this romantic comedy as it would help clean up Mitchum's image and establish him as a good guy.  That's why Robert Osborne's line was so funny - he said the film stars the "last person you'd expect in a warm fuzzy Christmas movie."  So true, but also so wonderful.  Mitchum is cool and self-assured and definitely comes off as a "warm and fuzzy" sort of leading man.

What I really enjoyed about the film after viewing it again this year was the complexity of the relationships.  I think I missed some of it in previous years, but Mitchum sums it up in one line.  "It's not just two guys fighting over you.  It's two guys, a woman and her husband."  The film does focus on all the details of Connie's relationship with her son and how she sees her husband in Timmy.  But even more interesting is how Connie's mother-in-law also takes that same line, remarking just how much Timmy still looks like his father.  I think that aspect is what makes the film different from most feel-good romcoms: it isn't so much about two men fighting for a woman, but a woman having to decide whether or not she wants to make herself vulnerable again by giving in to love.  I understand how she feels; she doesn't want to risk that massive heartache of losing someone again.  It's touching and very human.  I admire Janet Leigh a lot more each time I see this movie for just that reason.

Speaking of touching moments, you have to love Timmy in this movie.  He is a scene-stealer for sure.  His talk with Steve about how miracles don't happen (Steve convinces him that they do) is memorable, though not as good as what Timmy does later.  On Christmas Day, Steve is arrested (it's a long and pretty funny story, but basically he gave his necktie to a homeless man who then used the tie to attack, gag and rob some other guy).  Everyone comes to the courthouse to bail him out, and Timmy hears Steve admit that he's broke (he spent his last few dollars on Timmy's train).  It doesn't seem to bother Steve, but it does bother Timmy.  Timmy sets out the next day to take his train back to the department store for a refund.  He walks all the way there and has a heck of a time trying to get the money back.  He manages to get up to the President's office and as he is undeniably adorable (I mean, he's 6 years old and carrying a train set almost as big as he is), he is allowed to speak to Mr. Crowley.  He gets his refund and a ride home to his worried-sick mother.  It's a very selfless and grown-up thing to do, but more than that, it's the true spirit of Christmas.  (I'm going to stop here before I get too mushy!)

Review and Recommendation
Holiday Affair may seem a bit silly and old-fashioned, but it has enough warmth and heart to make anyone's season bright.  I recommend it as a good holiday romance film.  So break out the popcorn and hot cocoa and enjoy!

The Sundowners (1960)

A film with everything - Deborah Kerr, Robert Mitchum, sheep herding, horse racing, gorgeous locations and a baby koala.  What's not to love?

Intro.

I realized the other day that I spend entirely too much time thinking about classic movies.  I came to this conclusion when I was flipping through my copy of the TCM guide to Leading Men: The 50 Most Unforgettable Actors of the Studio Era.  I got really excited that the latest film on my DVR, The Sundowners, was the last film on the entry for Robert Mitchum (each actor has 5 Essential films listed).  Then I started to plan on watching all 5 films for each actor in the book and soon realized that would be 250 films, or more like 180 if you count all the ones I've already seen.  Such is the life of a classic film fangirl!  Anyway, now that I've seen all 5 Robert Mitchum films (the others being Out of the Past, Cape Fear, Night of the Hunter and Heaven Knows, Mr. Allison), I can say that The Sundowners truly qualifies as an essential.

Overview

Sundowners, in Australian terminology, are people whose home is where the sun goes down; in short, people always on the move because they have no permanent home.  Such is the way of life for the Carmodys - Paddy, the father, is a sheep drover and hates the idea of settling anywhere.  His wife Ida (Deborah Kerr) wants to settle somewhere and have a real home for their teenage son, Sean (Michael Anderson, Jr.).  The film starts out with them driving a flock of sheep to be sold and sheared.  They hire another man to help them, an older gentleman named Rupert (Peter Ustinov).  Together this family deals with the rough terrain to drive the sheep, including a horrible "crown fire" that spreads like lightning between tree tops.  Finally they manage to get the sheep to a shearing town, and despite his strong feelings against settling anywhere, Paddy agrees to stay for the season and shear sheep.  The rest of the family also get jobs and the bankroll starts to grow.  Although Ida and Sean are set on getting a farm, it takes some convincing (and some conniving) to even get him to look at one.  A few gambles later and the family gains a beautiful racehorse which they name Sundowner.  They decide to enter him in a few races, but just how much are they willing to lose?

Highlights
Okay, first of all, I love Deborah Kerr in just about every film she's made.  She has a lot of gumption but can also be very graceful and demure.  She's perfect for the role of Ida and in later interviews, she said of the 5 times she was nominated for an Academy Award, this role was the one she wanted to win for the most.  She deserved it too - she has a kind of stoic pride that gets Ida through all of the family's hardships, but she still has no problem telling Paddy exactly what she thinks.  In fact, Ida and Paddy are well suited for each other, and I think a bit part of their chemistry comes from how well Robert Mitchum and Deborah Kerr work together.  According to TCM, William Holden was the first choice for the role of Paddy, but when he turned it down, Robert Mitchum jumped at the chance.  He didn't even need to read the script; when he heard Deborah Kerr was in it, that was all he needed.  It's great to see actors have such a good working relationship, and both are outstanding in their roles.

