Showing posts with label Robert Mitchum. Show all posts
Showing posts with label Robert Mitchum. Show all posts

17 January 2024

Our 2023 at InSessionFilm!

 

Despite a tough 2023, it was important to me to keep up my moonlighting commitments at InSessionFilm, both with Long Form Movie Reviews and Top Ten Lists - not to mention the Women InSession Podcast


Here's a rundown of everything from Rachel Weisz to Vincent Price: 


The Underseen Rachel Weisz

The Banishing uses Shame as Commentary

Kick Ass Women's Comedies

Cool Eighties Comedies

She Will Addresses Women's Fears

Statement Making Seventies Science Fiction

Top Ten Michael Fassbender Essentials 

Top Ten Vincent Price Horrors

The Vincent Price, Roger Corman, Edgar Allan Poe Cycle

Great Bela Lugosi Horrors that aren't Dracula




I'm so grateful to have this film outlet to write, discuss, and share a variety of film thoughts past, present, or obscure! Here's a small sample of some of my favorite Women InSession Podcast episodes:


Robert Mitchum

Top 5 Worst Best Picture Nominees

Swashbuckler Movies

The Adventures of Priscilla Queen of the Desert

Tootsie and The Birdcage

Some Like it Hot

Underrated 1980s Movies

Memento

1939 in Film

Christopher Nolan and The Prestige

Wild Vampire Movies

Elizabeth Taylor and Richard Burton

Brendan Fraser

Little Women vs Little Women

A Christmas Carol Adaptations 


I don't always get a lot of interaction on Film Twitter, such that X is, but it is a tremendous privilege to share my film discourse with you and thank you for tuning in here, there, everywhere! πŸ₯°



30 May 2023

More from InSession Film!

 

More InSession Film Action! 


It's been awhile since we've done an update on our moonlighting at InSessionFilm.com, and there's much to share – including film reviews, podcasting, and merchandise!


First, here are some of our horror essays and retro lists at the new look InSession website:




She Will

Cool Eighties Comedies

The Banishing

Kick Ass Women's Comedies

The Underseen Rachel Weisz


Speaking of Women, don't forget you can hear our analysis on classic actors, film directors, and more on the Women InSession Podcast:




Favorite Films of the 1940s

John Huston

Musicians Turned Actors

Cate Blanchett

Adventures and Swashbucklers

Our Cinematic Blind Spots

Sydney Pollack

William Holden

Top 5 Worst Best Picture Nominees

Julianne Moore

Robert Mitchum


It's been such a blessing to be part of the InSessionFilm Family, and you can show your love, too, by checking out some of the InSession Merchandise – including Women InSession T-shirts!




 

31 January 2017

Top Ten: Westerns!





Welcome to our new Top Tens series in celebration of I Think, Therefore I Review's Tenth Anniversary! These monthly lists will highlight special themes and topics from our extensive archive of reviews.


This time I Think, Therefore I Review presents in chronological order...


Our Top Ten Westerns!









Enjoy our western label for yet more!



I Think, Therefore I Review began as the blog home for previously published reviews and reprinted critiques by horror author Kristin Battestella. Naturally older articles linked here may be out of date and codes or formatting may be broken. Please excuse any errors and remember our Top Tens will generally only include films, shows, books, or music previously reviewed at I Think, Therefore I Review.


18 January 2011

River of No Return


River of No Return a Fun Western Romp
By Kristin Battestella



Some westerns are better than others are, but that by no means suggests the 1954 classic River of No Return is a dog of a picture.  With exceptional scenery, fun talent, and a little bit of preposterous, this yarn still offers plenty of entertainment today.

Fresh out of prison, Matt Calder (Robert Mitchum) finds his young son Mark (Tommy Rettig), who has been taken in by saloon singer Kay (Marilyn Monroe) amid the Northwestern gold rush.  Matt hopes to return to the quiet outdoor life with Mark, and Kay sets out toward Council City with her fiancΓ© Harry (Rory Calhoun) to record a gold claim he ‘won’ in a poker game. When Kay and Harry’s raft is caught on the rough river rapids, Matt rescues them.  Unfortunately, in return Harry steals Matt’s horse and rifle and leaves Kay as he rides on with his claim.  Despite dangerous rapids and angry Indians, Matt, Mark, and Kay brave the River of No Return with vengeance on their minds.



