Out of the Past

 

Based on the novel Build My Gallows High by Daniel Mainwaring, Out of the Past is the story of a gas station owner whose attempt to start a trouble-free life is visited by a mysterious stranger from his past as he is forced to return to the world of crime. Directed by Jacques Tourneur and screenplay by Mainwaring with additional contributions from Frank Fenton and James M. Cain, the film is a noir-story that plays into a man trying to escape from his dark past only for the past to catch up to him as it relates to a woman he fell in love with. Starring Robert Mitchum, Jane Greer, Kirk Douglas, and Rhonda Fleming. Out of the Past is an evocative and chilling film from Jacques Tourneur.

The film revolves around a man who owns a gas station at a small town in California where he receives an unexpected visit as he meets a crime boss who wants him to do a job as it relates to events in his past that involves his boss’ girlfriend who is stirring up trouble. It’s a film that explores a man trying to leave his past behind but he’s tempted by this woman he had fallen for just as he had created a new life for himself. The film’s screenplay by Daniel Mainwaring, with re-writes and contributions from Frank Fenton and James M. Cain, has this structure where much of its first act is told in a flashback by its protagonist Jeff Markham (Robert Mitchum) who changed his surname to Bailey as he’s driving to Lake Tahoe from Bridgeport, California where he tells his girlfriend Ann Miller (Virginia Huston) about what he used to do as a private investigator.

Markham’s story where he is asked by gambling kingpin Whit Sterling (Kirk Douglas) to find his girlfriend Kathie Moffat (Jane Greer) who had shot Sterling and stole $40,000 as he just wants her and the money back. Upon finding her in Acapulco, Markham falls for her but is then tailed by his partner Jack Fisher (Steve Brodie) who catches them as it leads to trouble. Markham’s narration in the first act is stylized as it plays into the language of film noir as well as what he would say when unwittingly reunites with Sterling and Moffat for another assignment that would lead to bigger trouble. Adding to this conflict are his feelings for both Moffat and Miller with the former wanting to re-establish their old relationship while the former offers something more stable.

Jacques Tourneur’s direction does bear elements of style in the compositions yet much of his direction does have moments that are straightforward in its presentation. Shot largely on location in California with some second unit shots in New York City and Mexico, Tourneur explores the life of a man who had started a new life in this small town near Lake Tahoe as it’s simple and quiet where Tourneur uses some wide shots of the locations of Bridgeport and its surroundings as well as some of the film’s other locations. Yet, much of Tourneur’s direction emphasizes on close-ups and medium shots as it relates to characters dealing with one another as it play into some of the dramatic tension and suspense. There is also this air of style in the way Tourneur presents Markham as someone who is this figure that always finds himself in some sort of trouble with whoever he encounters. Especially when it comes to meeting Moffat as she is this radiant figure but there is also something about her that is off as he’s entranced by her yet isn’t always honest. Tourneur’s approach to the tension and suspense adds to some of the misdirection that Markham would encounter in the way he shoots him in a hallway but would find something that is odd.

Tourneur would maintain this air of suspense and tension into its third act as it relates to Markham being a target while becoming unsure who to trust as even those in Bridgeport learn about his true identity. The sense of danger and knowing that he’s being watched add to the suspense as well as the decisions that Markham has to make as it relates to Sterling and Moffat. The former in particular as he becomes aware that Markham is on to something and realizes that Moffat isn’t exactly what she seems but Tourneur knows that is more intrigue that is to occur as it relates to the conflict that Markham is in as it relates to the choices he’s made in his life. Overall, Tourneur crafts a mesmerizing and eerie film about a man who deals with his dark past and the woman who nearly destroyed his life.

Cinematographer Nicholas Musuraca does brilliant work with the film’s black-and-white photography with its usage of low-key lighting, shadows, and shades to help set a mood for some of the interior/exterior scenes at night as well as some straightforward shots for the scenes in the day. Editor Samuel E. Beetley does excellent work with the editing with its usage of rhythmic cuts to play into the suspense and drama while keeping much of the action straightforward. Art directors Albert S. D’Agostino and Jack Okey, with set decorators Darrell Silva and John McCarthy Jr., do amazing work with the look of Sterling’s home in Lake Tahoe as well as his home in New York City as well as the cantina where Markham meets Moffat. Gown designer Edward Stevenson does fantastic work with the dresses that Moffat wears as well as a dress that another character who is associated with Moffat wears.