In the beginning I felt that the film had an epic tone - the cinematography and directing were wide and grand.  But as the film progressed, it focused in more on the family.  Part of it was the great score by Dimitri Tiomkin and the wonderful directing by Fred Zinnemann.  But what really makes this movie a standout is the filmography - it's all done on location in Australia.  Apart from the great scenery, we also have some adorable wildlife like kangaroos, wallabies and of course, a koala with its baby.  The work with the shearers is all really well done, especially the shearing contest between Paddy and some ringer.  Also, I know there are articles out there criticizing the accents, but I think both Deborah Kerr and Robert Mitchum have great Aussie accents.  I think my favorite part was when Paddy gets drunk and starts singing "Wild Colonial Boy" in the local pub.  Think about that - 1) Robert Mitchum has to pretend to be drunk 2) and manage to keep his accent 3) while singing.  Now that's talent. 

What the film really comes down to is a family trying to stay together.  Paddy and Ida clearly want the best for their son and for themselves, but can't agree on what that is.  All they have is each other.  In the end, they are still Sundowners and continue onward with their futures still unsettled.  That heart - that love they have for each other - makes this movie a success.

Review and Recommendation
I really enjoyed this film.  The ending doesn't really settle anything, but I think that's in keeping with the nature of the characters.  If it had been any different, it couldn't really be called The Sundowners. Australia serves as a perfect (and breathtaking) setting for this tale of family, love and survival.  It's a gamble every step of the way for the Carmody family, and a great movie every minute.  Definitely worthy watching!


P.S. For anyone who has seen Crocodile Dundee, the line "Flat out like a lizard drinkin'" is actually used in The Sundowners too!!  I had a little bit of a fan girl moment there.     

The Lusty Men (1952)

Bulls, broncos, cowboys, cowgirls, horses, heartbreak, fortunes; the only thing missing is Ben Johnson.

Intro.

I've loved Westerns for a long, long time.  There's something about the wildness found in the West and the wildness found in man's heart.  I'm more of a fan of the simpler times, films where you knew good from evil, and violence was acknowledged but not glorified.  So it's hard for me to pass up an old black and white Western from the fifties, which is why last week found me curled up eating popcorn and enjoying The Lusty Men. 

Overview

The film introduces itself with a rodeo announcer, commenting on and explaining events like bull-dogging and bronc riding.  Next up in the chute is a cowboy well known in the rodeo circuit - Jeff McCloud (Robert Mitchum), but his luck is about to run out as he gets thrown and stomped.  He limps away, not just from the arena, but away from the entire life.  Jeff hitches his way back to his boyhood home, a place he hasn't seen in some 18+ years.  The small homestead is owned by a bachelor who keeps getting offers to buy the place from a young married couple.  They can't afford the down payment, but he lets them come by and daydream.  They stop by and meet Jeff, and the husband, Wes Merritt (Arthur Kennedy) recognizes him from his glory days in the rodeo.  Wes and his wife, Louise (Susan Hayward) take Jeff back to the ranch where Wes works and help Jeff get a job.  It doesn't last long though, as all of Jeff's stories about winning quick fortunes in the rodeo give Wes the idea to enter in the local rodeo, despite Louise's worries for his safety.  With Jeff training him, Wes does astonishingly well his first time out, and wins a handsome amount of money.  He and Louise decide to start rodeo-ing so that they can earn enough money for their homestead, with Jeff's help.  Each rodeo becomes a strain on their marriage as Louise wonders just how long Wes's luck will last.  On their way they meet fellow rodeo competitors and their wives and soon learn about the other side of the life - that the thrill often keeps them coming back again and again, but the fear is ever present in the wives.  Sure enough, Louise is ready to call it quits once they have enough money, but Wes can't walk away from the rodeo life.  What it comes down to is a kind of showdown between Jeff (who has some unrequited feelings for Louise) and Wes, which ends in both tragedy and triumph.

Highlights
Susan Hayward and Robert Mitchum give some standout performances, perhaps not their career best, but well worth watching.  I only wished I could have seen them develop their relationship more.  The story itself is very good and a has a good showcase of rodeo life (even with all of the stunt doubles and obvious faked close-ups of the actors bull riding).  Robert Mitchum feels at home in a Western (like in The Red Pony), and adds a certain strong-but-silent ruggedness to the film.  What I meant in the tagline is that the film was great, but to be a real rodeo film, I could have used a bit more authenticity.  Don't get me wrong, the rodeo scenes were great, but part of me wished that Ben Johnson, who won both an Oscar and a World Rodeo Championship in Roping, could have been there.  I could write a whole post about why I love Ben Johnson, but that's for another day.  In the meantime, check out this article. 

Despite the camerawork to make it look like the actors were riding broncs, there are some beautifully crafted scenes.  The one that struck me the most was after Jeff limps away from the arena in the beginning.  His saddle slung over his shoulder, he makes his way across the open, deserted arena, trash blowing past him like modern tumbleweeds.  It's solemn, isolating and sad.  It also makes me wonder if this was what inspired one of the scenes from the later Steve McQueen rodeo film, Junior Bonner (which does have Ben Johnson, though he's older and not doing any trick riding).  In any case, that same sense of loss is conveyed.  It's almost every kid's dream to be a cowboy or a cowgirl, and to lose that dream in the blink of an 8-second ride is crushing.  Meanwhile, to add to that same sense of loss, we hear in the background of the film a familiar Western song - a variation of "Oh Bury Me Not on the Lone Prairie."  I've not only watched a number of Westerns (many of which feature this song), but I also listen to Western music (which is much different from Country music) - groups like Sons of the Pioneers and Riders in the Sky and artists like Tex Ritter, Gene Autry and Rex Allen.  But in this film, the song is a commentary almost on Jeff's life and his ultimate decision of what to do in the end.  I promise not to spoil it.  But I knew the ending was coming, yet I still hoped that it wouldn't happen.  In Jeff's words, "there never was a horse that couldn't be rode; there never was a cowboy that couldn't be throw'd.  Guys like me last forever."  How very true.

