All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Out of the Past
A MAN - Trying to run away from his past... A WOMAN - Trying to escape her future...
Jeff Bailey seems to be a mundane gas station owner in remote Bridgeport, CA. He is dating local girl Ann Miller and lives a quiet life. But Jeff has a secret past, and when a mysterious stranger arrives in town, Jeff is forced to return to the dark world he had tried to escape.
How big a chump can you get to be? I was finding out.
Jacques Tourneur made his Hollywood feature film debut under contract with MGM Studios but was released after a few unsuccessful films. He went to work for RKO Pictures, but was relegated to the B-list. It's here that his career dramatically turned around as Tourneur was able to make a few true classics under the B-movie structure (Cat People, I Walked with a Zombie) which caused him to soon be promoted to the A-List and on track to direct the greatest film of his career.
While Daniel Mainwaring (working under the pseudonym Geoffrey Homes) is credited with adapting his own novel, Build My Gallows High, it's…
One of the best of the Film Noir. Robert Mitchum plays Jeff Bailey a private eye who gets mixed up with (actually between) gangster Whit Sterling (Kirk Douglas) and his girl Kathie Moffat (Jane Greer). Bailey is sent to find the Sterling’s girl who has shot the gangster and run off. Not sure if Sterling wants the girl back to kill her or to make-up, Bailey finds her. But, Bailey decides he loves her and he runs off with her. After realizing just what deep trouble he is in, he tries to leave that life behind and live a quiet, simple life with a nice girl.
However, his past finds him out and he is sent on one more job…
Film #30 of Project 40
”You know, maybe I was wrong and luck is like love. You have to go all the way to find it.”
Out of the Past offers everything that you may expect from a film noir of 40s: An intricate plot centering around an unsolvable mystery, characters who are trying to double cross each other, dark past, flashbacks, gloomy pictures, cigarette smoke, femme fatales and a pretty much frightening atmosphere. Jacques Tourneur orchestrates this complex collection with admirable skill and gives us a film that has all the elements of the great noir cinema, while Out of the Past is a quite underrated work in comparison to some of the more famous noirs of 40s but…
''Let's go down to the bar. We can cool off while we try to impress each other.''
One would be hard pressed to name a more effective example of film noir than Jacques Tourneur's Out of the Past and it's all served up on a silver platter; hard-boiled, double-talking detective (Robert Mitchum), seductive femme fatale (Jane Greer), girlfriend with a heart of gold (Virginia Huston), the slick and slippery gangster (Kirk Douglas), a tangled web of a plot that requires full attention to grasp (thanks Wikipedia plot synopsis), shadowy photography and lots of cigarette smoke.
Tourneur brings his Cat People cinematographer Nicholas Musuraca along for the ride and together they manage to capture the true essence of the genre in…
For a film so indelibly involved in the lost rivers of memory, Out of the Past confounds because of its ever-present feeling within the now. Every frame feels like the mistakes and the pain of the past will reach out and strangle our main characters, but that never stops the main mystery from propelling forward with impeccable fluidity. The chemistry between Robert Mitchum and Jane Greer is some of the finest to ever emerge out of the film-noir genre, with the two crafting conversations of moving honesty and sparkling sensuality.
The atmosphere that they're surrounded in, with Nicholas Musuraca conjuring haunting imagery as DP, only cements the fact that Jacques Tourneur was a master of looming terror. Out of the Past, with its hard-boiled corruption and its sexy otherworldly rhythms, is quite possibly the finest horror film that Jacques ever directed. It is film-noir at its most crystalline and pure, and you won't soon forget it.
The noiriest noir? Give Robert Mitchum a hat and a cigarette, and he can turn the lyrics to "Yankee Doodle Dandy" into hard boiled dialogue. Give Tourneur a title and a movie camera, and he'll make poetry. The final scene is a real gut punch.
A satisfying film noir starring Robert Mitchum.
Class, UCSC - FILM 134A
Edited at very constant pace, making it more like a puzzle solving celebrale experience without emotions. Never gets under the skin of the characters.
Ever since watching "Against All Odds" many many years ago, I have really liked it, and rewatch it from time to time. Partly because of its exotic locations, exciting story, good performances and, if I am honest, because I had a crush on Rachel Ward. Quite how I didn't know that this film is based on the same source material, is beyond me. That combined with Mitchum and Douglas seemed a mix too good to be true. And so it has proven. This is a captivating film, with Mitchum at the top of his game in what must surely be one of the best Film Noirs I have seen yet. Greer is good, but not great and Douglas is also good when on screen, but that is sadly not too often.
Strangely I actually prefer the newer version, but that might be because I saw it first, or that my Rachel Ward crush hasn't yet disappeared.
This is the most blisteringly paced movie I've ever seen. In another director's hands this could have reasonably ran for 2.5 hours.
I got lung cancer from the second-hand smoke alone and I loved it.
It's the quintessential noir. All the pieces are here, and they operate at such a high degree of artistry and entertainment that the film becomes simultaneously masterful and exciting - a true marriage of art and pulp. You can dissect it while enjoying it. It's that kind of brilliant masterpiece.
On top of being superbly structured and impossibly convoluted, it combines all of the dominating themes of noir at the time - post-war disillusionment, male paranoia of female power, existentialist world-view - into one tidy, neat package. It's not as subversive or perverse as some of the later noirs - Touch of Evil, I'm looking at you - and yet it feels quite advanced in its transgressions from The Maltese…
Robert Mitchum is one cool SOB... and made me want to take up smoking again...
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…