The 1. 0 Most Essential Robert Mitchum Movies. This week has seen ’7. Playlist favorite “The Friends Of Eddie Coyle” get the Criterion upgrade to Blu- Ray. Peter Yates’ film has been undervalued for too long, but its cult has been growing in recent years, and the new 1. Robert Mitchum. A Connecticut native who had a troubled adolescence, including time on a Georgia chain gang that he claimed to have escaped from, Mitchum got into acting after moving to Los Angeles in the early 1. B- movie westerns before finding sudden fame in “Nevada” and “The Story Of G.
I. Joe.”The actor soon became a leading figure in film noir pictures, and his career survived an arrest and brief prison spell for marijuana possession (a conviction later overturned for entrapment), as well as a somewhat tumultuous reputation that saw him fired from the John Wayne flick “Blood Alley.” But Mitchum wasn’t just a hard man, he was capable of surprising range, soulfulness and had impeccable and sometimes even adventurous taste in projects (his last movie being. Jim Jarmusch. He even had a brief side career in music, including a notorious calypso record. Never fading away, continuing to work well into his 7. Dorothy for 5. 7 years when he passed away in 1. Mitchum was a contradictory and fascinating figure, and a tremendous performer (David Thompson wrote in “The Biographical Dictionary Of Film” that “since the war, no American actor has made more first- class films, in so many different moods”).
So, with “The Friends Of Eddie Coyle” returning to Criterion, we decided it was time to take a look at the star’s career, and pick out his ten most essential roles. The New Killing Ground (2017) Movie more. Take a look below, and let us know your own favorite Mitchum movies in the comments. READ MORE: 1. 0 Great Overlooked Films From The 1.
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Cult Classics Movies Road Hard (2015) Movie
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The Story Of G. I. Joe” (1. 94. 5)The film that cemented Mitchum’s stardom and won him his only Oscar nominated (and which was shot just before he was briefly drafted into the real army), “The Story Of G. I. Joe” was mostly redundant as propaganda by the time it arrived: it landed in theaters after V. E. Day, and about six weeks before the bombs were dropped on Hiroshima and Nagasaki.
But “Wings” director William Wellman’s film was then, and still remains, one of the better war pictures of the period, an unsentimental, near docu- drama look at the everyday life of a soldier. Burgess Meredith headlines the film as real- life, well- loved war correspondent Ernie Pyle (who was killed before the film was released, at the Battle of Okinawa), here attached to C Company in the 1. Infantry, a mostly untested group of soldiers led by Captain Walker (Mitchum). It’s a troops- eye- view approach that stresses realism above all else — this is war as dull stretches of nothingness punctuated by bursts of horrifying combat — but the film’s all the more moving for eschewing over- the- top acts of heroism and placing its emphasis on the sheer ordinariness of the troops, and the bond that Meredith forms with them over time. And though Meredith (who’d been serving as a captain in the military until he was picked out to star here, and had his career launched as a result) is the film’s lead, it’s Mitchum that is its real heart: a man wearied by combat and by the loss of his men, but remaining a quietly beloved leader nevertheless.
The ending, when it comes, packs a real punch, and it’s little wonder that, despite being unavailable on video for years, it’s one of the most influential war pictures ever.“Out of the Past” (1. There’s perhaps no genre, maybe apart from screwball comedy, as closely associated with the Golden Age of Hollywood, and as heavily scrutinized as film noir. So, a film like horror maestro Jacques Tourneur. But even after repeated viewings it remains heady as catnip, its tangled storylines, stark lighting, graphic compositions and fatale- est ever femme (Jane Greer FTW every single time) never give up all their secrets. And all this fabulous coal- grit texture is anchored by Mitchum’s central turn as another noir archetype — the low- rent but honorable Private Eye whose code can withstand any temptation bar that of a faithless dame. His Jeff Bailey is essentially in the Chandler/Hammett/Spillane mold, and here Mitchum is aided by a top- notch supporting cast, from Kirk Douglas.
None of it makes much sense except on that deep, dirty, delicious level on which the best noir operates. Mitchum is so perfectly cast as the decent but self- loathing cynic betting high on one last roll of the dice, that it’s a wonder he didn’t solely occupy that role for the rest of his career.“The Night Of The Hunter” (1. Over the years, “The Night Of The Hunter” has taken on an almost mythic status: the only film ever directed by the great British actor Charles Laughton. It was poorly reviewed, and flopped on release, only to discover an ever- growing audience years later, often landing on lists of the greatest movies of all time, and influencing everyone from Terrence Malick to David Lynch. It’s a great narrative, but one that often means that Robert Mitchum’s chilling central turn can be overlooked, which seems almost impossible given its undeniable brilliance. Based on a book by Davis Grubb and penned for the screen by Pulitzer Prize winner James Agee (“The African Queen”), it’s a sort of coming- of- age story about two young children, John (Billy Chapin) and Pearl (Sally Jane Bruce), whose new stepfather is the charismatic L- O- V- E/H- A- T- E tattooed, malevolent, murderous preacher Reverend Harry Powell (Mitchum), who’s chasing the hidden loot of their bank- robbing pa.
Just about the last thing you’d expect to be directed by the classically trained Laughton (it’s like Kenneth Branagh making a Marvel movie or something. The film is an elegant, terrifying slice of Southern Gothic, its photography drawing on classic expressionism, all chiaroscuro and looming atmosphere, but as immaculately made as it is, it draws much of its power from Mitchum at his most iconic. Dead- eyed and reptilian, it’s his most atypical performance and also draws on all the things he does best. Despite the film’s initial reception, it’s probably become the role he’s best known for.“Heaven Knows, Mr. Allison” (1. 95. 7)The first of Mitchum’s three onscreen partnerships with Deborah Kerr, whose somewhat prim classiness was always a delicious foil to his laconic masculinity, “Heaven Knows, Mr. Allison” is a surprisingly gentle film, considering its hardboiled star and notorious hellion writer/director John Huston.
Relying on similar chemistry to Huston’s own “The African Queen,” the film follows a marine, Allison, drifting alone on a raft in the Pacific, who comes upon a desert island whose only current occupant is Sister Angela, herself stranded there when the old priest she had accompanied died unexpectedly. As the odd couple bond over survival tactics and escape plans and then go into hiding when Japanese forces set up camp on the island, the relationship between the pretty novice (she has yet to take her final orders) and the bootstraps marine is tenderly drawn, with an almost hushed respect for the sweetness of their friendship.
It was Kerr who picked up a Best Actress nomination (the screenplay also got a nod), and in fairness a woman whose vows survive a tanned, semi- naked Mitchum falling for her is a tough role to sell (srs), but in retrospect it really feels like Mitchum’s film. Allison is a wonderful creation, a rough diamond, conscious of his own luggishness compared to Sister Angela, first inarticulate about and then embarrassed by his own feelings of protectiveness toward her. So many of Mitchum’s roles relied on the menace he could project, but here his charisma serves a character of bone- deep goodness, he wears this role as lightly and naturally as any other he ever played.“The Sundowners” (1.