Before I sign off, I want to just think about what was going on in this period of Hollywood history.  In 1952, America was in the middle of the Cold War and fighting in the Korean war.  Extreme conservatism ran the country, from McCarthy right through to the Breen office.  Western movies and television shows thrived.  Like I said before, these were films where good and evil were easy to distinguish.  Jeff becomes the ultimate classic Western hero - the lone individual sacrificing his own happiness for the sake of traditional society (in this case, the marriage of Louise and Wes).  He's among the last of his kind, because the mid- to late fifties would introduce the anti-hero in the Western and bring an end to such romantic idealism.  It's always interesting to me to think about how a film was defined by its time period, and The Lusty Men is no exception.  

Review and Recommendation   
While not my all time favorite Western, The Lusty Men is nevertheless one of the most memorable and enjoyable.  A good story, solid performances and the novelty of rodeo events will keep you entertained.  I recommend it to any Western fan or any Robert Mitchum fan - you won't be disappointed!
 
P.S. Wagon Master (1950) is my favorite Western, followed by a very close second of She Wore a Yellow Ribbon.  You may also want to check out the film where Ben Johnson his Oscar for Best Supporting Actor: The Last Picture Show (1971).    

Macao (1952)

Intro.

In films, a "meet-cute" is the point in a story where two characters meet for the first time.  It's usually applied to romantic comedies.  Eli Wallach in the film The Holiday gives an example.  To paraphrase: suppose a man and a woman are both in need of pajamas, so they both go to the same men's department store.  The woman says she just needs a top; the man says he only needs bottoms.  They look at each other and that's it.  I have to say, even though the 1952 film Macao isn't a standout classic, it definitely has one of the funniest meet-cutes.  Onboard a ship heading for Macao, Jane Russell is in her cabin with a man she's trying to fend off.  She throws her shoe at him, but he ducks and the shoe goes right through the porthole and hits Robert Mitchum in the head as he's walking by.  He goes into the cabin with the shoe, sees Jane Russell, and that's it - a great meet-cute!

Overview

Cinderella jokes aside, Macao is really a film noir.  It opens on a ship bound for Macao, a place notorious for being 3 miles outside of police jurisdiction.  Headed there is nightclub singer Julie Benson (Jane Russell) and ex-GI Nick Cochran (Robert Mitchum).  Benson is short on money, so not only does she land a job at a local bar, but she picks Cochran's wallet.  He in turn gets stopped by the police, but she returns the money before he's arrested.  Meanwhile, Cochran teams up with another passenger, who gets him a job as an undercover special agent investigating a crime ring that just so happens to be run by Julie's new boss.  What follows is a web of crime, deceit and a blossoming romance between Nick and Julie.  Nick sets out to get Julie's boss, Lawrence Trumble, to take him on as a hired hand.  The idea is to get Lawrence to leave the safety of Macao and go to Hong Kong for some missing jewels so that the authorities can arrest him.  But the best laid plans often go awry, and after a shooting and a thrilling fight on Trumble's ship just shy of the 3 mile mark, the film comes to an end that's typical noir, though a bit happier.

Highlights

Both Robert Mitchum and Jane Russell give good, solid performances.  While not a standout film, it is nonetheless enjoyable and much of that is due to their chemistry.  This was their second film together, the first being His Kind of Woman, which is more of a noir parody.  As many reviewers on IMDb have said (and you should read those write-ups - they are much better than mine!), Macao is kind of a lighter film noir.  It is still "good triumphs over evil" rather than in some of Bogart's films or Mitchum's Out of the Past, where morality is an issue and the good and bad characters are hard to tell apart.   

Aside from that, the story was easier to follow than some noirs, partly because the script was so confusing, Robert Mitchum helped rewrite it as they filmed.  Also worth mentioning is Jane Russell's fabulous singing.  She does "One for My Baby" and the ironically named "You Kill Me."  She is quickly becoming one of my new favorite actresses.  Gloria Grahame is also featured in the film, though not in a leading role.  She nevertheless turns in a great performance as Margie, a woman you both love and hate.  You'll probably recognize Grahame from some of her other work, but for me she'll always be Violet from It's a Wonderful Life.  Overall, a good cast.

Review and Recommendation
Macao is an enjoyable film - it's easy to follow with enough suspense and romance to make for a good lighter film noir.  I recommend it to fans of Russell and/or Mitchum, and would say that it's a good film.  Not great, not horrible, but always entertaining.

Ryan's Daughter (1970)

Intro.

I'm a sucker for films shot entirely on location.  Films, after all, are all about transporting the viewers into another world, and what better way to do that than with rich, beautiful, true scenery.  Ryan's Daughter is an epic shot entirely on location in Ireland, so I was sold.  Add in a few Oscars, a love story with Robert Mitchum, and an intriguing plot set around the WWI Irish revolution, and you've got a must see film. 

