Joe Stefanos arrives in Bridgeport, California, a rural mountain town, seeking Jeff Bailey, who owns a local gas station. Bailey is fishing with Ann Miller. They are in love. (Her lifelong friend Jim is jealous.) The Kid, Jeff's deaf-mute employee and friend, interrupts them, signing to Jeff. At the station, Stefanos tells Jeff that he must go to Lake Tahoe to meet "Whit." Jeff invites Ann to ride with him. He tells her about his past in a flashback.
Bailey's real last name is Markham. He and Jack Fisher were partners, private investigators in New York. Whit Sterling, a gambling kingpin, hires Markham—solo—to find Whit's girlfriend, Kathie Moffat, who shot him and stole $40,000. Whit promises she will not be harmed.
Jeff eventually corners Kathie in Acapulco. He is immediately taken by her beauty and begins a relationship with her. She admits that she shot Whit, but denies taking his money. Eventually, Jeff proposes that they run away together. Whit and Stefanos arrive. Jeff says that Kathie is on a south-bound steamer. Whit instructs Jeff to keep looking for her.
The couple goes to San Francisco. Fisher, now working for Whit, spots Jeff at the track. Jeff arranges to meet Kathie at a mountain cabin, but Fisher follows Kathie and tries to blackmail them. The two men brawl. Kathie deliberately kills Fisher and drives away, leaving behind a bank book showing a balance of $40,000.
Mitchum and Greer
The flashback ends. Jeff wants to clean things up and return to Ann. Ann leaves him at Whit's estate. A cheerful Whit tells Jeff he has a job for him. Jeff is startled when Kathie appears at breakfast. She comes to his room; he tells her to get out.
Mitchum and Greer
Leonard Eels, a crooked San Francisco lawyer, helped Whit dodge $1 million in taxes and is blackmailing him. Whit wants Jeff to recover the incriminating records. Eels' secretary, Meta Carson, explains the plan to Jeff, who suspects he is being framed. That night, at Eels' apartment, Jeff alerts Eels, obliquely, promising to return. After they leave, Jeff trails Meta, then returns and finds Eels dead. He hides the body.
In Meta's apartment, Jeff overhears Kathie arranging for the discovery of Eels' body. When the hidden body is not found, she believes Eels has escaped. Jeff confronts her and Kathie reveals that she gave Whit a signed affidavit swearing that Jeff killed Fisher. She says they can start all over again. They kiss, he leaves. Stefanos arrives and confirms that he killed Eels.
Jeff consigns the tax papers to a delivery service. Whit's thugs capture him. He offers the incriminating records in exchange for the affidavit, without implicating Kathie. When Kathie and Meta arrive at Eels' apartment to retrieve the affidavit, the police are already there. They instead phone Whit.
Jeff becomes wanted for the murders of Fisher and Eels and police expect him to return to Bridgeport. Stefanos, directed by Kathie, trails the Kid to the gorge where Jeff is hiding out. The Kid spots Stefanos poised to shoot Jeff and hooks his coat with a fishing line, pulling him off-balance so he falls to his death. Jeff returns to Whit's mansion to inform them of Stefanos death and to tell Whit about Kathie's doublecross. He suggests making Stefanos' death look like a guilt-ridden suicide after his murder of Eels. He will return the records if Whit destroys Kathie's affidavit and hands her over to the police for Fisher's death. Whit accepts, promising Kathie he will kill her if she does not cooperate.
Jeff meets Ann in the woods. She believes in him, but tells him to be absolutely sure of what he wants. She will wait.
Jeff discovers that Kathie has killed Whit. She gives Jeff a choice: run away with her or take the blame for all three murders. He dials the phone while she is upstairs. They leave in a car with Jeff driving. Seeing a police roadblock ahead, Kathie shoots him. She fires at the police. A machine gun riddles the car with bullets, killing her.
In Bridgeport, Ann asks the Kid if Jeff was going away with Kathie. Lying, the Kid nods his head. Ann gets into Jim's car, and the Kid smiles, saluting Jeff's name on the gas station's sign.