Though popular back in the day, River of No Return and director Otto Preminger (Laura, Anatomy of a Murder) had their fair share of off screen notorious.  Everything from Monroe’s apparent injuries and acting coaches to Preminger’s grumbling over contractual issues and his divided set made life difficult for Frank Fenton’s (The Wings of Eagles) screenplay from Louis Lantz’ story. It’s not all bad- the direction is fine and there’s plenty of potential in the story.  However, some of the dialogue is a little hokey, a little too matinee western for what turns out to be such serious stuff.  Instead of being super heavy and gritty, River of No Return falls prey to the stilted action when it didn’t have to do so.  Naturally, things are stereotypical on the Indian angles- complete with booming drums at every appearance.  Again, instead of being a realistic and heavy portrayal, they only serve the action purely for action’s sake. Even if you are looking for some of that old-fashioned western kind of hokey, River of No Return had a lot more potential. Despite this apparent unevenness, enough still holds together for a thrilling yarn. 

You have to admit, no matter how infamous the movie, there’s something pimpin’ about Robert Mitchum.  The bad boy star of Cape Fear, Heaven Knows Mr. Allison, The Story of G.I. Joe, and Night of the Hunter (I’ll stop!) broods even when he’s carrying a soft spot here.  We believe rough and tumble Mitchum as the ex-con Matthew- and not because of his own real life brushes with the law. Mitchum adds dimension and stature as the regretful dad trying to pick up the pieces with his son.  The tender dynamic alone is enough to keep us watching- until things get really saucy, that is. Yeah, yeah, a nice dad trying to teach a ten year old some hard lessons learned- yet we know it’s only a matter of time before Matt gets rough and juicy with Kay.  Some of River of No Return drags or seems a little too back and forth between the soft character scenes and rip-roaring action, but it’s not Mitchum’s fault.  Regardless of how outlandish things get, his layered presence won’t let you look away.  



River of No ReturnWell, her hair is kind of weird here, but my goodness what a waist on Marilyn Monroe! Scarlett O’Hara can have her 18 inches!  The bebustled corsets and tiny, racy red, green, and gold frocks make the iconic screen goddess seem a little out of place in such a rugged western, but some good old jeans add a little more realism to Monroe’s look. Even back then, it was all about the eye candy, wasn’t it?  Some of the low cut costuming and rough come-ons might have been a little risquΓ© for the time, but MM fans will love this attempt at something different.  Monroe’s musical material is not the type we expect per Gentlemen Prefer Blondes or There’s No Business Like Show Business, and there isn’t even that much of it.  The renditions, however, are good, with Monroe again proving she can vary it up.  While it looks like she had some practice with it, I don’t think Monroe is really playing the guitar. But, I don’t think her singing was dubbed. If you see enough of her movies, you recognize her speaking and singing range. Kay sounds like Marilyn! However, I actually wonder why they fell back on some musical numbers here.  Although it’s refreshing to just have folks singing ditties and strumming guitar rather than blissful singing cowboy musical westerns, River of No Return needed more drama, not music flair.  We presume Kay to be the bad girl, but she has a care for little Mark and always gets involved with the wrong men.  Despite some weak dialogue and doubts about the music, really what’s not to love?

 We don’t see him very often in River of No Return, but what we do see of Rory Calhoun (How to Marry a Millionaire) is so slim and shady it’s juicy.  He has a lot to trump against Mitchum, but his crooked gambler in the slick suit is love to hate worthy.  What guy leaves Marilyn Monroe, honestly? Likewise, Tommy Retting (Lassie) is a lot of fun.  Somehow, this pint-sized streetwise charmer strikes a tender balance between the big stars.  Perhaps it’s again a little hokey, but also so cute how Mark needs and wants a dad, yet calls him by his first name. We want this unusual father-son pair to have the nice life- and if a rough around the edges lady like Kay can complete them, all the better.  Maybe it’s obvious that this is how River of No Return will end up, but it’s certainly fun in getting there.