Overview

A huge, sweeping epic, Ryan's Daughter begins in a small town in Northern Ireland, where the barkeeper's young daughter Rosy Ryan (Sarah Miles) falls in love with the middle-aged, widowed schoolteacher Charles Schaughnessy (Robert Mitchum).  Despite his hesitation and their age difference, they marry and settle into a quiet, peaceful life.  But Rosy wants more than that.  As if in answer to her prayers, a young British soldier nursing an injured leg and the pains of PTSD, Randolph Doryan (Christopher Jones), arrives at her father's pub.  He's been told that there's an informant in town - someone who is helping the Irish rebellion led by Tim O'Leary, but also helping the British.  That person has a tie with the pub, but no one is certain who it is.  The chemistry between Rosy and Randolph is instant and obvious, so it is no surprise that they begin a sizzling love affair.  The two story lines (the love affair and the revolution) are intricately tied together.  The town's mute, Michael, reveals the affair.  Then Tim O'Leary comes to the village, only to be captured by the British troops, led by Doryan.  The town concludes that Rosy was the informant and attack her in her home.  Even though Charles has already resolved to have a quiet divorce, he fights back against the mob to protect Rosy.  He can only do so much though, and the film ends with Rosy and Doryan each dealing (or not dealing) with what they've done.

Highlights

The true highlight of this film is the cinematography.  Not only is the beauty of the Irish countryside on full display, but the treatment of the shots and slow moving pace help develop a rich, gorgeous setting.  I felt like I was watching poetry.  The opening shots of the cliffs and Michael rowing in from the sea are just breathtakingly beautiful.  Later the shots of Charles and Rosy meeting on the beach and then Rosy and Doryan meeting in the forest are all just as well done.


A word on the rating - this film was rated MA on TCM.  There were all of 2 sex scenes and they were nothing compared to some of the scenes in the R-rated comedies today.  I'm usually against showing sex in films since it's usually unnecessary, but I think Ryan's Daughter handles it well.  It is necessary to see Rosy's first disappointment with Charles on their wedding night because it feeds into her desire for Doryan, who can, in her words, make her feel like a new person.    

This film is definitely one of the forgotten, yet still beautifully tragic epic films.  There are so many elements that work well.  It's funny, as I watched, I thought "this is like Dr. Zhivago without the snow" and after the film finished, TCM host Robert Osborne returned and commented that the director for Ryan's Daughter, David Lean, had also done Dr. Zhivago as well as The Bridge on the River Kwai.  It has the same feeling and scope of both those films.  The acting is great too - John Mills certainly earned his Oscar for his role as Michael, and I'd argue that Robert Mitchum and Trevor Howard were both just as good.

Review and Recommendation
Overall, I'd say Ryan's Daughter is the kind of film you watch just for the sheer beauty of it.  All the elements work together to make a seamless picture.  Although it runs pretty long (over three hours) and can be a bit slow at parts, the cinematography, fine acting and great score will keep you fascinated.   

The Locket (1946)

Intro.

It had been a long while since I had been able to enjoy a nice relaxing evening with take out food and a bunch of great films.  I had plenty on my DVR, so I scrolled through to find one suited for my mood.  I stumbled upon this one, The Locket.  I'm not normally one for melodramas, but as this one starred Laraine Day and Robert Mitchum and added in a psychological twist, I thought it might be good.  As far as story-telling went, it was well worth watching. 

Overview
Basically, this is a story within a story within a story within a story.  The depths of the film are peeled away like onion skins.  First we meet John Willis (Gene Raymond) and his beautiful fiancee Nancy (Laraine Day) at their engagement party.  They seem to be the perfect, happy couple.  But a stranger arrives and asks to see John in private.  The stranger turns out to be Nancy's ex-husband, Dr. Harry Blair (Brian Aherne).  Blair warns John he's making a huge mistake - that Nancy has already ruined the lives of three men.  His story launches a flashback to when he had met Nancy and their lives together.  However, this flashback gets interrupted when Blair explains that he too had been warned about Nancy - about how she alone was responsible for a man being wrongly executed in Sing-Sing.  The man to warn him was named Norman Clyde (Robert Mitchum).  Norman's story launches another flashback about how he had met Nancy.  Apparently Nancy and Norman had been at an art dealer's party (Norman was a painter) and Nancy had stolen a diamond bracelet left by some guest in the bathroom.  She told Norman it was all just her gut reaction - she just wanted it and took it.  Her teary-eyed explanation takes us to the last flashback, which takes place when she was about ten years old and living with her mother, a housekeeper to an extremely rich family.  Nancy was falsely accused of stealing the family's daughter's diamond locket and severely punished for it.  It's more of an emotional beating that leaves grown up Nancy still shaking in Robert's arms as she tells him about it.  He convinces her to mail back the bracelet anonymously.  We think all is resolved until they go to another party and the host is murdered, his prize diamond stolen.  Did Nancy do it?  We don't really know.  But she lies to the police and lets the butler take the fall for the crime (that's 2 of the 3 men whose lives she ruined, if you're keeping score).  Norman desperately tries to save the butler, hence his visit to Blair, but it doesn't do any good.  I won't go on from there except to say that Blair also comes to learn the disturbing truth about Nancy while living with her in England.  Even as a psychiatrist, he cannot help her, and their subsequent divorce leads to her returning and finding John.  It all ends back where it started - with the wedding preparations for Nancy and John.  But Nancy gets the shock of her life when she meets with her mother-in-law, and the film comes to a close.  (No spoilers here!)     

