In Angel Face, Robert Mitchum, the poster boy of film noir, signs off on the genre with his last great portrait of doom. As Jessup, Mitchum is a hunk of a man and knows it but his laconic self-assurance belies that fact that all the women he meets in Angel Face, both good and safe (Mary) and evil and possessed (Jean Simmons' Diane, a cute and an attractive but not-so-innocent package of venality and psychosis), overpower him, and the evil one wins out.
Continue reading: Angel Face Review
Nicholas Ray's study of the epidemic of juvenile delinquency that terrified post-war parents in the '50s is still compelling today even if the delinquency depicted -- leather jackets, switchblades, drag racing -- seems positively quaint by today's shoot-up-the-school-with-an-Uzi standards. Dean takes the role of Jim Trask and runs with it, chewing up the scenery when the script demands it and then throttling back into profound stillness in his moodier moments.
Continue reading: Rebel Without A Cause Review
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Ford attributes his career success to films that pass 'from generation to generation'.
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