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Robert Mitchum stars in “Out of the Past” as Jeff Bailey. As the film opens, he is the owner of a shrimp town gas station; he’s romancing a glorious girl (Virginia Huston) and his life seems idyllic. However, a stranger arrives looking for Bailey, and everything changes irrevocably. The narrative is told partially in flashback - enumerating his past with a cutthroat gangster (Kirk Douglas) and a mysterious moll (Jane Greer) - and partially in the explain as his past ensnares him into a complicated morass of destroy and revenge.
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“Out of the Past” is a quintessential 1940s film noir, good up there with “Double Indemnity” and “The Maltese Falcon,” although it’s arguably not as well known as those classics. The script is whip-smart and filled with gleaming dialogue - a character asserts to Bailey, “Don’t you gawk you’ve only me to get deals with now? ” and Bailey shoots relieve, “Earn my gallows high, baby.” Each scene is perfectly shot with an abundance of ambience; director Jacques Tourneur specialized in temperamental films, such as “I Walked with a Zombie,” and he certainly scores here. The site is elephantine of crosses and double-crosses - it’s admittedly not one of the most complex film noirs; however, the characters are perfectly etched, and the film builds to a heartbreaking conclusion.
In 1991, “Out of the Past” was inducted into the National Film Registry, which protects valuable American films. The film clearly deserves this honor and fortunately will be preserved for future generations of film noir fans. Overall, “Out of the Past” is one of the best film noirs I’ve seen and a valid movie in every arrangement. Most highly recommended.
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DVD extras: the main extra is a somewhat dry but informative commentary by James Ursini, an author notorious for writing about film noir.
This classic film noir, featuring the twin cleft-chinned presences of
Robert Mitchum and Kirk Douglas, has got to be one of the most
enjoyable ever made. It’s not the somewhat confusing residence, but the
snappy dialogue — and the confident acting — which makes it work so
well. The repartee (”A woman with a rod is like a man with a
knitting needle”) is grand of some of the best screwball
comedies and yet it’s fair as unlit as a noir should be in terms of the
desperate things the characters do and the dreadful things that happen
to them as a consequence. Jacques Tourneur (”Cat People”,
“I Walked With a Zombie”) directs with finesse, but the
importance of an ace writer like James M. Cain (”The Postman
Always Rings Twice”) — uncredited for some reason — can’t be
stressed enough. He deserves as mighty credit for the success of the
film as Tourneur, Mitchum, Douglas, and fine femme fatale Jane
Greer, the woman who seduces both Mitchum and Douglas — rod in hand.
