A compromised film noir, which doesn’t make much sense and doesn’t bear a singular directorial vision (or signature), His Kind of Woman is sort of a film noir, sort of romantic thriller, but who cares? It stars Robert Mitchum and Jane Russell, one of Hollywood’s coolest couples.
Grade: C+
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Howard Hughes promoted the film with a giant fireworks-shooting billboard featuring Mitchum and Russell, proclaiming them as “the hottest combination to ever hit the screen.” Russell’s cleavage, the movie’s best marketing tool, caused problems in some places.
Grade: C+
Though largely shot by John Farrow, it was then radically changed in the editing room by RKO executive producer Howard Hughes and director Richard Fleischer (among others).
The supporting cast includes Vincent Price, Raymond Burr and Charles McGraw.
It began as a loose adaptation of Gerald Drayson‘s unpublished story, “Star Sapphie,” but during the shoot and afterwards, Hughes added dialogue and scenes, due to his dissatisfaction with John Farrow’s work.
To that extent, Hughes recruited the young and promising director, Richard Fleischer, who had just finished the good noir film, The Narrow Margin, also for RKO. Other writers and editors had also contributed (uncredited) to the final movie.
Mitchum plays Dan Milner, a down on his luck professional gambler Dan Milner, who accepts a job that calls for traveling and pays $50,000. He accepts a $5,000 down payment and goes to an isolated Mexican resort, Morro’s Lodge, waiting to receive further instructions.
Milner is immediately attracted to Lenore Brent (Jane Russell), sexy chateuse he meets in a club and then “by chance” on his chartered flight as the only other passenger!
Milner is disappointed to discover that the guests have all soprts of hidden agendas, and that Lenore is the girlfriend of famous movie actor Mark Cardigan (Vincent Price).
Milner overhears two guests, self-proclaimed author Martin Krafft (John Mylong), who turns out to be a plastic surgeon, and Thompson (Charles McGraw), a man planning a scheme.
Milner is given $10,000 and told that someone is on his way to Baja to see him. Bill Lusk (Tim Holt) flies in, despite dangerous storm conditions, and Milner thinks he is his contact, but it turns out that Lusk is an undercover agent for the immigration authorities. The U.S. government suspects that underworld boss Nick Ferraro (Raymond Burr), who was deported to Italy, plans to get back into the country posing as Milner. The two men are a close physical match and Milner is a loner, so no one is likely to miss him.
Meanwhile, Cardigan’s wife Helen (Marjorie Reynolds) and his personal manager Gerald Hobson (Carleton G. Young) show up. She is still fond of him despite intent of divorce. Cardigan’s contract is expiring and bad publicity would damage his prospects.
In a weak moment, Lenore confesses to Milner that she is just a singer hunting for a wealthy spouse.
Milner helps the unhappily newly wed Jennie Stone (Leslie Banning) by cheating at poker to win back her husband’s gambling losses from investment broker Myron Winton (Jim Backus).
Thompson and his men, having killed Lusk, take Milner to a yacht, but he’s able to pass along a message to Lenore. She persuades Cardigan to help out. While the actor keeps the mobsters pinned down with his rifle, Milner sneaks back onto the boat.
After killing two of the thugs and wounding and capturing Thompson, Cardigan plans a rescue with the reluctant assistance of the Mexican police. A gunfight breaks out aboard the boat, Milner manages to break free and shoots Ferraro dead. Cardigan and his wife reconciled, and Milner and Lenore form a new couple.
For a film billed as noir thriller, it lacks suspense, marred by a tale that’s bogged down by marital and domestic issues. Various characters appear (out of nowhere) and then disappear (killed for no reason) for no apparent reason other than keeping the overwrought plot going on. And on it goes, for 121 minutes.
The film’s tone is inconsistent, due to the different writers and directors who worked on it, and aome last moment ad-libs. At times, it’s impossible to tell whether the oddball humor is intentional (sort of tongue in cheek) or unintentional, though ultimately it doesn’t matter, as the plot is senseless.
The weirdest part is essayed by Vincent Price, who renders a campy interpretaton, but is unconvincing as Russell’s beau.
Jane Russell later said, “It was a good film until they took John Farrow off and put in this nonsense at the end, the gore and hypodermic needles.”
So what’s left?
Star power: Mitchum’s macho image and Russell’s sex appeal.
Mitchum is well cast as the loner anti-hero, a role he could have played in his sleep. In a sneseless violent scene, he allows to get beaten and is shown walking with clutches
Taming of the shrew or just camp: In the very last scene, Russell, wearing a sexy black dress, enters the room to find Mitchum ironing his pants. A toast and a kiss follow, and the last image is a close-up of an iron! Sso Hot!
Throughout, the camera, credited to Harry J. Wild, but under Hughes tight instruction and supervision, caress Russell’s body, especially her (in)famous chest. You will get to hear her singing and see her wearing white or black dresses, and in one scene even stripped to a tight swimming suit.
Credits:
Directed by John Farrow; Richard Fleischer (uncredited)
Screenplay by Frank Fenton, Jack Leonard, based on story by Gerald Drayson Adams
Produced by Robert Sparks
Cinematography Harry J. Wild
Edited by Frederic Knudtson, Eda Warren
Music by Leigh Harline
Production and Distributed: RKO Pictures
Release dates: Aug 29, 1951 (New York)
Running time: 121 minutes
Box office $2 million (US rentals)