Highlights

I really enjoyed all of the layers to this film.  It was a lot of fun to keep peeling back layer after layer, just as you would to get at the heart of any person's personality.  It had a film noir quality to it as it not only had the multiple flashbacks, but also the overall dark tone.  I realize now as I write this, that there is very little evidence that Nancy killed her host and stole his diamond - the entire case is really built on suspicion and the way Norman reacts to her story.  That part is really well done and intriguing.  Laraine Day is also wickedly delightful as this angel-faced, allegedly-homicidal kleptomaniac.  All the men who surround her are helpless, and only one - Blair - manages to escape in one piece.

Apart from its noir-ish elements, the film really is a melodrama and its attempts at the "psychological drama" aren't done well.  I feel bad to admit this, but the secret at the heart of Nancy's problems didn't really seem all that devastating to me.  The only justification I could see was that perhaps she already had some psychological problems and the incident with the locket was just the trigger she needed.  I almost wish we had some more time with her as she grew up - did the incident that cost her mother's job ruin their family?  Did her mother find work again?  Did she blame Nancy constantly for her unhappiness?  It's a bit of a jump and leaves a lot of questions unanswered.  I don't want to sound cold - anyone would've been severely shaken by that business with the locket, but very few people I know would have turned to theft and purgery and possibly murder.  The ending seemed much too easy, too simple, though the irony of it has a bit of a redeeming quality.  I won't dwell on it more, just in case you decide to watch!  

Review

If you can get past the flaws with motive and psychology, you will find some things to appreciate in The Locket.  For the most part, the story-telling is wonderful.  I really enjoyed all the depths and twists each story took as we went further back into Nancy's past.  The film itself even feels like a case study - as if we are in Dr. Blair's shoes evaluating a patient.  So overall, not one of the best films I've reviewed, but still enjoyable and a good example of plot techniques.

Heaven Knows, Mr. Allison (1957)

Intro.

Like I said, May is definitely Mitchum month.  I actually saw Heaven Knows, Mr. Allison in a movie store awhile back and decided I had to see it, and to my pleasant surprise it popped up on my instant play suggestions for Netflix.  I had loved Robert Mitchum and Deborah Kerr together in the film The Grass is Greener, so I was excited to see this film, their first one together.

Overview

The premise is pretty straight-forward.  Robert Mitchum is the title character, Cpl. Allison, USMC.  He has been separated from his submarine and left in a lifeboat.  He lands on the beach of a deserted tropical island in the South Pacific and soon discovers the only inhabitant of the island is a nun, Sister Angela (Deborah Kerr).  She has missed the rescue ship back to Fiji and her companion, a Father, has recently died.  She and Mr. Allison take survey of the island, getting food and keeping watch - that is until the Japanese land.  They both hide in a cave in the hills, but the going is rough as they endure bombings and terrible food.  The two begin to care for one another as friends and Allison, who has never had family or loved ones, finds himself falling in love with Sister Angela.  When he discovers that she has not taken her final vows, he asks her to marry him.  She turns him down, and he gets drunk and begins to carry on about how unfair it is that they are stuck together but can't do anything. Sister Angela runs away, only to get lost and soaked in a downpour.  Allison finds her the next day, feverish and sick.  He has to steal blankets from the Japanese, but he gets her back to good health.  That isn't the end though, as the Americans land to take the island.  Allison gets caught in the fight and the result determines the fate of his relationship with Sister Angela.

Highlights

The shooting locations on Tobago are beautiful in this film.  The entire set up is very well done, and the coordination of the Japanese and American attacks are great. It does feel like a reworking of The African Queen, but there is enough difference to make you realize it is a different film with a different purpose.  I especially like how the film concluded - it doesn't cave to romantic notions and each character retains his/her integrity.

I think one of the hardest things actors have to do is break out of any sort of type-casting.  While Mitchum isn't stretched too far (he's usually the strong, tough guy) I was really surprised at his character's dimensionality - he's not the bitter, intelligent private eye, nor is he the super creepy and deeply sinister bad guy - he's the Joe next door, uneducated and unattached who nevertheless finds himself connected to a nun.  It reminded me of his role in River of No Return, where he is the strong, silent outdoors-man hiding a dark (and sometimes dangerous) nature. 

Finally, what really carries this film is the relationship between Sister Angela and Cpl. Allison.  They realize that they are alone in this crisis together - that they may face death together and even though each one is capable of survival alone, neither wants to leave the other.  They fight, they make up, they survive together.  At perhaps the most touching part of the film, Sister Angela offers to turn herself over to the Japanese in order for Cpl. Allison to have a much better chance of his own survival.  He flat out refuses, saying that if she were to do that, he'd go out of his mind and probably start flinging coconuts at the Japanese to get her back.  It's a great friendship that lasted off screen as well - according to one story, Mitchum had been nervous to work with Deborah Kerr at first, thinking that she might be as prudish as some of her characters.  On set one day, she started to swear at director John Huston, and Mitchum, in the water, began laughing so hard he nearly drowned.  After that, Mitchum and Kerr would remain life-long friends, making another three films together.   

Review

Although it does feel similar to many other island survival films, the relationship between a Marine and a nun makes this film stand out.  While not a classic like The African Queen, this film is just as enjoyable, and watching two such great screen icons together for the first time is unforgettable.  I'd definitely recommend watching.

Angel Face (1952)

Intro.