I must confess, when I think of this movie, I think of two things. On one hand, the Canadian visuals are very, very sweet- the mountains of Jasper Park and the glorious riverside forestry are downright breathtaking.  It’s like those old nature Disney videos that used to relax you and put you to sleep in those darkened science classrooms! The natural photography here is exceptional, end of story.  However, the up-close action and rapid rafting is obvious film trickery, to say the least.  It’s like when you see those looped backgrounds behind the cars while the actors mime over the steering wheel- but on a splashy raft in an onset tank.  We shouldn’t be so surprised thanks to our current love of over the top blue screen work, but yes, they did it back then, too.  Of course, the tricks aren’t as bad as they could be-the blend of the two shots is actually fairly seamless, without any super obvious cut and splice outlines.  The mountain lion scenes also seem corny in the fifties film styling, as does the scoring and old-fashioned opening song.  But all that’s to be expected. Besides, isn’t the point of River of No Return all the visuals- those mountains and Miss Monroe- in all their Cinemascope glory?


River of No ReturnFans of classics and good old school westerns can watch River of No Return again and again.  Rough Mitchum lovers and Marilyn Monroe connoisseurs can also complete their collections with several DVD editions- from the affordable to the Monroe box set.  Online options, rentals, and streaming opportunities also ensure plenty of viewings for years to come.  Of course, that sweet river is not on blu-ray yet, but I digress.

25 June 2009

Cape Fear (1962)

Original Cape Fear Still Chilling
By Kristin Battestella

Many modern audiences and Robert DeNiro fans especially love to quote his maniacal ‘Come out, come out wherever you are!’ from the 1991 version of Cape Fear. Classic viewers, however, can still enjoy the 1962 fear fest starring old school men Gregory Peck and Robert Mitchum.

Lawyer Sam Bowden (Peck) fears for his family’s safety after an ex con he helped put away returns to town. Max Cady (Mitchum) feigns innocence, claiming he has every right to be passing through. Sam’s wife Peggy Bowden (Polly Bergen) and daughter Nancy (Lori Martin), however, each have threatening encounters with Cady-including stalking Nancy at school and calling Peggy late at night. When the promiscuous Diana Taylor (Barrie Chase) refuses to press charges against Cady for beating her, the authorities are of little help to her or Sam. Before Cady can do worse to his family, Bowden decides to take matters into his own hands.

We’re familiar with the story-and not just because of the films or the source novel The Executioners by John D. MacDonald. Cape Fear dramatizes every family man’s fear. First, there’s the notion that a man’s action or inaction can bring something like this onto his family. Then we have all the naughty vibes of a criminal hunting down a man’s wife and daughter. Any husband or father can understand Bowden’s situation. Screenwriter James R. Webb (The Big Country, How The West Was Won, They Call Me Mister Tibbs) doesn’t present a tainted family man or promiscuous daughter like in the remake, but there’s enough sixties scandal to keep this Cape Fear juicy.

Cape FearHe’s tall, dark, and handsome, and good guy Gregory Peck is the ideal family man for Cape Fear. Among so many other heroic pictures (Spellbound, The Gunfighter, Roman Holiday I could go on…), we love familial Peck in To Kill A Mockingbird and The Yearling. We know he’ll stay on the right side of the law for as long as he can. Justice and family are the only things that matter to Sam Bowden, so when he takes on Cady himself, we know it’s serious. Peck may be taller than Mitchum, but can he be as ruthless as he needs to be in order to protect his family? The heated and tense conversations between Bowden and Cady keep Cape Fear saucy and interesting; yet there’s no doubt we’re rooting for Gregory Peck. We don’t question him or his performance, but he’s the good guy in a world that’s seemingly turned against him.