Cast
Robert Mitchum as Jeff Bailey, previously known as Jeff Markham
Out of the Past is considered one of the greatest of all films noir.[2][11][12][13] Robert Ottoson hailed the film as "the ne plus ultra of forties film noir".[14]Bosley Crowther, the film critic for The New York Times in 1947, complimented the crime drama's direction and performances, although he did find the latter portion of the screenplay hard to follow:
...it's very snappy and quite intriguingly played by a cast that has been well and smartly directed by Jacques Tourneur. Robert Mitchum is magnificently cheeky and self-assured as the tangled 'private eye,' consuming an astronomical number of cigarettes in displaying his nonchalance. And Jane Greer is very sleek as his Delilah, Kirk Douglas is crisp as a big crook and Richard Webb, Virginia Huston, Rhonda Fleming and Dickie Moore are picturesque in other roles. If only we had some way of knowing what's going on in the last half of this film, we might get more pleasure from it. As it is, the challenge is worth a try.[15]
Shortly after the film's release, the staff of the widely read trade publicationVariety also gave it a positive review:
Out of the Past is a hardboiledmelodrama [from the novel by Geoffrey Homes] strong on characterization. Direction by Jacques Tourneur pays close attention to mood development, achieving realistic flavor that is further emphasized by real life settings and topnotch lensing by Nicholas Musuraca...Mitchum gives a very strong account of himself. Jane Greer as the baby-faced, charming killer is another lending potent interest. Kirk Douglas, the gangster, is believable and Paul Valentine makes his role of henchman stand out. Rhonda Fleming is in briefly but effectively."[16]
Out of the Past is one of the greatest of all film noirs, the story of a man who tries to break with his past and his weakness and start over again in a town, with a new job and a new girl. The film stars Robert Mitchum, whose weary eyes and laconic voice, whose very presence as a violent man wrapped in indifference, made him an archetypal noir actor. The story opens before we've even seen him, as trouble comes to town looking for him. A man from his past has seen him pumping gas, and now his old life reaches out and pulls him back.[13]
With regard to the production's stylish and moody cinematography, Ebert also dubbed the film "The greatest cigarette-smoking movie of all time":[17]
...The trick, as demonstrated by Jacques Tourneur and his cameraman, Nicholas Musuraca, is to throw a lot of light into the empty space where the characters are going to exhale. When they do, they produce great white clouds of smoke, which express their moods, their personalities and their energy levels. There were guns in Out of the Past, but the real hostility came when Robert Mitchum and Kirk Douglas smoked at each other.[17]
The film holds a score of 93% on review aggregation website Rotten Tomatoes, with an average rating of 9/10, based on 40 reviews.[18]
Adaptations
Out of the Past was remade as Against All Odds (1984) with Rachel Ward in the Greer role, Jeff Bridges filling in for Mitchum, and James Woods as a variation of Kirk Douglas' villain, with Jane Greer as the mother of her original character in Out of the Past and Richard Widmark in a supporting role.[19]
Related Research Articles
Robert Charles Durman Mitchum was an American actor. He is known for his antihero roles and film noir appearances. He received nominations for an Academy Award and a BAFTA Award. He received a star on the Hollywood Walk of Fame in 1984 and the Golden Globe Cecil B. DeMille Award in 1992. Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of classic American cinema.
Against All Odds is a 1984 American neo-noir romantic thriller film directed by Taylor Hackford and starring Rachel Ward, Jeff Bridges and James Woods alongside Jane Greer, Alex Karras, Richard Widmark and Dorian Harewood. A remake of Out of the Past (1947), a film in which Greer played the femme fatale, this film's plot is about an aging American football star who is hired by a mobster to find his girlfriend.
Cat People is a 1942 American supernatural horror film directed by Jacques Tourneur and produced for RKO by Val Lewton. The film tells the story of Irena Dubrovna, a newly married Serbian fashion illustrator obsessed with the idea that she is descended from an ancient tribe of Cat People who metamorphose into black panthers when aroused. When her husband begins to show interest in one of his coworkers, Irena begins to stalk her. The film stars Simone Simon as Irena, and features Kent Smith, Tom Conway, and Jane Randolph in supporting roles.
Murder, My Sweet is a 1944 American film noir, directed by Edward Dmytryk and starring Dick Powell, Claire Trevor and Anne Shirley. The film is based on Raymond Chandler's 1940 novel Farewell, My Lovely. It was the first film to feature Chandler's primary character, the hard-boiled private detective Philip Marlowe.
Richard Owen Fleischer was an American film director whose career spanned more than four decades, beginning at the height of the Golden Age of Hollywood and lasting through the American New Wave.
5 Card Stud is a 1968 American Western mystery film directed by Henry Hathaway and starring Dean Martin and Robert Mitchum. The script is based on a novel by Ray Gaulden and was written by Marguerite Roberts, who also wrote the screenplay of True Grit for Hathaway the following year.
The Narrow Margin is a 1952 American film noir starring Charles McGraw and Marie Windsor. Directed by Richard Fleischer, the RKO picture was written by Earl Felton, based on an unpublished story written by Martin Goldsmith and Jack Leonard. The screenplay by Earl Felton was nominated for an Academy Award.
