Exactly a week back, this blog was celebrating the birthday of a favourite of mine: the gorgeous Mumtaz turned 70. Today, Dusted Off celebrates the birth anniversary—the centenary, in fact—of another favourite of mine: Robert Mitchum.
Born on August 6, 1917, Mitchum first began appearing in cinema during the early 40s (having already worked in an eclectic range of jobs, from ditch-digging, professional boxing, theatre actor and writer, to a machine operator at Lockheed). Although he is today best known for noir films (think Cape Fear and The Night of the Hunter), Mitchum acted in varied roles and genres. From one of the best submarine war films ever (The Enemy Below) to an unusual—and endearing—love story in Heaven Knows, Mr Allison; from the angsty medical drama Not as a Stranger to the hard-hitting expression against anti-Semitism, Crossfire… Mitchum was in films of all types.
To commemorate Mitchum’s birth centenary, I found myself in a dilemma. I’ve already reviewed several of his best-known films (not to mention several that are barely known). I’ve even devoted an entire week on Dusted Off to Mitchum. It seemed appropriate to review a Mitchum film: one of the classic noirs? Blog reader Hurdy Gurdy Man suggested Out of the Past or The Big Steal. I decided, instead, to review an unusual film, a sort of cusp between the Westerns that marked Mitchum’s early career and the noirs that marked his later years as an actor. Pursued is a noir Western.
The very first English language film I remember watching was a war film (a farcical comedy called Our Miss Fred, which I’ve never managed to get hold of since). Over the years, and especially during my teens—thanks to a local VHS lending library which stocked mostly war films—I watched a lot more of this genre. I’ve watched violent war films, adventurous war films, propaganda-heavy films, war films that crossed genres and combined war with everything from crime and mystery to comedy, to romance. I’ve watched war films that showed the futility of war.
War seems to be a favourite subject with many film makers.
But who stops to think of what happens when war is over? The Spanish film Bienvenido, Mr Marshall! did explore this idea in a humorous way, but from the point of view of people who were mostly non-combatants in the war itself. What happens, however, to men who have spent a few years in battle, men who have actually been in combat, and that too on the other side of the world from where they usually live? What happens when men come back to their everyday lives, their families and friends, to find that their world has moved on? And that they, too, have changed?