It seems as though May has turned into Mitchum Month without me knowing it.  I think it's because my new DVR lets me search listings by Actor/Actress.  As such, I was excited to see Mitchum in another suspense film - Angel Face.  Right from the beginning when he stepped out of an ambulance as a paramedic named Frank, I knew I was in for a great evening!  **Please note, there is no way I can discuss this whole film without giving away the ending, but I will put in a Spoiler Alert before then.**

Overview
As I said, the film starts with paramedic Frank (Mitchum) arriving at the Tremayne home, where the stepmother Catherine (Barbara O'Neill) has had an accidental brush with gas affixiation.  There are suspicions about the cause, but nothing very substantial.  On his way out, Mitchum bumps into the daughter, Diane (Jean Simmons) whom he tries to comfort.  She later follows him and they spend the evening together.  Diane learns that Frank is an ex-race car driver and wants to save up to open his own garage.  The next day Diane gets her stepmother to consider funding Frank's venture, even bringing Frank to the house to meet her formally.   Although Catherine wants to proceed with the garage, Diane tells Frank that she doesn't and plays up the "evil stepmother who never wants people to be happy" card.  Pretty soon Frank winds up falling for Diane and accepts her offer to join the family as their chauffeur.  All goes pretty well as we learn that Diane is 1) a huge Daddy's girl and 2) she's obsessed with convincing Frank that Catherine is trying to kill her.  And then one day we see Diane standing at the edge of the family's driveway and see that the path veers off to a sheer rocky drop.  The next thing you know, Catherine and Diane's father Charles (Herbert Marshall) get into their car and put it in drive.  However, the car instead accelerates very rapidly and zooms backwards, tumbling end over end off the cliff.  Diane, unaware that her father had also been in the car, is inside contently playing the piano.  Just when you think it's over, the film pulls a fast one - both Frank and Diane are arrested and, in a play to get sympathy from the jury, their lawyers have them get married.  Then, they face their trial....

***SPOILER ALERT***
It works too, as they are tried and found not guilty.  Frank, angry and disgusted as he knows Diane is guilty, leaves her after the trial to try and get back together with his ex-girlfriend.  The ex of course, turns him down, and Frank returns to a distraught and emotionally wrecked Diane.  He stupidly says he is leaving her and going to Mexico.  She pleads with him to stay and asks to make her case while she drives him to the airport.  He STUPIDLY gets into the car with her and what happens?  She is determined not to lose the only person she has left in her life, so she throws the car into reverse and drives it off the cliff as well, killing them both.        

Highlights

I think what is most remarkable about this film is that you don't really know how or when Diane will attack.  I thought Frank had indeed talked her out of killing her stepmother, then only a few minutes later the car goes off the cliff!  I had just gotten comfortable with a good old slow paced suspense film and then bam! double homicide!  It's shocking for both the audience and for Diane, who collapses when she discovers her father was also a victim.  Just the same, you don't really expect the ending - that is until you see Diane at the wheel.  These parts make up for some of the longer, more drawn out scenes and make for an interesting ride.

Robert Mitchum is very good in this role, although his character's seeming blindness to Diane's plans was pretty aggravating.  In retrospect, I think that it would have been too easy for him to see what was coming, as his character is not the street-wise private eye we're used to seeing.  He's the chump in many ways and no amount of screaming from the audience (believe me, I tried) will save him.  It's a different role than usual, but he plays the part with his usual charm and good looks. 

Review
Overall, despite some slow parts, I think this is a fine example of the old Hollywood suspense film.  Heavy on drama and suspicion, it brings together many good elements and fine acting talent to make it into a thoroughly enjoyable film.  I'm sorry if I've spoiled the film for some of you, and for those of you strong enough to skip the spoiler, go enjoy the surprise!

Rachel and the Stranger (1948)

Intro.

You know you are addicted to old movies when, after a very busy period that leaves no time for film-viewing, you go through a serious withdrawl.  Such is my case recently, as circumstances have kept me so busy I haven't been able to watch much of anything, let alone write a review.  So finally I got some time and decided to watch a film I'd never heard of before - it's called Rachel and the Stranger, which to me sounds like a kid's movie about the dangers of talking to strangers or perhaps a follow up to Sarah and the Squirrel.  It's far from both of these things luckily, and quite an enjoyable film.

Overview

Rachel and the Stranger is a pretty typical Western drama/comedy.  Rachel (Loretta Young) is a woman working off her father's debts as a bond servant.  Recent widower and father David (William Holden) decides that he needs a wife to care for his son Davey (Gary Gray), so he first buys her and then legally marries her, but only for convention as they will be living under the same roof.  Things get off to a rocky start as Rachel is treated more like a servant and outsider who is constantly compared against David's late-wife Sarah.  Everything changes though when David's long-time friend Jim (Robert Mitchum) - the typical free-spirit backwoodsman - comes to visit with the announcement that he's looking to finally settle down and find himself a wife.  Jim's bright spirits and good nature are a big contrast to the coldness Rachel's been getting from David, so it's only natural that she responds to Jim's growing attentions.  David begins to grow jealous and realize that he has married such a wonderful woman, not just a bond servant.  The two men come to blows when Jim suggests buying Rachel from David, and Rachel, so upset at the idea of being bartered for, ups and leaves.  It isn't safe though, as the local Indians are starting to raid nearby farms and set cabins on fire.  When their own cabin is targeted, all of the characters must come together.  And it's there under fire that true feelings finally bring a good ending to the film.