The Big Sleep is a 1978 neo-noir film, the second film version of Raymond Chandler's 1939 novel of the same name. The picture was directed by Michael Winner and stars Robert Mitchum in his second film portrayal of the detective Philip Marlowe. The cast includes Sarah Miles, Candy Clark, Joan Collins, and Oliver Reed, also featuring James Stewart as General Sternwood.
Jane Greer was an American film and television actress best known for her role as femme fatale Kathie Moffat in the 1947 film noir Out of the Past. In 2009, The Guardian named her one of the best actors never to have received an Academy Award nomination.
The Big Steal is a 1949 American black-and-white film noir reteaming Out of the Past stars Robert Mitchum and Jane Greer. The film was directed by Don Siegel, based on the short story "The Road to Carmichael's" by Richard Wormser.
Nicholas Musuraca, A.S.C. was a motion-picture cinematographer best remembered for his work at RKO Pictures in the 1940s, including many of Val Lewton's series of B-picture horror films.
Angel Face is a 1953 American film noir directed by Otto Preminger, starring Robert Mitchum and Jean Simmons, and featuring Leon Ames and Barbara O'Neil. It was filmed on location in Beverly Hills, California.
Blood on the Moon is a 1948 RKO black-and-white "psychological" Western film noir starring Robert Mitchum, Barbara Bel Geddes, Robert Preston and Walter Brennan. Directed by Robert Wise, the cinematography is by Nicholas Musuraca. The movie was shot in California as well as some of the more scenic shots at Red Rock Crossing, Sedona, Arizona. The picture is based on the novel Gunman's Chance by Luke Short.
Holiday Affair is a 1949 American romantic comedy film directed and produced by Don Hartman and starring Robert Mitchum, Janet Leigh and Wendell Corey. It was based on the story Christmas Gift by John D. Weaver, which was also the film's working title. The film allowed Mitchum to briefly depart from his typical roles in film noir, Western films and war films, and his casting was intended to help rehabilitate his image following a notorious marijuana bust.
His Kind of Woman is a 1951 film noir starring Robert Mitchum and Jane Russell. The film features supporting performances by Vincent Price, Raymond Burr and Charles McGraw. The direction of the film, which was based on the unpublished story "Star Sapphire" by Gerald Drayson, is credited to John Farrow.
Undercurrent is a 1946 American film noir drama directed by Vincente Minnelli and starring Katharine Hepburn, Robert Taylor, and Robert Mitchum. The screenplay was written by Edward Chodorov, based on the story "You Were There'" by Thelma Strabel, and allegedly contained uncredited contributions from Marguerite Roberts.
Where Danger Lives is a 1950 American film noir thriller directed by John Farrow and starring Robert Mitchum, Faith Domergue and Claude Rains.
Farewell, My Lovely is a 1975 American neo-noir crime thriller film directed by Dick Richards and featuring Robert Mitchum as private detective Philip Marlowe. The picture is based on Raymond Chandler's novel Farewell, My Lovely (1940), which had previously been adapted for film as Murder, My Sweet in 1944. The supporting cast features Charlotte Rampling, John Ireland, Jack O'Halloran, Sylvia Miles and Harry Dean Stanton, with an early screen appearance by Sylvester Stallone, and hardcore crime novelist Jim Thompson, in his only acting role, as Charlotte Rampling's character's elderly husband Judge Grayle. Mitchum returned to the role of Marlowe three years later in the 1978 film The Big Sleep, making him the only actor to portray the character more than once in a feature film.
My Forbidden Past is a 1951 American historical film noir directed by Robert Stevenson and starring Robert Mitchum and Ava Gardner. Adapted by Leopold Atlas from Polan Banks' novel Carriage Entrance.
The Company She Keeps is a 1951 American drama film directed by John Cromwell and starring Lizabeth Scott, Jane Greer and Dennis O'Keefe. It was produced and distributed by RKO Pictures. Cromwell's film of the previous year, Caged, also concerned a woman sent to prison. It marked Jeff Bridges' film debut.
↑ Ottoson, Robert (1981). A Reference Guide to the American Film Noir, 1940-1958. Metuchen, N.J., and London: Scarecrow Press. p.132. ISBN0-8108-1363-7. OCLC6708669.
Schatz, Thomas (1999) [1997]. Boom and Bust: American Cinema in the 1940s. History of the American cinema, volume 6. Berkeley, Los Angeles, and London: University of California Press. ISBN0-520-22130-3. OCLC40907588.
Out of the Past by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN0826429777, pages 406-408
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