Quando comecei a assistir mais filmes eu precisava de um caminho pra seguir e caí de cabeça em um monte…
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…
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.
It begins in the California Sierras, folds back to New York and Acapulco and San Francisco, then drifts onward to a Lake Tahoe roadblock, always with the irresistible flow of a dream. (The intricate structure is scarcely appreciated by the local police officer, who grumbles like a blindsided reviewer: "Too many people. Too much talk.") The gas station owner (Robert Mitchum) was once a gumshoe, his background of desire and betrayal catches up to the small-town sanctuary, a tale recounted on a late-night car ride (cf. Franju's Thérèse Desqueyroux). The gambling gangster (Kirk Douglas) hires him to track down the "wild goose with 40 Gs," she (Jane Greer) emerges out of the Mexican theater and into the café to set…
''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…
I'm not much of a fan of classical American noirs. I appreciate their play with style, with dialogue and their confrontation of censorship, but I never really find myself locked into the classical noirs such as this, The Third Man, Maltese Falcon, Double Indemnity, Touch Of Evil, ect. The reason for this lies in the focus on plot and style in these movies that neglects character. Out Of The Past is a great film to demonstrate this as, much like Double Indemnity, it is a film told through a narrative omnipotence. In such, this is a film largely told in flashback or with the protagonist as a narrator. This is a key aspect of crime dramas as they're about living…
Ah the classics.
OUT OF THE PAST (Jacques Tournier, 1947) is the quintessential film noir (for the uninitiated, after World War II, the movies became much darker, both literally and figuratively, using lots of shadows and the like in movies about seedy and lurid topics and characters. These kinds of movies were dubbed "film noir" by the French), a movie about a former detective (Robert Mitchum) who was hired to find a gangster (Kirk Douglas)'s ex-wife (Jane Greer). It seems she robbed her husband and ran off with $40,000, which hubbie naturally wanted back. Jeff (Mitchum) successfully tracked wifey down, but fell for the beautiful woman's charms after she denied taking the money, and the two of them then ran…
I can think of more audacious and formally inventive film noirs, but I can think of none in which form, style, story, and performance are so perfectly aligned. Such assured filmmaking. Not sure if there's another major (in terms of talent) Hollywood filmmaker, besides Elaine May, who is as under-discussed as Jacques Tourneur.
We may be done with the past, but the past is never done with us. Robert Mitchum plays Jeff, a man trying to escape his shady past and settle down in a small rural community, but former big city boss Kirk Douglas has other plans for him.
That sense of not being able to escape your past probably didn’t mean much to me the first time I saw the film, since I was in my 20s and didn’t have much of a past. Yet now, thinking about the sins/mistakes/indiscretions of my life, and pondering how such things might come back to haunt me as they did Jeff, this viewing became much more personal.
Out of the Past is recognized as…
I watched the new release from Warner Archive.
The banter, the dialogue is so over the top. It almost feels over done, but it works because of the actors and the over-saturated dripping cool that every moment of this film exudes. Beautiful stuff.
I skipped Noirvember last year and I can't say I'm going to make much more headway this year, but I at least attempted to revisit one of my favorites from a previous year. (Too bad I was kind of tired -- I guess I'll have to revisit it again.)
Rollercoaster noir through a wide variety of shadowy, wet California locale. Typically charismatic Mitchum performance and in Greer, one of the more dangerously seductive femme fatale.
A thin but well-shot suspense melodrama, kept from collapsing by the suggestiveness and intensity that the director, Jacques Tourneur,
pours on. It's empty trash, but you do keep watching it. Kirk Douglas, a gangster, hires Robert Mitchum to find Jane Greer, who has run away from him. Predictably, she gets Mitchum (at his most somnolent-sexy droopy-eyed) in her clutches, and there are several killings before matters are resolved. The screenplay is by Geoffrey Homes (a pseudonym of Daniel Mainwaring), from his novel Build My Gallows High. Cinematography by Nicholas Musuraca; with Rhonda Fleming and Dickie Moore. RKO.
All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…