‘His Kind of Woman!’ is the Robert Mitchum’s kind of good time!

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His Kind of Woman!

Directed by John Farrow

Written by Frank Fenton, Jack Leonard

U.S.A., 1951

John Farrow’s His Kind of Woman! has it all, and so, so much more. Sometimes the best entries in a film genre or series are the ones that need to add different ingredients to spice things up a little bit. Certain conventions must be adhered to, but the development of some less expected qualities may prove to be much welcomed additions. With a movie that tries to be so big, brilliant and perfect, it is small wonder that the famous Howard Hughes filled the role of producer. What we end up with is a hybrid between a traditional film noir entry and something out of left field.

The story evolves slowly, with a strong sense of mystery hanging around as to the real objectives until the final lap. Better still, Farrow reveals just enough in the early goings to educate the audience as to what ‘sort of’ might happen, but withholds information that would make the following acts predictable. The opening scenes explain that nefarious gangster Nick Ferraro (Raymond Bur), hiding out in Italy, is in contact with his associates at a lush Mexican resort. The latter group is in the preparatory stages of a plan to have their boss enter the United States once more, which involves something of a switch and bait with a sorry sap they have randomly chosen (and who has no idea he is soon to be in big trouble) who shares similar physical attributes. The sucker in question is Dan Milner (Robert Mitchum) a quietly confident gambler over his head with debts who sees himself offered, by people unknown to him, a wonderful stay at a Mexican resort and plenty of cash to spend. He will be expected to do ‘something’ but what exactly is not revealed just yet. Once south of the border, Milner makes the acquaintance of stunning Lenore Brent (Jane Russell), a lounge singer who has an eye for handsome men, but do not take her for a fool. Together they head to this resort where all the rich folk stay, including Lenore’s current lover, American actor superstar Mark Cardigan (Vincent Price), who is more absorbed by himself than anything around him. Before Milner can get too comfortable, the gangsters put their plan into motion…

His Kind of Woman! moves at a pace which indicates that the film is quite confident in its own abilities to create interest in the audience, retain said interest and ratchet up the stakes, the suspense, the diabolical nature of the villains and yes, even ratchet up the humour. The film clocks in at about two hours and is populated with a great many characters, all of which the writers and director wish to give significant scenes and moments. Scenes of exposition are in fact far and few between, even when Milner attempts to solve the puzzle of his strangely luxurious abduction, attempts that lead him very little further than he already is until very late. Little tidbits are revealed, but always slowly and in very cool fashion. Farrow and company are wise enough to keep the audience in the dark while continuously wetting our appetites with possible clues and hilarious moments, virtually all of which are courtesy of Vincent Price and his unbelievably well timed delivery.

The latter point brings me to another of the film’s noticeable qualities, that is, the attractiveness of the characters. film noir protagonists and antagonists can be written very well, but often fall into familiar categories, as many of them in His Kind of Woman! do. Do to the stereotypes upon which much of the writing for film noir depends on, the performances and charisma of the cast members play an even more crucial role than normally is the case in having the viewer want to spend time with them. Even as the film kept the critical keys to the plot for itself until the final segments, the time spent with the cast is more than worth the audience’s time. The two leads, Robert Mitchum and Jane Russell (who would go on to become good friends) have a chemistry that is rarely seen. Both of their characters are not being entirely truthful with one another, but nor do they ever completely deny the magnetic attraction pulling them together. Lenore may have come to the resort to cuddle with her current beau, but the more time she spends with Milner, the more her feelings sway towards the latter. Their exchanges are witty, funny, decorated with some sexual innuendo, and reveal not just the perfect that they are, but the stellar talent of the two actors involved. And that is but the proverbial tip of the iceberg. The characters themselves are brought to life with some unique quirks. Consider Milner for a moment. Charismatic, handsome, good with the one liners, has a shady past… but he refuses to drink, fearing the consequences of indulging in alcohol. The main villain, Nick Ferraro, has hired a plastic surgeon to use of Milner’s body in some rather over-the-top way, but near the climax, when the pressure mounts, gets into constant arguments about what to do finally. Milner’s main ally, actor Mark Cardigan, is a hero in more ways than one: he has played the part of heroes on the silver screen so many times that the opportunity to fill the role in real life is sufficient motivation to give the best performance of his life…even though real bullets are flying by. In essence, the characters of His Kind of Woman! all possess certain important qualities found in typical film noir adventures, but Farrow keeps sweeping the rug from under our feet with little twists and delicate details that keep everything fresh.

And then of course there are the final 35 minutes or so, where the film really decides to up the ante and morph into an unforgettable funny, tension filled action roller coaster ride. From the moment Milner is brought aboard Nick Ferraro’s ship, anchored none too far from the shore, where the mobster plans to inflict our hero with considerable pain for his stubbornness up until that point, His Kind of Woman! never looks back. Were this a spoiler heavy review, one would rejoice in recounting favourite moments, but that would be spoiling the fun for readers who have yet to see this film. And what fun there is to be had! John Farrow and his team should be commended for not shying away from making the climax as wild and hysterical as it is. A Film Noir can have clever lines that produce laughter (which this movie does as well), but few straddle the limits of outright comedy and action, which is precisely what His Kind of Woman! does here. The final segment is big, loud, and features enough Vincent Price moments to satisfy even the most bitter movie snob. Watching everything unfold was immensely entertaining, if somewhat bizarre. The film never truly hints that the story shall lead to such an audaciously comical and violent finale, oftentimes with the comedy and the violence mingling together like two lovers in bed. It is enough to make one temporarily forget they are watching a noir, although that should not be taken as a criticism, least of all when the material is so brilliantly handled.

His Kind of Woman! does not provide what one expects from the outset. In fact, rather than losing its way and falling into a messy ditch, it intentionally makes a left turn, caring little if the viewer was ready for it or not. Rarely can a movie watching experience conclude with a viewer drugged with such enthusiasm. His Kind of Woman! Is like eating a delicious, sweet, sweet cookie: total satisfaction.

-Edgar Chaput

2 Comments
  1. Edgar Chaput says

    @Bill: It was my pleasure. There are a lot of reasons why I love writing for Sound on Sight, but at the top of the list is that it’s an excuse for me to write about Shaw Brothers and film noir on a weekly. I have fun writing these articles, and so if you have fun reading them, then the impact is twice as powerful.

    Yes, this movie is absolutely hysterical, or a ‘hoot’ as you aptly put it. The best part is that for a while, the movie doesn’t really indicate that it’s going to be a barrel of fun by the climax. You think it’s going to be the usual, taught little noir, bu then it slowly goes in this other direction, taking its time with the plot, adding little bits of comedy as it goes along.

  2. Bill Mesce says

    Edgar —
    Love that you finally got around to this one. It’s been a favorite of mine since I caught it as a kid. As I’ve gotten older and learned more about the film, it’s hold on me has been even stronger.
    This is a movie that SHOULDN’T work. The plot meanders (Mitchum used to say — keeping in mind he had a tendency toward self-deprecation — they made up much of the movie as they went along), it’s “exotic” locations were all on the RKO lot, the juicy climax veers, in tone, from comic to the brutal, Howard Hughes junked a lot of Farrow’s work which was reshot by Richard Fleischer… In short, it’s the kind of movie that if you look at it close enough and know the behind-the-scenes goings-on, you’d have to think it would come out a mess.
    Instead, it’s fun, suspenseful, sexy, Mitchum and Russell sizzle, Vincent Price is a hoot. It’s like the bumble bee: it’s not supposed to be able to fly, but it does, and does it quite well.
    Thanks for allowing me to revist this old favorite.

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