The special effects work of Russell A. Cully is terrific for some of visual backdrops in a few scenes that help play into the sense of location including the scenes of Markham following those in a taxi cab. The sound work of Clem Portman and Francis M. Sarver is superb for the atmosphere that is created as well as some of the sparse sounds that occur in some of the film’s locations in the forests as it help play into the suspense. The film’s music by Roy Webb is incredible for its soaring orchestral score that help play into the drama as well as the suspense as it is a major highlight of the film.

The film’s wonderful cast feature some notable small roles from Eunice Leonard as a woman Markham meets at a cantina who leads him to Moffat, Ken Niles as a lawyer Markham meets in the film’s second act in Leonard Eels, Dickie Moore as Markham’s deaf-mute gas station assistant known as the Kid, Richard Webb as a local sheriff at Bridgeport in Jim who is also a longtime friend of Ann, Paul Valentine as Sterling’s hired muscle in Joe Stefanos, Steve Brodie as Markham’s PI partner Jack Fisher, and Rhonda Fleming as Eels’ secretary Meta Carson who finds herself becoming a pawn in one of Moffat’s schemes. Virginia Huston is excellent as Ann Miller as Markham’s new girlfriend in Bridgeport who learns about his past as she keeps it a secret while knowing the anguish he is dealing but also realizing that she might discover things that she doesn’t want to know.

Kirk Douglas is incredible as Whit Sterling as a crime boss who asks Markham to do a job for him only for things to go bad as he then realizes that Moffat isn’t what she seems as Douglas brings that air of charisma to a character that could’ve been a typical villain but there’s so much more as he is also someone that is willing to listen but also realizes that he’s at fault for being too trusting. Jane Greer is brilliant as Kate Moffat as a woman who was Sterling’s girlfriend until she stole money from him as she is this beautiful woman who is this object of desire but there’s also something off about her as it has the elements of a femme fatale character while she is also good at playing innocent while also being devious. Finally, there’s Robert Mitchum in a phenomenal performance as Jeff Markham/Bailey as a private investigator who reinvents himself as a gas station owner that copes with his past and the traps he gotten himself into as it is this stylized yet engrossing performance from Mitchum that allows him to display humility but also be someone who is struggling with what he wants but also what he has now as it is one of his iconic performances.

Out of the Past is a tremendous film from Jacques Tourneur that features great performances from Robert Mitchum, Jane Greer, and Kirk Douglas. Along with its supporting cast, gorgeous visuals, themes of temptation and betrayal, and its chilling music score. It’s a film that explore a man dealing with his past and the woman who tries to tempt him to do her bidding. In the end, Out of the Past is a spectacular film from Jacques Tourneur.

Related: Cat People (1942 film) - (Against All Odds)

© thevoid99 2020

Cat People (1942 film)

Directed by Jacques Tourneur and written by DeWitt Bodeen, Cat People is about a woman whose new married life is in danger by a curse that she believes will make her into a panther. The film is considered to be one of the finest horror films of the 1940s as it mixed noir and drama to create a fascinating story. Starring Simone Simon, Kent Smith, Jane Randolph, and Tom Conway. Cat People is a stylish yet mesmerizing film from Jacques Tourneur.

Irena (Simone Simon) is a Serbian-born fashion designer who meets a charming architect named Oliver (Kent Smith) at a zoo as the two begin a relationship. The relationship goes well as Oliver is intrigued by some of the things Irena has including a statue of a warrior impaling a cat that Irena claims is King John of Serbia who believes cats are evil. The two get married as they celebrate with friends including Oliver’s business associate Alice (Jane Randolph) where Irena sees a woman who says something to her in Serbian. Suddenly, the newly wedded life of Irena and Oliver starts to deteriorate due to Irena’s behavior as she goes on walks to the zoo as she is fascinated by a panther at the place.

After going to meet Dr. Louis Judd (Tom Conway) for some evaluation, based on Alice’s suggestion, Irena believes she has inherited an ancient curse that turns her into a panther. Yet, her behavior makes her believe that Oliver and Alice are having an affair though it isn’t true despite Alice’s admission that she is in love with Oliver. Irena starts to stalk Alice in secrecy as things between her and Oliver start to sour though Oliver wants to help her. While Dr. Judd believes that something is really wrong with Irena, he tries to stage an intervention where something terrifying starts to happen as Oliver and Alice believe that the story Irena told Oliver could be true.

