Out of the Past always has at least two things going on at once. Not just the double crossings, which is so prevalent lead Robert Mitchum even taunts the bad guys with it, but how the film itself works.
Daniel Mainwaring’s script–which gives Mitchum this lengthy narration over a flashback sequence–gives the impression of telling the viewer everything while it really leaves the most important elements out. The whole plot has the bad guys coming out of Mitchum’s past (hence the title), but the way he deals with them has all these elements from between that past and the present. It means Mainwaring and Past can surprise the viewer, but it also gives Mitchum this rich character. As much exposition (not to mention the flashback) as he gets about his past, the complications all come from the unexplained things.
And Tourneur’s direction matches this narrative style. He, cinematographer Nicholas Musuraca and editor Samuel E. Beetley have foreground and background action. A scene will focus intensely one character, but in contrast to the scripted character emphasis. The visual disconnect pulls the viewer, causing a palpable, beautifully lighted edginess.
And Mitchum and his nemesis slash alter ego Kirk Douglas also have that edginess; they’re uncomfortable with one another but reluctantly. It’s wonderful.
All the acting is great–especially Paul Valentine and Rhonda Fleming–and, of course, femme fatale Jane Greer and good girl Virginia Huston.
The narrative tricks–while always beautifully executed–aren’t necessary. Past would be better without them.
This post is part of the 1947 Blogathon hosted by Karen of Shadows & Satin and Kristina of Speakeasy.
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