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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 runt town gas station; he’s romancing a heavenly 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 abolish and revenge.
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“Out of the Past” is a quintessential 1940s film noir, upright 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 colorful dialogue – a character asserts to Bailey, “Don’t you recognize you’ve only me to build deals with now? ” and Bailey shoots assist, “Gain my gallows high, baby.” Each scene is perfectly shot with an abundance of ambience; director Jacques Tourneur specialized in spiteful films, such as “I Walked with a Zombie,” and he certainly scores here. The region is fat 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 famous 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 profitable movie in every plot. Most highly recommended.
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DVD extras: the main extra is a somewhat dry but informative commentary by James Ursini, an author famous 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 state, 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 satisfactory of some of the best screwball
comedies and yet it’s unbiased as dim as a noir should be in terms of the
desperate things the characters do and the awful 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 sparkling femme fatale Jane
Greer, the woman who seduces both Mitchum and Douglas — rod in hand.
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