Highlights

I don't know where to start.  One of the reasons this film listing caught my eye was also one of the best parts of the film - the cast.  Holden, Young and Mitchum are great together!  Solid acting on all parts, even if it is a bit unusual to see William Holden in a Western.  Gray is also a lot of fun to watch and gets the feeling across that he misses his mother and really resents Rachel for taking her place.  I also enjoyed the initial interaction between Jim and David - Jim returns to learn of Sarah's death and in only one quick exchange we get an entire backstory between the men:  Jim loved Sarah and wanted to marry her, but as he was too wild and outgoing, she married David, a simple farmer.

The story is simple, but very well done in this film.  It did remind me of so many other films, but I think what is special about Rachel and the Stranger is that it so succinctly tells the story and each scene is very rich - there's one part where Jim and Rachel are singing and you see David in the background with Sarah's metronome, obviously still grieving.  It's so well told without too much explanation that you have to both laugh and cry at times (not to mention cheer out loud when Rachel finally gets a clean shot off with her rifle!).  I think the storytelling and cinematography reminded me of Angel and the Badman, Loretta Young's performance reminded me of her role in The Bishop's Wife, the relationship of Jim and David reminded me of Ethan and Aaron Edwards in The Searchers, and the general plot reminded me of everything from North to Alaska to The Grass is Greener and River of No Return (all of which I recommend!)**.

Finally, a few last points from my fangirl perspective.  First of all, Robert Mitchum gets to sing in this film (HOORAY!!!)  He has a great voice and he's just all around fantastic.  He is obviously enjoying his role in this film and I was delighted that he sang a few songs.  Also, William Holden is great - and shirtless in one scene (I had no idea he had so much chest hair).  I can clearly see now why so many women went crazy for him back in the day.  Finally, Loretta Young gets to kick butt with a rifle and instead of running off to civilization for help, as she rides back to the cabin under fire and starts to shoot alongside the men.  Talk about a woman turning into a strong female lead!  She does a complete 180 from the shy fragile servant and that in itself is what the film is really about.

Review

Although the storyline may be familiar, Rachel and the Stranger delivers a fine overall performance.  A wonderful cast and entertaining scenes keep the pace light and enjoyable.  I would definitely recommend it to anyone interested in a good old-fashioned Western that doesn't take itself too seriously.  

**A word of caution - of the films I listed, I would suggest reading up a bit on The Searchers before watching it for the first time.  If you watch it without any sort of reference or understanding, it comes across as a crass Western that comes dangerously close to comedy and can be very off-putting to some viewers.  There is a reason for almost everything in a Ford Western, even the humor.

River of No Return (1954)

Intro. 

Do you ever have those days that are so long and so tiring that all you want is to curl up with a good book or lose yourself in a good movie?  That's the way I felt the other day.  I came home and collapsed and flipped through some saved movies until I came to River of No Return.  Ironically, I had just finished the book You're Nobody 'Til Somebody Kills You by Robert Randisi.  It's the latest entry in his Rat Pack fanfiction murder mystery series.  I hate to say it, but  I am completely hooked on these books.  This one had Marilyn Monroe being stalked and Dean Martin hires the hero, Eddie Gianelli, to protect her.  Anyway, in the book, Marilyn tells Eddie she feels as safe with him as she did with Robert Mitchum when they were shooting River of No Return in the Canadian Rockies.  Of course, my thought was "I'd feel safe with Robert Mitchum too!"  Which meant, when I needed a good film to watch after my exhausting day, I had to pick this one.

Overview
Matt Calder (Mitchum) plays a farmer reunited with his young son Mark (Tommy Rettig) in a new, gold-hungry mining town.  The two make it back to their riverside farm and try to get used to each other again when a raft with two people on board gets into trouble near their house.  Matt helps the couple reach land only to find that the man is a gambler, Harry Weston (Rory Calhoun) who has won a gold mine in a poker game.  His wife Kay (Marilyn Monroe), who immediately doesn't get along with stoic, conservative Matt,  bonds quickly with curious, good-natured and innocent Mark.  As Harry lacks any rafting skills, he cannot go any further down the river to the main town to file his new claim.  He instead holds up Matt and steals his only rifle and only horse, leaving the father and son defenseless against the Native Americans, who have already started burning houses nearby.  Kay stays behind to care for Matt, who has been knocked unconscious by Harry.  After Harry leaves, Matt awakens and takes Mark and Kay onto the raft, narrowly missing an attack from the Native Americans.  They watch helplessly as their home is burned and Matt vows to kill Harry.  From there the threesome travel through the roughest parts of the river called "River of No Return," nearly drowning, fighting chills and fever, eating what little they can find or catch and generally trying to get along with each other but failing.  We find out that Harry and Kay aren't married yet and that the reason Matt was away from Mark and his mother was that he was in jail for shooting a man in the back.  Mark overhears this, causing another problem in this already troubled group.  Matt and Kay continue to hold some contempt for each other, and no sooner does it start to ease then Matt tries to force himself on Kay.  He gets interrupted by an attack from a mountain lion, but the damage is done.  At long last the trio survive the worst rapids and make it safely to the town.  Matt allows Kay to see Harry first, to talk to him and try and stop the two men from a fight.  Harry pushes Kay aside and goes after Matt, only to be shot and killed.  I won't give it all away, but it's one of the best ending scenes I've seen...well, right up until the last two minutes.