By contrast, Robert Mitchum has all the spooky vibes going for him in Cape Fear. Despite his handsome rugged old Hollywood style, Mitchum’s real life pot conviction and scandalous strip down here add to his underlining touch of menace. He shows his wet and deadly bare bulk, yowzah! Cady’s pursuing such a wholesome family, and that poor dog! Sure, we don’t have as much ambiguity and overt sexuality as in the 1991 remake, but Mitchum (Night of the Hunter, Heaven Knows Mr. Allison, The Longest Day, El Dorado) pushes the envelope of what you can see onscreen-and the allusions to what happens in the shadows are sometimes more frightening. Cady creepily reverses our notions of bad guys dressed in black with his daunting Panama hat and suave cigar. He talks the talk in attempting to show us how he’s been wronged, but we are always aware his slick is just too slick. Cady ‘looks fair and feels foul’, and Mitchum oozes every iota of it.

Lori Martin (National Velvet The TV Series, The Angry Breed) as Nancy looks young for fourteen-not a little girl, of course, but still a bit too prepubescent for big and scary Robert Mitchum. It’s an innate fear of ours to be preyed about by such a sexual predator. Martin plays her innocence and fear quite naturally and understandably. Likewise, Polly Bergen (War and Remembrance, Commander in Chief) as wife Peggy gets genuinely panicked for herself and her daughter’s safety. She’s the picture perfect Mrs. in the spirit of June Cleaver-complete with pearls. We’d like things to stay white gloved for her, but we know its going to get dirty. Her screams while Cady’s about are enough to make us squirm. Telly Savalas (Kojak) also has old school charm as Charles Sievers, the Private investigator hired by Bowden. Unfortunately, his hands are tied in the swift cat and mouse game Cady’s playing.

British director J. Lee Thompson (The Guns of Navarone) uses his cast to perfection and films them accordingly. Innocent wife Peggy and little Nancy always wear white or bright clothing-compared to dancer Barrie Chase’s (It’s A Mad Mad Mad Mad World) used and abused Diane Taylor in all black. The visual subtleties and timely music are very Hitchcock. The creepy black and white shadows mixed with long angles and moving camera shots also add to the noir suspense. Where the remake is all exceptional performances, this Cape Fear is much more about the craft of a scary picture. One could dare say this is the perfect horror film. There’s no blood and gore; it’s the real life menace that scares. A sunny day at the dock with Robert Mitchum in his panama hat is the most terrifying thing this side of Fred Krueger.

Fans of good old-fashioned black and white thrillers should already know and love Cape Fear. A two pack DVD featuring both film versions is now out of print, but a fully featured individual release of the original is fortunately available. Enjoy DeNiro and Jessica Lange and Nick Nolte’s version, too, but take a chance on this creepy old school classic. Study it, learn it, fear it, love it.

26 November 2007

North and South

North and South Still Essential Civil War Viewing

By Kristin Battestella

Ah, hoop skirts mixed with big eighties hair and flair, over the top Southern accents and zealous romances! These staples of television miniseries can make North and South a tough pill for new audiences, but Books 1 and 2 of this 1985-86 series are still the major staple in Civil War dramatizations.

Adapted from the John Jakes novels North and South and Love and War, ABC premiered the star studded North and South to record ratings in 1985. Audiences joined The Hazzard family from Pennsylvania and The slave owning Mains from South Carolina and stayed with them from Orry Main (Patrick Swayze) and George Hazzard’s (James Read) meeting at West Point, through The Mexican American War and up to the firing upon Fort Sumter. While Orry’s lover Madeline (Leslie Ann Down) is forced into an abusive marriage to Justin Lamonte (David Carradine), George marries Constance (Wendy Kilbourne) and continues his friendship with Orry through the grumbles of secession talk. Unfortunately George’s abolitionist sister Virgilia (Kirstie Alley) makes life difficult for the Mains.

It’s tough to pack everything about North and South’s first mini series into a few sentences. Each player has a lush storyline and there is no weak performer in the series. As much as we root for Orry and George, the devilish military man Bent (Phillip Casanoff) and Orry’s scheming sister Ashton (Teri Garber) give the series a touch of ruthlessness. It’s easy to wax nostalgia about these romantic times-incredible costumes, even good old fashioned duels-but North and South does not gloss away from slavery and other risquΓ© issues of both the 1850s and the 1980s-including domestic violence, abortion, and interracial marriage.