The film is about a woman who comes from a world where she believes she is part of a group of people that turns into panthers. Though she yearns for a normal life with a man who loves her, her evasive behavior and her fear would eventually drive that marriage apart as he would eventually fall for another woman that is also just trying to be helpful. The script delves into the woman’s anxiety and why she is so consumed with fear as the first act is about the relationship between her and Oliver. The second act is about the marriage and its disintegration due to the fear that she’s having. The third is about her reacting to that fear and how she uses her curse to spread fear against those she feel have wronged her.

Jacques Tourneur’s direction is definitely stylish as he presents the film in different ideas for a lot of the romantic moments as well as the suspenseful moments. For a lot of the light-hearted scenes including the romance and melodrama, Tourneur keeps the direction straightforward in its framing and in the camera movements. Yet, he also utilizes soft close-ups to play up Irena’s emotions and her yearning to be loved. Once the film progresses into something darker, the framing becomes more eerie in a scene where Irena is being examined as it includes a dissolved animated sequence revolving around cats. Then the film becomes more suspenseful where there’s a great scene of Irena following Alice as she walks on her way home as it’s about the rhythm of how the two women walk and the way it sounds.

It adds to the sense of horror that something could happen as there’s little bits of action that happens in the film. Yet, Tourneur manages to play up the suspense by keeping it simple and not show very much. Notably the scene where Alice dives into the pool as she tries to find out what is lurking around that pool. It’s that element of horror and the way that it looks that gives the film a very entrancing look. The overall work that Tourneur does is phenomenal in the way he creates an engaging yet evocative film.

Cinematographer Nicholas Musuraca does an amazing job with the film‘s stylish black-and-white photography for the way he keeps a lot of the lighter moments simple with bright gray. For scenes at night in the interior setting such as Oliver and Alice’s work station and some scenes at Irena’s apartment are gorgeous in the way the lighting is presented including some of the shading as Musuraca’s work is definitely outstanding. Editor Mark Robson does a very good job with the editing by maintaining a methodical pace to play up the film’s suspense while keeping it straightforward for the dramatic moments of the film.

Art directors Albert S. D’Agostino and Walter E. Keller, along with set decorators A. Roland Fields and Darrell Silvera, do a nice job with the set pieces created such as Irena‘s home and the big office that Oliver and Alice work at. The gowns by Renie is wonderful for the way it looks as it plays to the personalities of the women with Alice as very dominant and Irena sporting darker clothing. The visual effects by Linwood G. Dunn and Vernon L. Walker is pretty good for the animation and spirals that is created as it has a sense of charm. Sound recordist John L. Cass does a great job with the sound work to play up the suspense of the film such as Irena following Alice and other suspenseful scenes where the sound is sparse yet chilling.

The film’s score by Roy Webb is brilliant for its somber yet dramatic orchestral pieces including a few chilling arrangements to play up the suspenseful portions of the film.

The film’s cast is excellent as it features an appearance from Jack Holt as a business friend of Oliver and Alice along with Alec Craig as a zookeeper that Irena talks to and Elizabeth Russell as the Serbian woman that talks to Irena at a restaurant. Tom Conway is wonderful as the smart but cautious Dr. Judd who always carries a cane with while trying to figure out Irena as he often talks to Alice and Oliver about Irena. Jane Randolph is great as Alice, Oliver’s friend who is a woman that handles her own business while trying to be a friend to Irena only to realize that something isn’t right about her.

Kent Smith is very good as Oliver, Irena’s husband who tries to figure out what to do while lamenting over her behavior as he finds comfort in Alice’s presence. Finally, there’s Simone Simon as Irena as Simone’s performance is entrancing for the way she despairs over her curse and the idea that her husband is having an affair. It’s a complex yet adventurous performance that allows Simone to be dramatic but also display a dark sense of humor to her character in one key scene of the film.

Cat People is an extraordinary yet spellbinding film from Jacques Tourneur that features a radiant yet haunting performance from Simone Simon. The film is definitely one of the best suspense/horror films of the 1940s as well as a great example of what a film like this could do with a small B-movie budget. It’s also a great introduction for those that is interested of what horror films were like back then where it didn’t have to rely on gore or easy tricks. In the end, Cat People is an engaging yet well-crafted thriller from Jacques Tourneur.

Related: Out of the Past - Cat People (1982 film)

© thevoid99 2011