Highlights

One of the things that this movie does well is how the characters are formed.  Just when you think Matt is an alright, square kind of guy he goes and tries to rape Kay.  What?  I know, I was yelling at him the whole time.  But it keeps his character interesting, and his anger is clearly still just below the surface.  The other thing that works is the dialogue.  I was just talking about this film earlier and said that it's frustrating because the characters talk about things that don't matter and don't talk about things that do matter.  We're left wondering about Matt's dead wife.  Does he blame himself for her death?  Does he think Kay looks like her and that's why he has trouble with her?  Those are questions that should be answered by the acting, not the telling, which I think both Mitchum and Monroe do very well.  And the ending - I won't give anything away, but how it all comes full circle is pretty wonderful.  Not to mention pretty daring for the time too.

A Few Complaints

I've read a few mixed reviews on this film, and I have to say I have a few mixed feelings too.  The aspects I liked also bothered me a bit too.  For example, I loved the dynamic ending, but I felt that after the killing of Harry the film should have ended with Kay in the saloon singing the title song.  Instead there is a minute or two after her song that are too simple, too neat and too Hollywood.  I think they put it in to appease some viewers who probably had an issue with the way the shooting happened.  Or perhaps it was just to go with conventions of the day.  It would be interesting to see it now  in a remake, although no one today could probably convey that same inner turmoil and complexity Mitchum did.  And no one can even come close to being Marilyn Monroe.

And finally, just to appease my fangirl nature, I have to say that I was at first disappointed that Robert Mitchum doesn't get to sing in this film.  Marilyn Monroe does as a saloon entertainer and also as a sort of mother for Mark.  I know it would have been out of character for Matt to join Kay in singing, but part of me wished he had, even if only for the closing credits.

Review
What's great about this movie is that these are not average, well-adjusted people.  They are broken, weary and just trying to survive the elements and each other.  They don't form this perfect, happy little family.  It's a rare Western drama that is subtle and deep just as much as it is sweeping and dramatic.  Although there are some problems with plot and sometimes even with the characters (not to mention those awful last two minutes), I feel that this is a fine movie and I recommend it.  It was perfect to unwind and enjoy such a great leading man and leading lady in a fairly good and well-rounded film.

The Red Pony (1949)

Intro.

At long last, the mail has been going out regularly, so my new Netflix DVD arrived.  The film was added a long time ago, but in light of my "leading men we adore" theme, I had to include a film with Robert Mitchum.  About a year ago I had seen only a clip of this film (of course it was the incredibly sad part) and knew I'd need to see the whole thing eventually.  I'm glad I did too.  The film is based on the Steinbeck novel, which was published in 1945.  Steinbeck himself wrote the screenplay for the film, and his writing style shows in the rich but minimal-dialogue scenes.

Overview

This is not an epic or a sweeping tale of the West.  It does not have a cast of thousands.  It is a brilliant, small film simply about a boy and his first pony.  Tom Tiflin is the little boy in this film, played by the adorable Peter Miles.  Tom gets his first pony, a beautiful red colt.  He is determined to care for it and train it with the help of his grandfather (played by Louis Calhern) and his family's only hired hand, Billy Buck (Robert Mitchum).  He can talk to these two men more than he can to his father Fred (Shepperd Strudwick), who only wants to sell the ranch and go back to the city.  Myrna Loy plays Tom's mother, who loves her father and his ranch and wants to stay.  As much as the family seems to be falling apart, they have to come together when the colt breaks loose during a rainstorm and winds up with a deathly cold.  Despite all attempts to save him, the colt dies, leaving Tom brokenhearted with only Billy Buck to take it out on.  In the end, Billy's prize mare births a colt, which he gives to Tom, and the family begins to put their pieces back together.

Highlights & History
I couldn't get enough of these characters.  Each one is so well written and well acted, that I felt as though it should have been a series, not a single stand-alone film.  I wanted to see Tom grow up and watch his parents get back together.  The simplest stories are often the most touching, and such is the case here.  It's about a lot more than a boy and his horse - it's about the loss of youth and the discovery that death is real.  It's about the end of part of an American dream.  Tom's grandfather talks about the end of "Westering" and how once men hit the ocean, that dream died.  I'm going to detour here a bit for some background.  In 1890, the Census Bureau said that the American frontier was closed - no more expansion was left.  For the years that followed, right up through the 1930s, there was a certain anxiety about our national identity.  We were a country of pioneers, but there was nowhere left to explore.  The nostalgia of the West grew from that period, giving rise to great writers and later to great films.  It's interesting that the same themes would reappear after WWII when the book was written, but that same nostalgia and sadness is very present in the picture.

Now, as for the rest of the film, fine performances by the whole cast.  Robert Mitchum is good in this role.  In 1949 he was still taking less-risky roles.  He had just done some jail time in 1948, so afterward he avoided those gritty, bad guy roles.  It was the same year he made Holiday Affair as well (and the same reason).  His career didn't suffer too much from his record though, and even gave him more of a tough-guy image that led him to roles like Cady in Cape Fear.  Still, as the good-guy cowhand Billy, he does a fine job and is wonderful to watch with Peter Miles.  I should also mention the outstanding performance by Louis Calhern.  He's so much fun to watch and more fun to listen to - his voice and the way he delivers his lines is in the great tradition of storytellers.  I could almost picture him as Mark Twain.  And I knew he looked familiar - turns out he's been in quite a few great films, including High Society (1956).

Review

An understated classic - that's the label I would give The Red Pony.  It's told simply and honestly, with great attention to character.  It also boasts some nice cinematography and an incredible score by Aaron Copland.  A must see for many reasons, this film is one of the great American stories.

As always, check it out on IMDb.  I also found a book review about the end of the American frontier - I really want to read it now.