In 1986 North and South Book II followed to equal ratings and continued the entwined Hazzard and Main saga into the Civil War. After Book 1 ends with the superbly done parting of George and Orry at the break of the war, this sequel series holds its own with impressive battle recreations and issues of the war from both the Union and Confederate sides. George’s sharp shooting brother Billy (Parker Stevenson) has married Orry’s youngest sister Brett (Genie Francis). The Main plantation struggles with Lincoln’s Emancipation Proclamation, but cousin Charles Main (Lewis Smith) find its difficult to fight against best friend Billy on the battlefield.

As if the one thousand plus women’s costumes weren’t value enough, North and South used Civil War re-enactors from across the United States to accurately portray its battlefield action. Naturally, most of the action skirts the big events, but no other television or movie production has handled so much of the Civil War and done so properly. The TNT original Gettysburg is an exceptional testament to that particular battle, but North and South gives us Bull Run, snips of Gettysburg, and western theater action not normally seen. By remaining faithful to the Civil War way of life, North and South has grown beyond its eighties making. There’s a reason no one else has filmed such an ambitious Civil War production. North and South is the best Civil War dramatization. Period.

Scored with all the epic music one could ask for from television composer Bill Conti, North and South’s main cast was tough to beat in the eighties heyday of network miniseries. Only minor cast switches were made between Books 1 and 2, most notably Mary Crosby and Parker Stevenson joining the series midway through. Those who weren’t famous became so- like Jonathan Frakes, later of Star Trek The Next Generation and Oscar winner Forrest Whitaker. Couples also sprung from the series, including Genie Francis and Frakes, and James Read later married his onscreen wife Wendy Kilbourne.


It would be no understatement to claim that the supporting and guest cast of North and South is perhaps the greatest ever assembled. Only bringing back John Wayne and Vivien Leigh from the dead could have made this cast greater. Everyone from Elizabeth Taylor to James Stewart, Hal Holbrook, Robert Mitchum, Jean Simmons, Linda Evans, Lloyd Bridges, Morgan Fairchild, Johnny Cash-the list of talent past and present outdoes itself. North and South smartly weaves its fiction around and about major events and players. Part of the series’ joy is wondering how they approach a historical event and then seeing which heavy weight star comes to play. Most of the guest stars only have one or two significant scenes, but the notion that the price tag of North and South was high enough to afford these stars-or perhaps that they worked for such a discount-either way, it would be nearly impossible to assemble such a cast in today’s industry. VH1’s I Love The 80s even jokes about this stellar ‘everyone and their grandmother’ feat.

Available at most video retailers, North and South contains Book 1 on 6 double sided discs and Book 2 the same. Special features are light for the set, but its understandable that there isn’t a lot of behind the scenes material available. Only a retrospective with some of the cast provides insight on the scope of North and South and its impact on television audiences.


John Jakes fans in the know will wonder what happened to the third book of his North and South trilogy. Heaven and Hell was adapted for television in 1991 as Heaven and Hell: North and South Book III. Most of the cast and crew returned for the third installment, but the absence of Patrick Swayze and liberties taken from the first two novels hinder the presentation of Heaven and Hell. Lesley Anne Down and James Read look well, but Teri Garber and Phillip Casanoff look too old to play their parts-especially since Heaven and Hell is meant to take place several months after North and South Book II. Perhaps seeing Heaven and Hell alone in obscurity could make it tolerable, but after a lengthy marathon of the first two series in all their DVD glory, Heaven and Hell is at best embarrassing for those involved. I applaud the powers that be for including the final installment with the DVD set, but Heaven and Hell’s Galatica 1980 turnaround is best dismissed.

Take Books 1 and 2 of North and South for its story, historical touches, and family saga trials and tribulations. No doubt, older audiences and Civil War fans already own North and South. Once available for rent or purchase on VHS, collectors should upgrade today. Even if you only recall enjoying North and South on television, the DVD is affordable for any fan of quality historical film. Younger audiences may chuckle at the lingering eighties production values, but if given the chance, North and South provides the utmost in history and entertainment.